By Tim Miller
For 1 / 4 century, Tim Miller has labored on the intersection of functionality, politics, and identification, utilizing his own stories to create pleasing yet pointed explorations of lifestyles as a homosexual American man—from the perils and joys of intercourse and relationships to the struggles of political disenfranchisement and inventive censorship. This intimate autobiographical university of Miller's specialist and private lifestyles finds one of many celebrated creators of an important modern artwork shape and a tireless recommend for the yank dream of political equality for all citizens.
Here we've got the main entire Miller yet—a raucous choice of his functionality scripts, essays, interviews, magazine entries, and images, in addition to his most modern degree piece Us. This quantity brings jointly the private, communal, and nationwide political strands that interweave via his paintings from its beginnings and eventually outline Miller's position as a modern artist, activist, and homosexual guy.
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Additional resources for 1001 Beds: Performances, Essays, and Travels
It had the nicest piece of individually wrapped Kraft American cheese on it, nice square and safe. This is a picture of me from a performance work at the Kitchen in NYC. My name is spraypainted with black Rustoleum on my chest. If you paint your name on your chest then you can point to it to help you remember and understand who you are in the world and the way things work. And if you understand your name then maybe you can understand other words too and the big ideas of our time. Behind me in the picture are more words painted on the wall.
Come back here. : Yeah? : OK. You go down First Avenue to St. Marks, this way. No John, St. Marks is this way. Second Avenue—north and south is like this. Come on. : Where are we gonna go? : St. Marks Place and Second Avenue. OK, there’s the Gem Spa. : Stand right there! Come over, right here. Start over again. : Past the Gem Spa, past the Chinese restaurant, past : Are we down Second? : past the Immigrant Savings Bank, past The Saint, past 103 Second Avenue, past Block Drugs, and then you’re at— I’d like two bialys, three pumpernickel bagels, a quarterpound of cream cheese.
Written in the headlong lowercase style he affected in many early writings, its hectic pace anticipates humorous passages in his later performance works. The burning newspapers described here were an element of Paint Yrself Red/Me & Mayakovsky (1980). The quoted inscription comes from a stained-glass window at PS 122, originally a school in the immigrant neighborhood of Manhattan’s Lower East Side. The ketchup vandalism was aimed at the set of a feminist play about waitressing. Miller no longer recalls the “rolling rock” reference—perhapsbeer,perhapsliteralrocksinaperformance, perhaps both.
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