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Performancy Forum: night terrors, sandwiches, and dream logics

Saturday, May 13th 2017

TARA AND DAVID GLADDEN: "The Sleep of Reason Produces Monsters"


DIANE DWYER: "Night Sandwich"



Quinn Dukes is a multimedia performance artist, activist and curator based in Brooklyn, NY. Her work addresses sensory dynamics, social injustice and ritual. She has performed in galleries and festivals across the United States including Fountain Art Fair, Lumen International Video & Performance Festival, Wassaic Festival, Grace Exhibition Space, Local Project and Gallery Sensei. Dukes has received reviews in Flash Art, NY Arts Magazine, D/Railed and WhiteWall Magazine and written for blogs: Art in New York City and Art in Brooklyn. In 2014, following a heated discussion about the death of performance art, Dukes founded Performance Is Alive. She is a tireless advocate for performance art and higher education via appointments at Grace Exhibition Space (Brooklyn) and the School of Visual Arts (NYC).

Diane Dwyer was born in Japan, and grew up in New England.
She is an interdisciplinary artist focused on investigations of performance through public interventions and private actions. She is also curious about the performative aspects of drawing and other indexical signs. She lives in Brooklyn, where she host Diane’s Circus and cloyingPARLOR, two projects in her home addressing, in part, the negotiation of public and private space, as well as the labels ‘amateur’ and ‘professional.’ She received her BFA from The Museum School/Tufts University, and her MFA through a teaching fellowship at the University of Connecticut. She is currently a part-time Assistant Professor at Parsons School of Design, and adjunct faculty at Stevens Institute of Technology.

Ayana Evans is a NYC based artist. She frequently visits her hometown of Chicago whose Midwestern and sometimes controversial reputation is a major influence on her art. Evans received her MFA in painting from the Tyler School of Art at Temple University and her BA in Visual Arts from Brown University. She has attended the Skowhegan School of Painting & Sculpture and the Vermont Studio Center. In 2015 she received the Jerome Foundation's Theater and Travel & Study Grant for artistic research abroad. Summer 2016 Evans completed her installment of the residency, "Back in Five Minutes" curated by Nicolas Dumit Estevez, at El Museo Del Barrio in NYC. Evans’s on-going performances/public interventions include: "Operation Catsuit" and "I Just Came Here to Find a Husband." Other recent works by Evans are: "Thoughts on Rape; A Response to After Midnight by SHPC" Queens Museum, NYC, “Parasol" a triptych video collaboration with Zina Saro-Wiwa, Tiwani Contemporary, London, and “Stopping Traffic," Gallery Sensei, NYC, and "Make Your Own Way" at Satellite Art Fair, Miami, and "Gurl I'd Drink Your Bathwater," PRIZM art Fair, Miami. Additionally, Evans has curated and co-curated performance art show throughout New York, worked in arts education for a decade, and is Editor at Larger for Her recent press includes articles on New York Magazine's The Cut, HyperAllergic, the Huffington Post For more information on her upcoming project and impromptu public performances follow her on instagram @ayana.m.evans and visit 

C Tara and David Gladden are collaborative, interdisciplinary artists who use sound, video, installation, and performance to investigate ideas of identity, gender, psychology, politics, and perception. Their work has been presented/exhibited both nationally and internationally.

The Sleep of Reason Produces Monsters references surveillance and ​Ganzfeld experiments to explore concepts of mind control and paranoia. This work delves into the darkness of subconscious experience; phenomena such as sleep paralysis, possession, and altered states. The darkness is a pit of resistance, of fear, of awareness without control. It is also a place where one can confront the darkness, where one can emerge with awareness of deeply buried secrets: a site of confrontation, struggle and transformation.

C Tara holds a BM in Voice Performance from Boston University. David holds a BFA in Creative Writing from the University of Colorado, Boulder. Both hold MFAs in Performance and Interactive Media Arts from Brooklyn College and are educators at Salisbury University in Salisbury, MD. David is an Assistant Professor of New Media Art and Tara is Art Galleries Manager and a Lecturer in the Art, Music and Interdisciplinary Studies Programs. Together, they curate the Seeing Sound Series and Electronic Gallery at Salisbury University as well as special projects at their own venues: John Cage Memorial Park in Chance, MD and at W.O.R.K., a center for experimental art on the downtown plaza in Salisbury, MD.​

EotW: Collaboration with "diane"

Tuesday, February 7th 2017


USER: "diane"
MODE OF ENGAGEMENT: Collaboration with PPL
***in the form of comedy competition***


C: Operating to what affect?
2: semblatively 70%

This is an inquiry into ability
Generating an operation consisting of affective tensions
Using trans-contextual universals
First, (de)liberate some modes of attention-compelling

PERFORMANCY FORUM: Emergency Visibility (EV)

Saturday, July 19th 2014

For PF: EV edition, 4 artists were solicited by an open call, which offered visibility of an ephemeral, almost private nature, and asked how artists perceive being seen and/or desire to be seen.

Posner, Dwyer, Berezney, and Dwyer proposed works dealing with sight, gaze, seeing and being seen through feminist, ontological, theoretical, situational, post-colonial, and other shifting and overlapping lenses. Join us for their four performances and a discussion forum afterwards.


TSEDAYE MAKONNEN "I want to understand why someone would go to such (toxic) lengths to change their appearance and also go beyond diagnosing this epidemic as self-hate. I want to touch on the juxtaposition between excessive vs. moderation, is this resurgence of skin lightening yet another reflection of excessive behavior we all exude in some form due to the cross-pollination of cultures, technology, accessibility, choice, individualism, etc"

JESSICA POSNER: 'BBP' "Caroline Shawk Brooks, an Arkansas farm wife and dairy maid, is credited by historian Pamela H. Simpson in her book Corn Palace and Butter Queens as creating the first widely recognized butter sculpture, "Dreaming Iolanthe," in 1876. In the 1970s, Barbara "Butter Queen" Cope rose to fame as a legendary groupie known for her use of butter as a lubricant--with songs written about her by The Rolling Stones, Led Zepplin, and others. Since 1954, Minnesota has been crowning Princess Kays of the Milky Ways. The main prize is being sculpted into a "butter head" at the Minnesota State Fair. Since 1928, Land O Lakes butter boxes have persistently featured an infinite loop of a racist, stereotypical image of a Native American woman holding a box of butter with an image of herself on a box of butter. As a medium, butter is made from milk from a breast and is ready for immediate consumption after churning: a bodily feedback loop produced through movement. Culturally, butter is wrapped in the performance of feminine sexuality, imagery, and labor. The BBP is a gesture towards identifying, deconstructing, and unraveling this. ",

PHILIP BEREZNEY: 'Not-dead-yet things' " I wonder why I keep making what seems like invisible work... when it will become visible... whether it is important (to me) that it does. The performance of these varied, cut, pieced-together materials describes their creation as it resurrects and re-configures their significance. In keeping alive, in making visible these near-dead essences, I can summon a pathos for the nearly cast-aside; I can celebrate the potential for truth and strength in uncertainty; I can begin to scratch the polish off of my own nails... I can question my sometimes-reluctance to release a grasp on formal paradigms."

DIANE DWYER: "AUDIENCE" "Originally I was interested in enacting an awareness of “performing” oneself in our increasingly mediated world. When are we performing? When are we aware of an audience? This piece was first performed alone, videotaped and placed on vimeo with no description."


$5-15 pay-what-you-can for the artists

Brooklyn Brewery see this!

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