Phaidon Contemporary Artist Series
Text by Julia Bryan-Wilson, Jeannine Tang, and Lanka Tattersall
Born 1970, Baltimore, Maryland. Lives and works in New York City.
If They Should Ask, Rittenhouse Square, Philadelphia
In My Little Corner of the World, Anyone Would Love You, The Common Guild, Glasgow
In My Little Corner of the World, Anyone Would Love You, Studio Voltaire, London
Black Box: Sharon Hayes, Baltimore Museum of Art, Maryland
Nothing Will Be As Before, Tanya Leighton, Berlin
Artists for Studio Voltaire, Studio Voltaire, London
Department of Contemporary Art, Minneapolis Institute of Art, Minnesota
I can call this progress to halt, LACE, Los Angeles
Change of State, Essex Street, New York
The Revolution Will Not Be Gray, Aspen Art Museum, Colorado
Curators’ Series #9. Way of Living (curated by Arcadia Missa), David Roberts Art Foundation, London
I Saved Her A Bullet
In 1977, Oklahoma beauty queen and singer Anita Bryant was as recognized for her critical views on homosexuality as for the ballads that had made her famous. Bryant spearheaded the political coalition Save Our Children, which successfully crusaded to overturn a Dade County, Florida, ordinance prohibiting discrimination on the basis of sexual orientation. On October 14, 1977, Bryant was speaking at a news conference in Des Moines when gay activist Thom Higgins threw a pie in her face. Bryant quipped, “At least it’s a fruit pie,” and began tearfully to pray for Higgins. Here, a still from television footage of that event appears twice: once as the physical image on the glass of the overhead projector and again as the projection. This doubling of Bryant’s halted speech reflects the two actions by which speech has been made static—once by Higgins and again by Hayes, who suspends Higgins’s action in time in order to contemplate its implications anew.