Archive for The B-Word Project

Karen Finley, Catch 23 Broken Negative, Carpenter Performing Arts Center, Long Beach, September 28, 2012

Posted in reviews and commentary with tags , , , , on October 2, 2012 by Carol Cheh

Karen Finley, We Keep Our Victims Ready, 1989

This is going to be short because there is no way I can do this justice. I don’t have the time right now to properly meditate on the arc of Karen Finley’s career, which is what this review would require, and due to a very long day, I even fell asleep for part of this riveting performance. It wasn’t at all due to Finley, who struck an amazingly perfect balance between visceral access and commanding poise—the mark of a mature and accomplished artist at the top of her game.

The occasion was the final, culminating event of The B-Word Project, a yearlong symposium on censorship organized by the Carpenter Performing Arts Center at California State University, Long Beach. Incredibly, the organizers had secured all of the original NEA 4 artists (Finley, John Fleck, Holly Hughes, and Tim Miller) for a panel discussion and newly commissioned performances. Finley’s was the last performance and probably the most powerful (I did not see Hughes or Miller’s performances).

What she did could essentially be described as a performative slide lecture with live musical accompaniment in which she reflected at length on We Keep Our Victims Ready, the notorious work that got her into hot water with conservative politicians and helped to launch the culture wars of the 1990s. Finley began with the iconic image of the chocolate-smeared woman, and talked about how it was a response to Tawana Brawley and the wreaking of violence upon the female body. She extended this theme to other instances throughout recent history where violence has been visited upon racially marked bodies, lingering notably on a Japanese photographer who documented Chicago’s St. Valentine’s Day Massacre.

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