The goal of the work is two-fold: to create an interaction with an audience where they supply the “canvas” and Mr. Supa creates the art, and secondly to establish the difference between the artist and the civilian. The former is created by having audience members or “performers” supply the artist with a piece of clothing to be ironed and/or steamed and then signed. This serves the practical purpose of releasing wrinkles from a garment and the artistic purpose of “creating” a modern‐day Readymade by signing it. It also functions well within any context, giving anyone who wishes a free souvenir that is ultimately an art object.
The latter is achieved by having the artist enclosed in a structure that allows for him to be seen but not touched. This establishes the artist as “other” in a world where reality television, 24/7 news cycles and tabloid culture has blurred the line – for better or worse ‐ between artist, celebrity, civilian and unknown. Placed behind a Plexiglas door, the garments to be ironed are exchanged for a robe (if necessary) through a small window created in the door, meant to establish the performance as transactional, one act being equally as important, and mandatory, as the other. The participant may then engage with the artist or can choose to sit at a chair placed on the side of the door while the item is being created. The participant also signs a "laundry ticket" with the article of clothing to be touched. This ticket serves as both a waiver and documentation of the work. It is slid through the door to the artist.
The title, Iron Man 3, is a tongue‐in‐cheek play on the hyper‐masculine Hollywood blockbuster, the also hyper-masculine song by Black Sabbath and the typically female act of ironing. Iron Man 4 draws on many art historical references, from Picasso's Woman Ironing to Mierle Laderman Ukele's Maintenance Art Manifesto. It is titled part 3 because this will be the third time the performance has taken place. Each subsequent performance will have the sequential number (Iron Man 5, etc).
For more information please contact RJ Supa at firstname.lastname@example.org
The Boys in the Band, directed by William Friedkin (The Exorcist, Cruising) is not about a band, nor is it about boys.
Adapted for the screen from a play by Mart Crowley, it tells a the story of a group of gay men attending a birthday party in pre-Stonewall Manhattan.
Although The Boys in the Band includes a handful of songs, such as "Good Lovin' Ain't Easy to Come By" by Marvin Gaye, "(Love Is Like A) Heat Wave" by Martha and the Vandellas, it is otherwise un-scored. On Saturday June 13th, Adam Chad Brody, in collaboration with New Release, will perform a live score to the film along with collaborators. Instrumentation will include synthesizers, voice, recorder, power tools, and various small percussion instruments.