Beige

Located in Memphis TN, Beige is a peripheral space for otherwise art, performance, and hospitality. We resist the urge to professionalize. We traffic in rumor and desire, and relationships. We're very exclusive.

We also run the Sugarbaker-Milk Fund, a microgrant for emerging queer artists in the Mid-South. The grant is funded by in part by the Vending Mattachine Society, a vending machine stocked with editions by local artists.

manpodcast:

This week’s Modern Art Notes Podcast features A. L. Steiner, whose newest piece is included in "Made in L. A. 2014," the Hammer Museum’s biennial of Los Angeles-based artists.

Steiner’s photo-installation Accidenthell considers, among other things, elements of the America’s corporate underbelly, from energy extraction to the private prison industry. The exhibition, which was curated by Connie Butler and Michael Ned Holte, is on view through September 7. 

Steiner is a member of several artist collectives and artist-groups and regularly collaborates with other artists. The film “Community Action Center,” which Steiner made with A.K. Burns has been screened at the Museum of Modern Art, the Andy Warhol Museum, and at the San Francisco Museum of Modern Art. The ‘poster’ for the film is pictured here. Check back later today for the trailer!

How to listen to this week’s show: Listen to or download this week’s program above, on SoundCloud, via direct-link mp3, or subscribe to The MAN Podcast (for free) at:

Beige is on our way to San Francisco to talk about institutional queerness, and we have a couple of days to hang out ahead of the panel. What shouldn’t we miss? Who should we meet? Come on ya’ll, we’re friendly.

Beige is on our way to San Francisco to talk about institutional queerness, and we have a couple of days to hang out ahead of the panel. What shouldn’t we miss? Who should we meet? Come on ya’ll, we’re friendly.

Number: In Memphis Apartment Galleries, Public is the New Private

"The spaces themselves can be read as synecdoches of their proprietors…Beige vacillates between willful vulgarity and unabashed sentimentality, so draw your own conclusions about me. These spaces are not “neutral” white cubes of art commerce. Neither are they the scrubbed and track-lit warehouses of the institutionalized alternative scene, or the hulking temples of mausoleum museums. They’re nimble and strange, at times unreliable and inconsistent, resolutely independent, fickle, endearing, and personal. There’s a knowing naiveté about these spaces, a youthfulness certainly, but also wit and wisdom. Above all there’s radical openness. Each proprietor surrenders a bit of privacy to the public as an investment to better their corner of the Memphis art scene.

Each gallery continues to evolve and adapt to the Memphis art ecosystem, which is desperate for more space, sustained critical attention, and truly contemporary content…Expanding programs, mounting successes, and growing influence (two more apartment galleries are rumored to open later this year), are indications of the hunger in Memphis for vibrant, challenging contemporary art, and a testament to the ambition and drive of the art makers and consumers who live here.”

Commercial Appeal / Go Memphis: The Most Interesting Year for Art in More Than a Quarter Century

The real excitement, however, lies with three low-to-the-ground efforts by dedicated, if not fanatical artists who use their own living spaces to organize regular exhibitions and installations by artists who exist under the popular or commercial radar or who have not even started to “emerge.” 

These artist/curators exert themselves against the commercial gallery system of dealer-artist-client in favor of “shows” that may include collaboration among artists, music, nontraditional venues — the backyard — and performance in a full-sensory experience.

…Beige occupies the living room of the apartment that Parsons shares with his partner Steven McMahon. “We also think of it as a living room for our community. It’s a public/private space. We’re actively working out a new model for integrating art and life, thinking of art and queer as verbs. We’re not an alternative space; we’re very much at the center of our community.”

High Ground: Visual art enjoying a renaissance in Memphis

"We opened the gallery out of necessity," says Parsons bluntly. “It sounds extreme, but it’s really about survival. It’s about making a place and building a community that will nourish and sustain our work and our lives, which didn’t really exist in Memphis otherwise." He sees the gallery as his contribution to Memphis’ growth. "We’re committed to living here, and Memphis is not yet the city that we want it to be. So we have to put in the work."

“To us, art is about relationships and ideas. It’s also a great excuse to get a bunch of people together in the same room. So it made a lot of sense that hosting an art space would be integral to the way that we lived here.”  

thediscrepant:

Gordon Hall, from "Read me that part a-gain, where I disin-herit everybody,” wood, paint, and performance-lecture with projected images and colored light, 50 min, 2014 (Experimental Media and Performing Arts Center, Rensselaer Polytechnic Institute)

thediscrepant:

Gordon Hall, from "Read me that part a-gain, where I disin-herit everybody,” wood, paint, and performance-lecture with projected images and colored light, 50 min, 2014 (Experimental Media and Performing Arts Center, Rensselaer Polytechnic Institute)

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