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Pissed

A PANEL & CONVERSATION WITH CASSILS, TITUS KAPHAR, CHASE STRANGIO, JOEL SANDERS, AND JACK HALBERSTAM

Joel Sanders, Architect 

Author of Stud.

Stud is an interdisciplinary exploration of the active role architecture plays in the construction of male identity. Architects, artists, and theorists investigate how sexuality is constituted through the organization of materials, objects, and human subjects in actual space. This collection of essays and visual projects critically analyzes the spaces that we habitually take for granted but that quietly participate in the manufacturing of “maleness.” Employing a variety of critical perspectives (feminism, “queer theory,” deconstruction, and psychoanalysis), Stud’s contributors reveal how masculinity, always an unstable construct, is coded in our environment. Stud also addresses the relationship between architecture and gay male sexuality, illustrating the resourceful ways that gay men have appropriated and reordered everyday public domains, from streets to sex clubs, in the formation of gay social space.

Published by Princeton Architectural Press, 1996

Chase Strangio, American lawyer and transgender rights activist. 

He is a staff attorney with the American Civil Liberties Union

Titus Kaphar:

Titus Kaphar was born in 1976 in Kalamazoo, Michigan. He currently lives and works between New York and Connecticut. His artworks interact with the history of art by appropriating its styles and mediums.

Kaphar said of his work: “I’ve always been fascinated by history: art history, American history, world history, individual history – how history is written, recorded, distorted, exploited, reimagined, and understood.  In my work I explore the materiality of reconstructive history.  I paint and I sculpt, often borrowing from the historical canon, and then alter the work in some way.  I cut, crumple, shroud, shred, stitch, tar, twist, bind, erase, break, tear, and turn the paintings and sculptures I create, reconfiguring them into works that nod to hidden narratives and begin to reveal unspoken truths about the nature of history.  Open areas become active absences, walls enter into the portraits, stretcher bars are exposed, and structures that are typically invisible underneath, behind, or inside the canvas are laid bare, revealing the interiors of the work.  In so doing, my aim is to perform what I critique, to reveal something of what has been lost, and to investigate the power of a rewritten history.”

In a 2009 review in Art in America, Michele Carlson wrote, “Kaphar's practice is more than a modernist revision or a redux of the dichotomy between painter and painting. Instead, he creates new historiographic artifacts built from the physical residues and inadequacies of the past. There is a sense these works are a deeply personal response to imagined memories turned into unrecognizable histories long ago.  Perhaps they are a nod to collective histories yet to be discovered, or a reconciliation for those that never will.”

Kaphar received an MFA from the Yale School of Art, and is the distinguished recipient of the Gwendolyn Knight and Jacob Lawrence Fellowship. His work has been included in solo and group exhibitions at Savannah College of Art and Design, Savannah, GA, the Studio Museum in Harlem, New York, NY and the Seattle Art Museum, Seattle, WA. His work is included in the collections of the New Britain Museum of American Art, New Britain, CT, the Seattle Art Museum, Seattle, WA, the Museum of Modern Art, New York, and the Studio Museum in Harlem, New York, NY.  In late 2014, TIME magazine commissioned Kaphar to create an artwork in response to protests in Ferguson, Missouri.

Co-sponsored with the NYU Center for the Study of Gender & Sexuality.