The X-Offenders Gala: Celebrating the Roots of Performance Art in Houston, was held on Sept. 28, 2013. Robert Rosenberg, known by everyone from Commerce Street Art Warehouse roots as Chef Bob, generously provided the post apocalyptic, nothing fresh, shades of Chez Imbecile’ not so fine dining. *thanks as well Malcolm McDonald for your inspiration here. Hors d’oeuvre of Spam Sushi created and served by Koomah. Kelly Alison along with Emily Sloan, Dainel Bertalot and Ryan Hawk among others performed the salad. The night was intended to honor those people who experienced Performance Art in Houston in the 70’s, 80’s and 90’s. Honorees in attendance for the evening were Carter Ernst and Paul Kittleson, David Kidd and Deborah Moore, Robert Rosenberg, Jack Massing and Michael Galbreth, Jim Hatchett, Ted Viens, George Hixon, Wayne Gilbert, The girls from the Bayou Queen Pageant and many more.
Silent Art Auction was held with the generous donations from The Art Guys, Daniel Anguilu, Lisa Qualls, Patrick Medrano, David McClain, Claire Richards, Dandee Warhol, Taft McWorhter, Kelly Alison, Lindsay Peyton, Emily Sloan, Susan Plum, Kelley Devine, Angel Quesada, Julia Wallace, Charlie Jean Sartwelle, Devon Britt-Darby, Jonatan Lopez, Kelly Moran, Josh Urban Davis, Koomah, Janine Hughes, Renee Cossete Pedersen, Yousef Balat, Daniel Elliot, Y.E. Torres, Daniel Bertalot, Traci Matlock, Jajah Gray, Michelle Chen Dubos, Nyssa Juneau, Jack Silverman and Patrick Renner
And finally from the historical tidbits provided us from Pete Geshorn, Julia Claire Wallace, Jonatan Lopez and all the Continuum folk remember Mayem at the CAM “Inspiration for the RANGERETTE PIECE: In late October of 1976, the opening of multidisciplinary Spanish food artist Antoni Miralda’s solo show at the CAMH erupts into chaos. The opening’s centerpiece was a performance by the high-kicking Kilgore Rangerette drill team, who, dressed in red, white, and blue cowboy hats, vests, and boots proceeded to stack 4,00o loaves of bread dyed with food coloring on a long bench bisecting the gallery. The playful tossing of sliced bread gets out of hand, developing from a light-hearted food fight into a full-fledged fistfight. The guests were ejected, the blood mopped up, and the next day the city’s art critics attempted to make sense of what they’d seen. The Chronicle’s Charlotte Moser asked, “Does throwing an outrageous and bizarre party, turning cultural characteristics into stereotyped social data, and stretching for long-shot meaning really do anything for art or, for that matter, Houston’s appreciation of it?” Eventually she decided that “Miralda’s script was a familiar one, but one not often adapted to art. It was the script of the pep rally, the political convention, and the rock concert. It was based on providing enough visual and group stimuli to heighten the tempo of the crowd until it exploded into some form of physical behavior. At the CAM it resulted in cool museum goers pummeling each other with purple bread.”
PHOTOS and VIDEOS from TED VIENS