Gio Black Peter A banana for a banana!

Teaser: GIO BLACK PETER DON'T TELL ME NOTHING ft Strobo Monsters. Directed by CyCy Sanders

2011-12-26T12:58:00.000-08:00

GBP New Music VID 1st Images

2011-12-08T07:27:00.000-08:00

GBP New Music VID; "DON'T TELL ME NOTHING" ft Strobo Monster dir. by CyCy Sanders

1st Images here shot by John Wenrich

here we go again

2011-11-25T06:48:00.000-08:00

IT USED TO BE GOOD UNTIL IT STARTED TO BREAK
STRUCTURED PYRAMIDS FRACTURE EVERYDAY

GBP WYSIWYG Invite Nov17

2011-11-15T05:00:00.000-08:00

Friends & Family Fiends,
I would like to invite you & your friends and family to

What You See Is What You Get
Drawings by Gio Black Peter

Artist Reception: November 17 2011
6 to 8 PM

BrianRiley1ProjectSpace
368 Broadway room 405 , Between Franklin & White, New Fuck New York. / t. 917 968 2112

Sending you good vibes xxx gbp
www.gioblackpeter.com

press release below

What You See Is What You Get GBP NYC Solo Exhibition

2011-11-05T14:53:00.000-07:00

WHAT YOU SEE IS WHAT YOU GET
WHAT YOU EARN WITH BLOOD & SWEAT
THERES NO CHANCE YOULL EVER FORGET

http://www.brianriley1projects.com/

Pleading in the Blood: The Art of Ron Athey

2011-10-04T21:38:00.000-07:00

Lets get Ron Athey to the finish line!
I was lucky enuff to see him perform last in 2009 at Visions of Excess! it was beautiful, dark amazing and intense.

The publication

This will be the first ever publication devoted to the work of Ron Athey, a central figure in the development of performance art since the 1980s. Edited by Dominic Johnson, Pleading in the Blood: The Art of Ron Athey will foreground the prescience of Athey’s work, exploring how his visceral, body-based practice foresaw and precipitated the central place afforded to the body in art and critical theory in the 1990s and after. While histories of art, performance, theatre, and subcultures have consistently acknowledged Athey’s major contribution to the development of contemporary cultures, there has never been a dedicated book about him. Pleading in the Blood aims to fill this conspicuous gap.

Developed in close collaboration with Ron Athey, this book seeks to provide a critical overview of Athey’s practice. In his stagings of crisis, sexuality and death in the time of AIDS, Athey calls into question the limits of artistic practice. Athey has been a crucial figure in the development of performance art and body art; club performance; intersections between punk, queer and alternative cultures; sexual politics, specifically in relation to queer practices and the politics of HIV/AIDS; and the representation of religion and ritual.

The book will track Athey’s work from the 1980s underground through to his influential works for festivals, galleries and museums, which have crucially impacted upon the development of body art, Live Art and experimental theatre. The book will include contributions from distinguished national and international artists, writers and scholars: six newly commissioned chapters on different aspects of Athey’s work; shorter ‘testimonials’ by artists; Athey’s own writings; and extensive full-colour images. Contributors include Amelia Jones, C. Carr, Adrian Heathfield, Lydia Lunch, Dominic Johnson and Patrick Califia amongst many others.

The book will be published in 2012.

More information on Ron Athey’s work can be seen here:

http://ronatheynews.blogspot.com/

The editor

Dominic Johnson is a Lecturer in the School of English and Drama, Queen Mary, University of London. He is the editor of Franko B: Blinded by Love (2006) and Manuel Vason: Encounters (2007), and is currently completing an authored publication on the work of Jack Smith, which is forthcoming from Manchester University Press. www.dominicjohnson.co.uk

The publishers

Pleading in the Blood: The Art of Ron Athey will be co-published by the Live Art Development Agency (UK) and The MIT Press (USA).

The Agency was founded in 1999 to support the proliferation of Live Art practices and critical discourses in the UK, and is now recognised as the leading organisation for Live Art in the UK and a world leader in the field. The Agency is the only organisation dedicated to the publishing and distribution of Live Art books, DVDs and editions. Building on the international success of Out Of Now: The Lifeworks of Tehching Hsieh (2009), Pleading in the Blood will be the second co-publication between the Agency and The MIT Press (USA).

The Agency’s publications list: www.thisisliveart.co.uk/projects/publications/index.html

Unbound, The Agency’s on-line store for Live Art materials: www.thisisunbound.co.uk

Why the book needs support

We believe that this book will:

· Introduce new audiences to the work and influence of Ron Athey

· Provide a comprehensive and rigorous overview of Athey’s work for existing audiences

· Contribute to critical discourses about the possibilities and limits of art and interdisciplinarity

· Positively enhance public awareness and understanding of innovative and progressive artistic practice

· Facilitate the acquisition of knowledge, including in the higher education, libraries, and archives sectors, and

· Inform future artistic and critical practices and debates

The Agency and MIT Press have already raised two thirds of the publication’s budget. However, we believe that Pleading in the Blood merits the highest possible standards and be as richly illustrated and as lavishly produced as possible. Your support will strongly enhance those production values and will be a crucially needed step in meeting our collective vision for the book.

SLAVA's ULTRAVIOLETS

2011-10-03T13:27:00.000-07:00

ULTRAVIOLETS

Slava's post-apocalyptic hustler fashion story in the new issue of Flaunt Magazine

SLAVA MOGUTIN 's official Blogo

!

GO BLAB!

2011-09-23T23:48:00.000-07:00

The Advocate for Fagdom from Le Chat qui Fume on Vimeo.

The Life and Times of Matvey Matveich

2011-09-22T12:30:00.001-07:00

Friends , Family & Reptilian Sex Aliens I would like to invite you to:

The Life and Times of Matvey Matveich

Who is Matvey Matveich? Where is he now? New York City artists assembled under the order of the grand Duke, set out to discover just that.

Thursday, September 22 · 7:00pm - 11:00pm

Bedlam , 40 Avenue C, New York, NY

Featuring: Alexcalibur, Therese + Joel, Gio Black Peter, Fixx Invictus, Toni Tiller, Tom Bennet, Paul Cupo.

Live performance by: Alexcalibur, Gio Black Peter, sound and dj set by DJ PONY NYC!

DUC presents a pre-launch affair celebrating the Life and Times of Matvey Matveich, with original art pieces and performances.

We found the old suitcase behind an abandoned train station in Stavropol containing an old VHS, a damaged journal, and some bank statements. Upon viewing the tape we realized we had come across the belongings of a very mysterious individual.

More info at ducsite.com/events RSVP required to info@ducsite.com

For those of you who are not in New Fuck New York here are the drawings I am exhibiting. (they are in collaboration with Fixx Invictus's writing)
For the rest of you - C U TONITE! xxx gbp

GIO BLACK PETER: PINOCHIOS REVENGE 2011

2011-09-03T13:48:00.000-07:00

PINOCHIO'S REVENGE 2011
New mixed media drawings by Gio Black Peter on slave cv.

For purchase or press enquiries please contact gioblackpeter@gmail.com

HE DIDNT OFFER UP THE TRUTH
HE DIDNT HAVE TO MAKE UP LIES
HE JUST DREW PICTURES OF THE THINGS
HE SAW WHEN HE CLOSED HIS EYES

"Morning Glory"
8.5"x11" mixed media drawings on slave cv. 2011

"Circumstance"
8.5"x11" mixed media drawings on slave cv. 2011

"Imaginary Canari"
8.5"x11" mixed media drawings on slave cv. 2011

"Pick Nick"
8.5"x11" mixed media drawings on slave cv. 2011

"Factory"
8.5"x11" mixed media drawings on slave cv. 2011

"Squirrel Summer 2011"
8.5"x11" mixed media drawings on slave cv. 2011

"Pumpernickel"
8.5"x11" mixed media drawings on slave cv. 2011

"On The Rocks"
8.5"x11" mixed media drawings on slave cv. 2011

"Afternoon Delight"
8.5"x11" mixed media drawings on slave cv. 2011

"Billy"
8.5"x11" mixed media drawings on slave cv. 2011

"Decisions"
8.5"x11" mixed media drawings on slave cv. 2011

"Hanging Out"
8.5"x11" mixed media drawings on slave cv. 2011

"This Way North"
8.5"x11" mixed media drawings on slave cv. 2011

"New Fuck New York"
8.5"x11" mixed media drawings on slave cv. 2011

"Pinochio Returns"
8.5"x11" mixed media drawings on slave cv. 2011

"Foxglove"
8.5"x11" mixed media drawings on slave cv. 2011

"Somebody Knows Something"
8.5"x11" mixed media drawings on slave cv. 2011

"Volcano"
8.5"x11" mixed media drawings on slave cv. 2011

"Spaghetti"
8.5"x11" mixed media drawings on slave cv. 2011

"Alpha Mailbox"
8.5"x11" mixed media drawings on slave cv. 2011

"Purse"
8.5"x11" mixed media drawings on slave cv. 2011

"Firecracker"
8.5"x11" mixed media drawings on slave cv. 2011

"Graubrot"
8.5"x11" mixed media drawings on slave cv. 2011

"Roggenbrot"
8.5"x11" mixed media drawings on slave cv. 2011

"Weibrot"
8.5"x11" mixed media drawings on slave cv. 2011

"Vollkonbrot"
8.5"x11" mixed media drawings on slave cv. 2011

"Appy New Year!"
8.5"x11" mixed media drawings on slave cv. 2011

"Wasabi"
8.5"x11" mixed media drawings on slave cv. 2011

"Basement Jockey"
5.5"x8.5" mixed media drawings on textured paper. 2011

"The Pleasure Derived From"
8.5"x11" mixed media drawing on card- foam paper. 2011

"Vehicle"
5.5"x8.5" mixed media drawings on textured paper. 2011

"Night Dream"
5.5"x8.5" mixed media drawings on textured paper. 2011

"Visions"
5.5"x8.5" mixed media drawings on textured paper. 2011

"Paper Plate Massacre"
5.5"x8.5" mixed media drawings on textured paper. 2011

Slava Mogutin & Brian Kenny: INTERPENETRATION

2011-08-31T06:28:00.000-07:00

INTERPENETRATION

Photographs and Drawings

September 2 – October 2, 2011
Vernissage: Friday, September 2th,
7–10 pm

La Petite
Mort Gallery
306 Cumberland Street
Ottawa, Ontario
Canada, K1N 7H9

Slava Mogutin is the best kind of artist – the kind who creates because he needs to, and who painstakingly develops an aesthetic to express that need. Starting out as a poet in his teenage years, he wrote beautiful, angry poems in Russian that came deep from the heart of his motherland. Later kicked out of Russia by authorities for his “exceptional cynicism” and “extreme insolence”, Mogutin ended up an exile in America and, being forced to abandon his mother tongue, switched to a purely visual art form – photography – as a creative outlet. His early photographs were more abstract, but he soon also started to experiment with portraiture and photo journalism. His work now easily and playfully vacillates between the two, but the poetry always remains. Brian Kenny, Slava’s partner in love and art, entered the picture about seven years ago. A prodigious young talent in his own right, Brian soon joined forces with Slava to become a collaborative art duo called SUPERM. This auspicious conjunction has added new dimensions to their work, including shared drawings, sculptural products, videos, and site-specific installations. While Slava and Brian both pursue their own art careers individually, SUPERM allows them to broaden their palette and produce work that synthesizes their styles and practices: a force to be reckoned with!

- Bruce LaBruce

New York-based partners-in-art Slava Mogutin and Brian Kenny work separately across various media, as well as collaboratively under the umbrella of SUPERM, a multimedia art team creating site-specific gallery and museum installations worldwide. Mogutin has attracted international attention with his raw and candid urban portraiture documenting various youth subcultures and fetishes, collected in his critically acclaimed monograph Lost Boys (powerHouse Books, NY, 2006), as well as his writings and Russian translations of Allen Ginsberg, William S. Burroughs and Dennis Cooper. In his more recent work Mogutin merges the performance-based practices and event-based art, mapping his work from live event to visual object through photographs that serve as documentation/témoignage. This intersection of exhibitionism/exhibition in turn creates its own series of pairings, joining the intensely personal (orgasm) with the overtly theatrical, the performer with our presence as voyeurs, the artist as (self) recorder and as witness. The sense of trace or residue is not only manifest in the fact of making the images themselves but also in the small details of the performances that they contain: the classic cum shot, a jockstrap left in a sink, bondage gear. In contrast to Mogutin’s photographs, Kenny’s drawings and engravings demonstrate a very distinct stylistic approach. Working in a spontaneous or stream-of-consciousness manner and influenced by the energy and spirit of street art, Kenny layers imagery, deconstructs text and references from pop culture and sports to create a kind of brut expressionist panorama that oscillates between autobiography, social commentary and the absurd. This exhibition explores themes of INTERPENETRATION from multiple perspectives: a physical intersection of separate bodies of work addressing the give-and-take dynamic of Mogutin and Kenny as artists and lovers; as a power exchange of dominance and submission (wrestling, S+M, cock fighting) and the referencing of “cock” as both male organ and bird (according to Mogutin, “cock” (petúkh) is Russian prison slang for “faggot”). Both artists also navigate shifting boundaries of geographical and cultural transplantation. In this sense, INTERPENETRATION addresses the fluidity of identity, where sexual becomes political and vice versa. The title also references Mogutin’s forced emigration from Russia in the wake of two highly publicized obscenity cases, carrying a potential prison sentence of up to seven years. He was granted political asylum in the United States with the support of Amnesty International and PEN American Center.

- Guy Berube, director

Slava Mogutin, Behind the
Curtain (Self-Portrait), 2003. Archival duraflex print, 16" x
20"

Brian Kenny, Bad Recognition,
2010. Ink & acrylic on vintage American police shooting target,
22.5" x 34"

Slava Mogutin, Aftermath
(Self-Portrait), 2002. Archival panoramic C-print, 10" x 23" image
on 20" x 24" sheet

Brian Kenny, Take It Off,
2011. Ink drawing on paper, 14" x 17"

Slava Mogutin, Marco
Masked, 2002. Archival C-print, 20" x 16"

Brian Kenny, Won Man, 2010.
Ink & acrylic on vintage American police shooting target, 22.5" x
34"

Slava Mogutin,
McCabe_Handstand, 2003. Archival C-print, 16" x 20"

Brian Kenny, Top 3D, 2011.
Ink drawing on paper, 14" x 17"

Slava Mogutin, Robert
Flexing, 2003. Archival C-print, 16" x 20"

Brian Kenny, Wrestle, 2010.
Engraving on copper foil scratchboard, 5" x 7"

Slava Mogutin, Robert Urban,
2003. Archival C-print, 20" x 16"

Brian Kenny, Hard Wired,
2011. Ink drawing on paper, 14" x 17"

Slava Mogutin, Robert
Reaching, 2003. Archival C-print, 20" x 16"

Brian Kenny, Cock Fight,
2010. Engraving on gold foil scratchboard, 5" x 7"

Slava Mogutin, Screaming
Monkey, 2002. Archival panoramic C-print, 10" x 23" image on a 20" x 24"
sheet

Brian Kenny, Facing It, 2011.
Ink drawing on paper, 14" x 17"

Brian KenFacing It, Ink drawing on white paper, 14 x 17 inches, 2011

Slava Mogutin, Ponyboy Simon,
2007. Archival C-print, 20" x 16"

Brian Kenny, Rooster Boy
Gold, 2010. Engraving on gold foil scratchboard, 5" x
7"

Slava Mogutin, Marko Hands,
2007. Archival C-print, 16" x 20"

Brian Kenny, I'll Get It,
2010. Ink on paper, 14" x 17"

Brian Kenny, Home Again,
2010. Ink & acrylic on vintage American police shooting target,
22.5" x 34"

REVOLVING DOOR Outtake no.24

2011-08-22T15:11:00.000-07:00

The Pleasure Derived From 5,000 Butterflies

2011-08-19T17:55:00.000-07:00

GBP drawings in collaboration with short stories by Fixx Invictus. {Preview}

" The Pleasure Derived From... "
2011. Mixed media on paper.

" Like 5,000 Butterflies... "

2011. Mixed media on paper.

more to come!

BRIAN KENNYs MICA MEN Metamorphic Portraits

2011-08-17T22:20:00.000-07:00

check out Brian's cool new collage series-
MICA MEN by Brian Kenny

Mica Men: Metamorphic Portraits

Mica Men are chemically inert, dielectric, elastic, flexible, hydrophilic, insulating, lightweight, platy, reflective, refractive, resilient, and range in opacity from transparent to opaque. Mica Men are stable when exposed to electricity, light, moisture, and extreme temperatures:

Mica Man 1, 2011

4.25 x 6.5 inches