|Born||1956 (age 60–61)
|Alma mater||San Francisco Art Institute|
|Occupation||Performance artist, musician, poet|
|Employer||NYU Tisch School of the Arts|
|Known for||Performance art|
Karen Finley (born 1956) is an American performance artist, musician and poet. Her theatrical pieces and recordings have often been labeled obscene due to their graphic depictions of sexuality, abuse, and disenfranchisement. Finley is currently a professor at the Tisch School of the Arts at New York University.
Among Finley's books are Shock Treatment, Enough Is Enough: Weekly Meditations for Living Dysfunctionally, the Martha Stewart satire Living It Up: Humorous Adventures in Hyperdomesticity, Pooh Unplugged (detailing the eating and psychological disorders of Winnie the Pooh and his friends), and A Different Kind of Intimacy - the latter a collection of her works. Her poem "The Black Sheep" is among her best-known works; it was displayed as public art in New York City for one month. Finley's poetry is included in The Outlaw Bible of American Poetry.
Finley was born in Chicago and raised in Evanston, Illinois. She is a relative of the American humorist and writer Finley Peter Dunne. Her father was of Irish and Scottish descent and her mother was of Native American, Romani, and Jewish ancestry.
While Karen Finley was a student at the San Francisco Art Institute, she became immersed in the Bay Area's punk music scene, witnessing the emergence of the bands The Dils and the Dead Kennedys. In 1977, Finley performed in underground art galleries and music clubs such as Mabuhay Gardens and Club Foot, which hosted poetry readings, punk concerts, and alternative performance art acts. Finley's performance Deathcakes and Autism included a dancer, called "Laurie", from the Condor Club. The work's narrative juxtaposes the shattering psychological impact of Finley's father's recent suicide with a study of the female nude. Having received an MFA from the San Francisco Art Institute, Finley procured her first NEA grant and moved to New York City. She quickly became part of the city's art scene, collaborating with artists such as The Kipper Kids (Brian Routh — whom she married/divorced — and Martin von Haselberg) and David Wojnarowicz.
Finley's early recordings featured her ranting provocative monologues over disco beats (and she would often perform her songs late night at Danceteria, where she worked). These recordings include the singles "Tales of Taboo" from 1986 and "Lick It" from 1988 (both produced by Madonna collaborator Mark Kamins) plus the 1988 album The Truth Is Hard to Swallow. She collaborated with Sinéad O'Connor on a remix of O'Connor's song "Jump in the River," and was prominently sampled by S'Express on the classic dance floor cut-up, "Theme from S-Express" (her vocal - sampled from "Tales of Taboo" - exclaimed, "Drop that ghettoblaster!"). She was notably one of the NEA Four, four performance artists whose grants from the National Endowment for the Arts were vetoed in 1990 by John Frohnmayer after the process was condemned by Senator Jesse Helms under "decency" issues. In 1991, she created the Memento Mori installation in Newcastle upon Tyne, as part of the Burning the Flag? festival examining American live art and censorship. Finley also played Tom Hanks' character's doctor in the movie Philadelphia at the invitation of Director Jonathan Demme.
In 1994, her album The Truth Is Hard to Swallow was re-released on CD, with a slightly different track listing, as Fear of Living. In conjunction with the re-release, both "Tales of Taboo" and "Lick It" appeared on 12-inch again with new remixes by Super DJ Dmitry, Junior Vasquez, and other DJs of note. Samples of vocal from "Tales of Taboo" were used by French DJs in a dance song "Suck My Pussy", which was a minor hit in France. Finley released a double-disc set on the Rykodisc label, A Certain Level of Denial, a studio version of the performance piece. Following that piece came The Return of the Chocolate-smeared Woman, her performance rebuttal to Helms and the NEA controversy. The U.S. Congress imposed restrictions on grants for indecent art. NEA head John Frohnmayer, took the side of the targeted artists, which included Finley. The case, National Endowment for the Arts v. Finley (1998), argued in front of the U.S. Supreme Court, was decided against Finley and the other artists.
Finley has expressed delight at the fact that she appeared in Playboy (in July 1999) and received a Ms. magazine Woman of the Year award within months of each other. She was also featured in Time during this period, though she felt that the magazine misrepresented her by "eroticizing" works (such as one that addressed rape) based on her nudity alone; in other words, that they couldn't absorb any information beyond her naked body. After the attacks of 9/11, Finley found it difficult to appear as herself on stage. It was almost as if "Karen Finley" got in the way of the material, and Finley had already found herself at the center of a firestorm that made her persona a controversial national reference to nudity in art, in a public conversation that extended from Oprah to David Mamet to Seinfeld to Rush Limbaugh to David Letterman to Dennis Miller (she was famously edited out of a Miller show at mid-show) to Sean Hannity to Bill Maher to Rent, the Broadway musical, where the character of Maureen is often described as an homage to Finley. In her performances, Finley's voice now became the voice of other women that she embodied; Liza Minnelli, Terry Schaivo, Laura Bush, Silda Spitzer, and Jackie Kennedy Onassis. Finley also wrote a play, George and Martha, depicting an affair between Martha Stewart and George Bush; the play has its roots in other versions of George and Martha, notably that of Edward Albee.
The Karen Finley Live DVD (2004) compiled performances of Shut Up and Love Me and Make Love. Finley revived a slightly updated version of "Make Love" at The Cutting Room in New York to commemorate the seventh anniversary of 9/11; she marked the tenth anniversary of 9/11 with a performance of "Make Love" at the Laurie Beechman Theatre in Times Square. In 2009, Finley created a memorial at the concentration camp in Gusen, Austria to commemorate the murder by lethal injection to the heart of 420 Jewish children by the Nazis in February 1945. The installation, Open Heart, was created with Austrian school children and holocaust survivors. In 2011, she lectured at the Museum of Modern Art in New York about music and art, reflecting on her inclusion in the MoMA exhibition Music 3.0 of her composition "Tales of Taboo". She published a compendium of her work from 2001-2010 through The Feminist Press at CUNY. In 2012, Finley was a Fellow at Kelly Writers House at the University of Pennsylvania where she introduced a new work, Broken Negative Catch 23, a deeply personal reflection of her performance We Keep Our Victims Ready that had ignited the NEA controversy 23 year before. Broken Negative Catch 23 was performed at the Carpenter Performing Arts Center at California State University, Long Beach in September 2012, as part of a reunion of the NEA Four; Finley's performance and re-performance included NEA Four colleague John Fleck and artist Bruce Yonemoto.
In 2013, the New Museum in New York City presented Karen Finley's Sext Me If You Can, a highly personal performance that took place in the public lobby of the museum. The exhibit, which blurred the lines between art, commerce, popular culture, private behavior, taboos and sexuality, allowed patrons to purchase a drawing that Finley created of an photographic image that they "sexted" to Finley from a private room in the museum. The resulting paintings were on display in the Museum's windows, and then went home as the property of the patron. In the summer of 2014, Finley led group meetings on Friday evenings at the Museum of Arts and Design at Columbus Circle in New York City of Artists Anonymous, designed after 12-step self-help programs. Finley's 13-step program encourages personal exploration from artists whose "lives have become unmanageable because of art".
Finley developed a new performance based on her early writing about AIDS from the 1980s and 90s. In 2013, Finley responded to a request to participate in a New York gallery exhibition looking back 25 years at AIDS, Visual Aids, to which Finley responded by installing an abbreviated homage to her early installation, Written in Sand, originally presented at Hallwalls in Buffalo. This led to Finley reading some of her early AIDS writing at Participant Gallery in the summer of 2013 at a tribute to the late artist Gordon Kurtti. By fall 2013, the performance Written in Sand was launched from these beginnings. In the work Finley recited twelve poems about AIDS from her own books Shock Treatment, A Different Kind of Intimacy and elsewhere. Written in Sand was performed at University at Buffalo, at Colby College, at Kelly Writers House at the University of Pennsylvania and, in October 2014, over a month-long run at Baruch Performing Arts Center in New York City in collaboration with multi-instrumentalist Paul Nebenzahl. "Written In Sand" was performed again as the headline performance of the Spill Festival at London' Barbican Center in October 2015; Finley also installed Ribbon Gate at Spill 2015 as a participatory AIDS memorial for Londoners.
In August 2016 Finley introduced "Unicorn, Gratitude, Mystery" at New York City's Laurie Beechman Theater on 42nd Street in which she portrays and skewers both Donald J. Trump and Hillary Clinton. Even though Karen Finley had hit her peak of her highest exposure into society in the nineties, she still hasn’t passed up the opportunity to use the power of her voice about the presidential election. Finley's experience with the intersection between the relationship of sexuality and power has fueled her fire even further on this particular topic. Lisa Huberman is a New York-based playwright who runs a project called Necessary Exposure: The Female Playwright Project. Lisa Huberman wrote a critic  about Karen Finley's recent play about the election and "We turn to myths for all sorts of reasons throughout our lives. Sometimes for amusement, sometimes for comfort. Sometimes for empowerment. In all cases, mythologies give us access to another world beyond our own." Huberman expresses how the performance compliments everything that she has stood for in her performance art career and continued with how everything used in the production has a specific meaning such a the lighting, the props, the costumes, etc. Lisa Huberman also expresses how the versatility of her voice captures the viewer's attention, keeping them wanting more. The attention that she gets for her voice also gets people to listen to what she is saying. The space that Karen Finley creates is a space that is for feeling pure emotions, whether it is a positive or negative type of emotion. The action of putting on this certain play furthers her influence as a feminist performer and the way of getting her message across.
This performance, and most of her other works are considered feminist performance because Finley is spreading awareness about multiple issues that need to be addressed in our society. The sole belief of feminism is the belief in equality of all people no matter what political, social or economic background. Furthermore, adding the act of bringing that to the attention of other people is feminist performance. While the growth of technology has also been a factor within the realms of getting the word out, it as been a very helpful tool to the cause. There are many various videos of Karen Finley's performances over the years so people have easy access to the vigorous actions that she's taken to educate people for the change that needs to be made. The further process of bringing this area of beliefs, Karen Finley teaches at the New York University in the Tisch School of Arts. Karen Finley dedicates her teaching to her students and passes on her knowledge of the area of performance acting and hands on training. Finley has much experience with various different types of mediums as well, these include: installation, video, performance, public art, visual art, television and film, music and even literature. Karen Finley is one of many examples of a Feminist artist who has never stopped spreading the idea of everyone's voice matters and can make a change in the world. Having that knowledge combined with the use of social media can really make an impact on people's everyday lives.
Finley's work was influenced by her professors at the San Francisco Art Institute, Linda Montano and Howard Fried and pioneer performance artist Carolee Schneemann. She was influenced by jazz artists such as Billie Holiday and the beat poets of San Francisco such as Gregory Corso and Allen Ginsberg. In 2011, she was especially honored to read from her ten-year retrospective, The Reality Shows at City Lights Bookstore in San Francisco, the publisher of her first book Shock Treatment. In 2015 City Lights Books released a commemorative 25th Anniversary edition of "Shock Treatment" with an extended introduction.
- 1990: Shock Treatment
- 1993: Enough Is Enough: Weekly Meditations for Living Dysfunctionally
- 1996: Living it Up: Humorous Adventures in Hyperdomesticity
- 1999: Pooh Unplugged
- 2000: A Different Kind of Intimacy: The Collected Writings of Karen Finley
- 2006: George and Martha
- 2011: The Reality Shows
- 2015, City Lights: Shock Treatment: Expanded 25th Anniversary Edition
- 1987: The Truth Is Hard to Swallow
- 1994: Fear of Living
- 1994: A Certain Level of Denial
- 1986: "Tales of Taboo"
- 1988: "Lick It!"
- 1988: "Jump in the River" (with Sinéad O'Connor)
References and footnotes
- Kolson, Ann (January 20, 1989). "The Wild Ways Of Karen Finley Her Art Is Her "Calling." Some Call It Obscene.". Philadelphia Inquirer. Philadelphia. Retrieved March 30, 2015.
- Pooh also informed her decision to use large amounts of honey in Shut Up and Love Me.
- "An Interview With Controversial Performance Artist Karen Finley". F News Magazine. Retrieved 2012-10-06.
- "Finley explores the spirit world at The Kitchen". The Villager. Retrieved 2012-10-06.
- "Karen Finley Discography at Discogs". Discogs. Retrieved 2015-04-20.
- The title refers to a small section of We Keep Our Victims Ready.
- Taranto, James (September 21, 2009). "'Artists' as Servants of Power". The Wall Street Journal. Retrieved April 19, 2015.
- "Karen Finley - Performance artist". Art Interviews. Retrieved 2015-04-20.
- Cavaluzzo, Alexander (September 23, 2011). "Artist Karen Finley Talks New York of Yesteryear, Women in the Arts, Lady Gaga and More". Hyperallergic.com. Retrieved 2015-04-20.
- necessaryexposurefpp (2015-10-10). "Playwright Lisa Huberman". Necessary Exposure: The Female Playwright Project. Retrieved 2016-12-06.
- "Lisa Huberman on Unicorn Gratitude Mystery by Karen Finley at the Laurie Beechman Theatre". Retrieved 2016-12-06.
- "Karen Finley". tisch.nyu.edu. Retrieved 2016-12-06.