Johanna Fateman's guest appearances

Johanna Fateman

Skylight Books Podcast Series

Zinecore Radio

Momus: The Podcast

Dialogues: The David Zwirner Podcast

Sheila Heti

Harry Dodge

Sam Alden

Mark Z. Danielewski

Jennifer Grayson

Mike Foley

Thomas Page McBee

Eddie Cole

Sarah Berman

Erika Balsom

Kim Addonizio

Sally Wen Mao

Camille Roy

Adam Fitzgerald

Jonathan Wells

OwlTail

Ebony L. Haynes

Host Helen Molesworth calls art writer Johanna Fateman (Le Tigre), gallerist Brendan Dugan (Karma Gallery) and the curator,and writer Ebony L. Haynes (Senior Director of 52 Walker) to discuss how they carved their unique paths in the art world and what continues to inspire them.

Host Helen Molesworth calls art writer Johanna Fateman (Le Tigre), gallerist Brendan Dugan (Karma Gallery) and the curator,and writer Ebony L. Haynes (Senior Director of 52 Walker) to discuss how they carved their unique paths in the art world and what continues to inspire them.

Episode 50 | Why You Do What You Do with Brendan Dugan, Johanna Fateman and Ebony L. Haynes

For this episode, Sky Goodden spoke with art writer and musician Johanna Fateman, a regular contributor to The New Yorker, a contributing editor at Artforum, and a frequent critic for 4Columns.org. Fateman co-owns the historic Seagull Salon in New York City, and is, as Lauren notes, "riot grrrl queer royalty" for her involvement in bands like Le Tigre. As Fateman spoke from New York, the epicenter of the pandemic, there were ambulances blazing in the background; her son was home from school, her partner was recovering from the COVID virus, her salon was holding on by a thread, and through it all, Fateman was fittingly working on her first book of dystopic fiction. However, with a measure of surprising calm, she said, "I just think now is not the time to pressure yourself to be original; I really don't think there's something original to say right now. I think this is the time to drill down on what's common to us, and be honestly reflective."Momus: The Podcast – recently named one of The New York Times‘ top-ten art podcasts – is doubling down and scaling up in Season 3, issuing new podcasts every two weeks and staring directly at our present crisis, with an eye to both history and potential. Look for us on Google Podcasts, Stitcher, iTunes, and other popular podcast apps.Momus: The Podcast is edited by Jacob Irish, features original music by Kyle McCrea, and assistant production from Mitra Shreeram. If you would like to inquire about advertising opportunities or other forms of support, please contact Sky Goodden at skygoodden@momus.ca.

For this episode, Sky Goodden spoke with art writer and musician Johanna Fateman, a regular contributor to The New Yorker, a contributing editor at Artforum, and a frequent critic for <a href="http://4Columns.org" rel="nofollow" target="_blank">4Columns.org</a>. Fateman co-owns the historic Seagull Salon in New York City, and is, as Lauren notes, "riot grrrl queer royalty" for her involvement in bands like Le Tigre. As Fateman spoke from New York, the epicenter of the pandemic, there were ambulances blazing in the background; her son was home from school, her partner was recovering from the COVID virus, her salon was holding on by a thread, and through it all, Fateman was fittingly working on her first book of dystopic fiction. However, with a measure of surprising calm, she said, "I just think now is not the time to pressure yourself to be original; I really don't think there's something original to say right now. I think this is the time to drill down on what's common to us, and be honestly reflective." Momus: The Podcast – recently named one of The New York Times‘ top-ten art podcasts – is doubling down and scaling up in Season 3, issuing new podcasts every two weeks and staring directly at our present crisis, with an eye to both history and potential. Look for us on Google Podcasts, Stitcher, iTunes, and other popular podcast apps. Momus: The Podcast is edited by Jacob Irish, features original music by Kyle McCrea, and assistant production from Mitra Shreeram. If you would like to inquire about advertising opportunities or other forms of support, please contact Sky Goodden at skygoodden@momus.ca.

Johanna Fateman on “What’s Changed, and What Should?” – Ep. 19

Amy Scholder

Radical feminist author Andrea Dworkin was a caricature of misandrist extremism in the popular imagination and a polarizing figure within the women's movement, infamous for her antipornography stance and her role in the feminist sex wars of the 1980s. She still looms large in feminist demands for sexual freedom, evoked as a censorial demagogue, more than a decade after her death. Among the very first writers to use her own experiences of rape and battery in a revolutionary analysis of male supremacy, Dworkin was a philosopher outside and against the academy who wrote with a singular, apocalyptic urgency. Last Days at Hot Slit brings together selections from Dworkin's work, both fiction and nonfiction, with the aim of putting the contentious positions she's best known for in dialogue with her literary oeuvre. The collection charts her path from the militant primer Woman Hating (1974), to the formally complex polemics of Pornography (1979) and Intercourse (1987) and the raw experimentalism of her final novel Mercy (1990). It also includes "Goodbye to All This" (1983), a scathing chapter from an unpublished manuscript that calls out her feminist adversaries, and "My Suicide" (1999), a despairing long-form essay found on her hard drive after her death in 2005.

Radical feminist author Andrea Dworkin was a caricature of misandrist extremism in the popular imagination and a polarizing figure within the women's movement, infamous for her antipornography stance and her role in the feminist sex wars of the 1980s. She still looms large in feminist demands for sexual freedom, evoked as a censorial demagogue, more than a decade after her death. Among the very first writers to use her own experiences of rape and battery in a revolutionary analysis of male supremacy, Dworkin was a philosopher outside and against the academy who wrote with a singular, apocalyptic urgency. Last Days at Hot Slit brings together selections from Dworkin's work, both fiction and nonfiction, with the aim of putting the contentious positions she's best known for in dialogue with her literary oeuvre. The collection charts her path from the militant primer Woman Hating (1974), to the formally complex polemics of Pornography (1979) and Intercourse (1987) and the raw experimentalism of her final novel Mercy (1990). It also includes "Goodbye to All This" (1983), a scathing chapter from an unpublished manuscript that calls out her feminist adversaries, and "My Suicide" (1999), a despairing long-form essay found on her hard drive after her death in 2005.

Johanna Fateman and Amy Scholder, "LAST DAYS AT HOT SLIT"