“These paintings incorporate a couple of lines of the 1977 song “Kill” by the UK parodic punk band Alberto y los Trios Paranoias. I recognize the UK and US late-70s punk rock milieus as experiments in a kind of utopian expression. For some communities in that period music enables a utopia of the present (or, in Hakim Bey’s categorization, a “temporary autonomous zone”) where intense creativity and pleasure are experienced as a protest against a means-end economy by which young people are alienated and disenfranchised. The best punk song lyrics have humorous and playful qualities, irreverent tone and content, linguistic inventiveness, and no interest in sexual content or political tendentiousness. The sheer energy and eccentric content of the music testify to a high valuation of the intensity of the moment, qualities to which I pay homage in my paintings.”––––– Mark Harris
signed and dated with acrylic marker on back side
Mark Harris is an artist, critic, and curator whose approaches to studio work and writing are linked by an interest in music and the imagery of intoxication as forms of utopian representation.
Recent exhibitions and performances include Sparrow Come Back Home, with Carmel Buckley, ICA London, 2016-17; The Nothing That Is, The Carnegie, Covington, Kentucky, 2017; Bad Music Seminar, DIY Punk, Wave Pool, Cincinnati, 2016; John Cage’s Variations II (arranged for 5 turntables) The Carnegie, Covington, Kentucky, 2017; Mistaken Impressions, Root Division, San Francisco, 2016; Cherry & Lucic, Portland, OR, 2016; After the Moment: Reflections on Robert Mapplethorpe, Contemporary Arts Center, Cincinnati; Sparrow Come Back Home, Delaware Center for Contemporary Arts, 2014; Bad Music Seminar 2, performance, The Showroom, London; Bad Music Seminar 3: Sex, Murder, Politics, 4: Song Poems and 5: Becoming-Animal, performances, The Horse Hospital, London, 2014; Dial Collect, SOMArts Cultural Center, San Francisco, 2013; London Open, Whitechapel Art Gallery, London, 2012
Recent publications include “Turntable Materialities,” Seismograf, Denmark, 2017 (forthcoming); “Intoxicating Painting,” Journal of Contemporary Painting 2017; “Mighty Sparrow’s Calypsos”, Sparrow Come Back Home, Delaware Center for the Contemporary Arts, Wilmington, 2015; “The Materiality of Water,” Aesthetic Investigations, 2015; “Cinema, studio, tools” in Proto-Tools 1, Flat Time House, London, 2014; “A Local Culture: tradition and risk in Cincinnati” in here., Pennsylvania Academy of the Fine Arts, 2011; “Countercultural Intoxication: An Aesthetics of Transformation” in The Countercultural Experiment: Consciousness and Encounters at the Edge of Art, University of Minnesota Press, 2011