I was recently interviewed by the inimitable Joan Quinn on her show, The Joan Quinn Profiles. She is trying hard to understand what I do and why I’m on her show. I said stuff like “I’m not professionally trained as a musician, but I was in the marching band” and I referred to REDCAT Studio as “A Whitman’s Sampler of Experimental Performance.” Click on the picture to be taken to the website that contains the video (it’s in Flash format)  My interview starts around the 13:30 mark (note: interview ends a bit abruptly.)

This is a picture of John Hogan on the Joan Quinn Profiles.

“I wasn’t professionally trained, but I was in the marching band…”

In a week, I will be performing a fifteen minute performance work entitled “Chair Piece” as part of Studio: Spring 2014 at REDCAT on Saturday, May 31st and Sunday, June 1st. There are also five other artists on the program, with performances including experimental dance, improvisational guitar playing, and piñata smashing.

In anticipation and celebration, I’ve posted the Song of Yourselves album for free streaming and download. This album has all the spoken word and musical elements from Song of Yourselves, including Clint Eastwood’s address to the 2012 RNC, which “Chair Piece” is based on.

 

I’m very excited to report I will be performing “Chair Piece” as part of Studio: Spring 2014 at REDCAT, from Saturday, May 31 2014 to Sunday June 1, 2014.   REDCAT’s Studio series is an ongoing, interdisciplinary program featuring informal new performance works and works-in-progress. This edition of Studio is programmed by guest curators Anna Oxygen and Malcolm Darrell, and offers adventurous audiences a glimpse at projects by emerging Los Angeles artists.

JOHN HOGAN: CHAIR PIECE
In Chair Piece, artist John Hogan cleverly uses Clint Eastwood’s address to the 2012 Republican National Convention as the raw material for a performance satirizing the white American male’s sense of entitlement, eliciting discourse regarding privilege, power dynamics, and the individual’s role within institutions.”

Chair Piece (3 Minute Edit) from thejohnhogan on Vimeo.

 

Originally posted on Another Righteous Transfer!:

Mike Kelley, Switching Marys (2004-05). Stedelijk Museum, Amsterdam. Photo: Fredrik Nilsen, courtesy Mike Kelley Foundation for the Arts.

Mike Kelley, Switching Marys (2004-05).
Stedelijk Museum, Amsterdam. Photo: Fredrik Nilsen, courtesy Mike Kelley Foundation for the Arts, via moca.org.

Attending the Member’s Day Celebration of MOCA’s Mike Kelley retrospective with a brutal hangover was my way of opting into total immersion in the Irish Catholic shame Kelley is so famed for deconstructing. Or so my own robust Irish Catholic rationalization process would have me believe.

Mike Kelley with a hangover is like Lawrence Weiner stoned. Not only does it still make sense, it kind of makes more sense. Woozy videos of unwell vampires slumping around CalArts whining about how they’ve been on medical leave, or the slumped and dazed proles of Kandor milling around their pathetic cramped quarters within a swirling bell jar biosphere are all the more existentially poignant when one is prone to actual nausea.

As much as the sadistic barbers, spaced-out toddlers, and wine-soaked harem members…

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