Friday 05/03/13 7PM
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Performances · Exhibition-Related

Performance Beyond the Limits: Short Works

Cover Image:

Courtesy Erin Markey

Presented as part of NEA 4 in Residence and Performing Beyond Funding Limits.

The NEA 4, in collaboration with four curators who supported their work during the culture wars of the ’90s, were asked to select four New York–based artists whose practices present unique challenges within the limits of traditional funding models for performance. Tonight’s event showcases short performance works by these artists.

Erin Markey was selected by Holly Hughes and Ellie Covan (Executive Director, Dixon Place).

Salley May was selected by John Fleck and Nicky Paraiso (Programming Director, The Club at La Mama).

Brigham Mosley was selected by Tim Miller and Mark Russell (Artistic Director, Under the Radar Festival).

Tobaron Waxman was selected by Karen Finley and Jedediah Wheeler (Artistic Director, Peak Performances).

Erin Markey creates comedic and conceptual performances, often involving music, for stage and video. She has shown work at the New Museum, Joe’s Pub (the Public Theater), P.S.122, Lincoln Center Director’s Lab, Leslie Lohman Museum, Sister Spit, and the “Sex Workers’ Art Show.” She is the recipient of NYFA’s 2012 Cutting Edge Artist Fund Grant. As an actress, Markey is a member of Half Straddle, has performed with Young Jean Lee’s Theater Company, and starred in Tennessee Williams’s Green Eyes (Hudson Hotel, Ames Hotel), for which she received Boston’s Elliot Norton Award for Outstanding Performance by a Lead Actress. On TV, she was a series regular on Jeffery & Cole Casserole (LOGO Network).

Salley May has been a downtown performance artist since 1987. She curates P.S.122’s Avant-Garde-Arama series and does theater workshops with mentally disabled populations through Hospital Audiences Inc. (HAI). She was a longstanding member of Jennifer Miller’s Circus Amok, and remains committed to the life, work, and spirit of downtown luminary Tom Murrin/Alien Comic. May is also a social worker in the psychiatric emergency room of a public hospital and is currently working towards a granted project presenting life narratives of patients in institutionalized settings in different parts of the world.

Brigham Mosley is a queer writer/performer from southwest Oklahoma. He graduated from Southern Methodist University with a BFA in Theatre Studies. His plays include Big, Butchy, Dykey, Lesbian Play; Virginity Play (Kennedy Center Awards Regional Winner for Best One-Act), Pretty, Smart, Poetic; and Iph., Semele, and Persephone. Mosley’s solo works, Body Talk; GlitterNation; Magic Man; Oh Whatta Beautiful Mo[u]rnin’; Mae Mosley is: A Handsome Woman; and Mo[u]rnin’. After., have been performed across NYC (P.S.122, 9th Space, Dixon Place, La MaMa ETC), Chicago, and Texas.

Tobaron Waxman composes performances for photograph, video, and site-specific installation. He is also a trained vocalist in Jewish liturgical music. Waxman’s work has been exhibited at such venues as Palais de Tokyo, Videotage Hong Kong, Kunsthalle Wien, CEPA Gallery Buffalo, and Brooklyn College Conservatory of Music. Waxman has taught his live art, collaboration, and vocal techniques at the School of the Art Institute of Chicago and at the Hollins MFA Dance Program. He has lectured at Parsons, SOAS University of London, Concordia University, SMFA Boston, UC Irvine, and others. In 2010, Waxman was honored with the first ever Audience Award of the Jewish Museum of New York for his eight-hour, live installation Opshernish. He is a recipient of fellowships from Smack Mellon, Van Leir, Kulturlabor ICI Berlin, and several Canada Council grants. Waxman is currently developing a volume of artist interviews with international trans women artists, and more site-specific endurance performances for a cappella transsexual voice. In August 2013, Waxman will open Canada’s first ever LGBT Intergenerational Artist Residency on Toronto Island.


This program is made possible, in part, through the support of the New York State Council on the Arts and the New York City Department of Cultural Affairs.

Education and public programs are made possible by a generous grant from Goldman Sachs Gives at the recommendation of David B. Heller & Hermine Riegerl Heller.

Support for the exhibition is provided by the Horace W. Goldsmith Foundation.

Additional funding is provided by Martin and Rebecca Eisenberg, the Fundación Almine y Bernard Ruiz-Picasso para el Arte, and the Robert Mapplethorpe Photography Fund.

The accompanying exhibition publication is made possible by the J. McSweeney and G. Mills Publications Fund at the New Museum.

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