Prefatory Note: The Jacki Apple Award 

The inspiration for the Jacki Apple Award came from one of Apple’s longtime concerns. Although there is financial support for emerging artists, she found that for mid-career and mature artists there was very little available. Performance and other mid-career artists of proven and sustained excellence were left with an unhappy choice: to rely on themselves and keep their artistic integrity intact, or go commercial. The Advisory Committee for Jacki’s legacy considered various options, some form Award chief amongst them.  A member recommended it be designed to support both the art and the artist: “artists also need to eat”. Apple would have been the first to agree, more generous parameters were set.

Apple had deep roots in her native New York, a city then as today that breathes innovation. She played a seminal role in the early evolution of performance art there, a then-emergent art form that was often misunderstood. Apple’s close friend and associate, Marina LaPalma, edited Apple’s “Selected Essays” and in her Foreword to the collection offers a concise explanation of how it came about: “Innovators of new theatre and performance art replaced ‘acting’ as someone else with ‘performing’ as oneself.” 

Apple pioneered feminist and eco-feminist performance art in the 70’s and 80’s. She played a leading role in the nascent Franklin Furnace artist’s archive and performance space, founded by Martha Wilson. It gave many emerging artists an opportunity to excel. When the Advisory Committee broached the idea of an Award it found an eager partner in the Franklin Furnace, not only in honoring one of its own but by adding a new dimension for its support for contemporary art in New York. 

In the early 1980’s Jacki moved to Los Angeles, a city to which she became deeply committed. She played a key role in its development as a counterpart to New York through her own performances, leadership in multimedia arts, art critic, and as a highly respected educator with the ArtCenter College of Design. She worked closely with Los Angeles Contemporary Art Exhibitions (LACE) over the years, which became the natural choice as the West coast partner institution for the Jacki Apple Award. Both LACE and Franklin Furnace warmly welcomed the initiative of creating the new award and the opportunity to serve as independent implementing agencies. Thus the Jacki Apple Award became a reality and was integrated into the award process of each institution according to their own established agendas and practices.  

Emily: Pls attach the LACE and FF Award notices, the LACE selection announcement, and the LACE Apple Award event video and photos taken by Oliver. Potential applicants should be advised to contact LACE and FF directly

LACE & Franklin Furnace

On January 9th 2024 Los Angeles Contemporary Exhibitions (LACE) announced its inaugural Jacki Apple Award recipient: Marcus Kuiland-Nazario. LACE describes itself as the “Longest running incubator for contemporary artists and curators in LA!”; The Award was for the outstanding mid-career artist with the most creative, culturally relevant and otherwise topical performance art project proposal.

Entitled “Threnody”, namely an elegy, a song of lamentation for the dead, Marcus’ project will explore grieving beliefs and practices of various cultures. It will be a celebration of diversity and of expressions of social respect in the transition of life. He brings a wealth of talent and great humour to the task. His rich experience is perhaps best summed up in a biographical note drawn from the LA 18th Street Arts Center website:

 

“Los Angeles native Marcus Kuiland-Nazario is an interdisciplinary artist, performance curator and producer. He is a founding artist of 18th Street Arts Center and Highways Performance Space as well as co-founder of Oficina de Proyectos Culturales, a contemporary art center in Puerto Vallarta, Mexico and LA Community Health Project, a harm reduction street based needle exchange program. Kuiland- Nazario’s works are long-term research based cross-genre projects exploring extreme states of emotion such as grief, anger and loss influenced by the cultural and spiritual traditions of the African Diaspora.
His performance works have been included in national and international festivals including the Rapture Festival, ICA London, London;  the Rompeforma Festival, San Juan, Puerto Rico; and Pacific Standard Time LA/LA, Los Angeles. Kuiland-Nazario is the recipient of the 2020 Santa Monica Artist Fellowship award.”

Marcus won the award on merit. However, he also collaborated with Jacki Apple over the years on projects and performances, and both worked closely with Highways Performance Space. Their mutual respect as artists and friends with shared wide-ranging cultural interests made this inaugural Award especially meaningful  to Marcus, to LACE and those entrusted with Jacki’s legacy. Franklin Furnace of New York will make its inaugural Jacki Apple Award this Fall, expectations run high.

 

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An Artist's Life

Performance

Film/Video

Exhibitions

Artist Books

Photography

Art Criticism/Other Writing

Educator/Mentor

Feminist Performances

Other Performances

Transformance: Claudia

A collaborative performance work conceived and performed by
Jacki Apple and Martha Wilson, December 1973.

Transformance: Claudia explored the relationship between media images of women and our own self-images in terms of power and beauty. In addition to the two artists, the participants in the six hour event included four women, a man who was an influential television producer, and two photographers.

Claudia was a collaborative composite of the "ideal" woman. She had both glamour, sex appeal, and intelligence, and an air of independence, authority and self-assurance. Each of the performers brought her own private fantasies into her individual interpretation and representation of Claudia. However, despite the vast range of physical characteristics of the performers, a common esthetic emerged -- hats with veils, furs, lacquered nails, high heeled shoes, elegant dresses, it was an image portrayed in movies, particularly those of the 1940s, and fashion magazines, outwardly contrary to the new feminist doctrine of the time.

Despite the feminist intent in our examination of issues of image and identity, Transformance: Claudia became the subject of controversy within that community. While our appearance would seem to suggest that we were being manipulated by our culture, in actuality we were manipulating elements from that culture to our own ends. Thus the collective habitation of this personna became the embodiment of power and autonomy as the result of our control over how the Images were employed and to what ends.

As a body art work it stood out in sharp contrast to the cathartic gestural work of both fundamentalist feminists and male conceptualists. As "glamour feminists" appropriating media imagery, we created a prototype for postmodern feminists of the next generation in the 80s. In retrospect, the Claudia piece was the precursor to Madonna's manipulation of and total control over her public image and personna in the representation of power, glamour, and sexuality. It is ironic that twenty five years later the "look" and style of Madonna's Eva Peron in the film Evita comes full circle back to our fictional Claudia.

The performance demonstrated how image defines identity in both private and public arenas, and no one knew in advance how it would unfold or what exactly would be revealed. In the performers investigation of such questions as "Does beauty equal power? And if so, what kind of power? What kind of image represents power and is the woman who exudes an image of power desirable?", the response of the unsuspecting viewer in several different public environments acted as a mirror. Those responses were equally affected by context - that is, inside or outside the frame of art and the art world.

Uptown, lunching at the Palm Court of the Plaza Hotel, our "celebrity" status was unquestioned. We were stared at, whispered about, fawned over, and approached for autographs by the very young and the very old. When we emerged from a limousine at 420 West Broadway in the heart of Soho and made our way en masse through the galleries, the question was not who were we, but rather, what were we doing. An ironic twist occurred in the context of an exhibition of photo-documentation of Gilbert & George's performances, where we were accused by the gallery director of being engaged in an "unauthorized" performance. As if performance art activities and their various transgressions were sanctioned and embraced by the art establishment of 1973!

Transformance: Claudia

A collaborative performance work conceived and performed by Jacki Apple and Martha Wilson, December 1973.

The Jap Commandos Band 1981

Music & Lyrics: Genie Sherman & Jacki Apple

A "post-wave" band with a political, satiric, ironic, feminist "edge", conceived and created by Jacki Apple and Genie Sherman, January 1981 Genie Sherman was born on Hiroshima Day, and two of the four Japanese band members were born in Hiroshima, Japan.

"Good evening, We're the Jap Commandos. Welcome to America. In this song we'd like to introduce you to a few of our national heroes, those great men whom we have chosen to shape our destiny, the defenders of our national honor, and the American Dream. Meet the General with the Hiroshima Hots."

The general's got his stars,
A man of dubious reknown,
Cruising in the leather bars,
The backs of cars,
In all those good American towns.

Looking for a nuclear romance,
He dreams of missiles in the sky.
The general takes his stance,
Hands into his pants,
While the masses get their chance to die.

Chorus

He's got the Hiroshima hots,
He's got the Nagasaki trots,
(Repeat)

The President goes on TV,
Frank Sinatra croons a tune,
Johnny Carson is MC
For the Moral Majority,
The General smiles and shoots a moon.

The President presents his plan
Right-to-lifers stomp and cheer,
Shouting 'Be a man'
Join the Klan.
The General takes it in the rear.

Chorus

Nuclear proliferation'
Radiation and mutation,
The latest neutron deviation.
Produces mental vegetation,
Inter-ballistic masturbation
Carcinogenic aberation,
Meet the leaders of the nation,
Greet the new Administration.

They've got the Hiroshima hots,
They've got the Nagasaki trots.
(Repeat)
I'm gonna shoot you dead,
Gonna shoot you dead'
For the things you did,
And the things you said.
I'm gonna shoot you dead,
Get you outta my head,
out of my head,
Gonna shoot you dead,
shoot you dead.
Dead, dead, dead, DEAD.

You took me to bed,
And you made me high,
And you made me sigh,
And you made me cry.
And when I asked you why,
All you did was lie,
Now you're gonna die,
Die, die, die, DIE.

I'm gonna shoot you dead,
Get you outta my head.
For the things you did,
And the things you said.
Gonna shoot you dead,
You're just too much,
With your tender touch,
Your sexy smile,
An your little boy style.
You took my love, one fine day,
Sucked it up, and walked away,
Now you're gonna pay,
And pay, an pay, an PAY!

I'm gonna shoot you dead,
Gonna shoot you dead,
Get you outta my head,
Gonna shoot you dead,
For the things you did,
And the things you said,
When you left my bed.
I'm gonna shoot you dead.
I'm gonna blow out your brain,
For all of the pain,
You left behind, fuckin my mind.
I'm gonna cut out your heart,
And tear it apart,
For the things you did,
And the things you said,
For the way I've bled.
I'm gonna shoot you DEAD.

I'm gonna shoot you dead,
Get you outta my head,
Gonna shoot you dead,
All you did was lie,
Now you're gonna die,
Gonna shoot you dead,
Dead, dead, dead, DEAD.

The Band Genie Sherman - Lead singer/music/lyrics Jacki Apple - Lyrics/vocals/director/producer Lisa Brown - saxophone/percussion/vocals Takao Tsushimi - Lead guitar/vocals Tsuyoshi Tampo - synthesizer/keyboards Tadashi Yasunaga - Drums Susumu Akayama - Bass

Standard Existence: Part II The Song © 1978

Music composition: Garrett List / Lyrics: Jacki Apple

Chorus

Travelin fast, shedding the past,
Changan the rules.
You open your eyes
To the morning bews
What a surprise.

Verse 1

Last night's revolution
Caught in the chain of evolution
Is turning cold, growin old,
Fading in the morning light.
Overnight, your solution's
Been bought and sold,
Rearranged and wrapped
in cellophane. It's all too plain.
In spite of your resistence
Standard existence has taken hold.

Verse 2

Liberation
Another empty word.
Accomodation
Even more absurd.
Turned inside out
Like last night's socks
It's still the same
The same old game
With a different name
And a brand new box.
In spite of your resistence
Standard existence
Still calls the shots.

Verse 3

The models changed their faces,
Their manners only
Not their banners.
Standard rape on electronic tape
Prevails. Where do you stand
Stand on the scale.
When you claim you've beat the game
You end up like the rest.
In spite of your resistence
Standard existence
Has got you nailed.

Musicians: Genie Sherman, Voice; Akua Dixon, Voice and Cello; Ursula Oppens, Dave Burrell, Keyboards: Rolf Schulte, Gayle Dixon, Violin; Byard Lancaster, Reeds; Carla Poole, Flute; Sadiq Abdu Shahid, Percussion; Mel Graves, Bass, Garrett List, Trombone.