John W. Love, Jr.
John W. Love, Jr. is an interdisciplinary artist traversing literature, performance, installation, mysticism, video, and media in a world of blurred lines and absurdist kisses to the psyche. Residencies at the Anchorage Museum/Rasmuson Foundation Center, McColl Center, Levine Museum, Mint Museum, and Headlands have informed his works Petal Boy, Black Lily Billy and the Labia Who Knew Him, FECUND, Ooo girl, Anchorage!, The Diaries of Neequa or She Who Would Be King, and the politically charged bathroom installation SALT DADDY. Ancient, ageless, black, southern, and too autonomous for gender, Love is both an unbound book and half-lidded sphinx commandeering a social practice rooted in refreshing irreverence, fluid identities, and meditation. He chuckles, “I blur lines mainly because the existing definitions fit like a fat man in a toddler’s big girl dress.” Film, television, media, and awards such as the 2017 Guggenheim Foundation Fellowship, 2016 NC Arts Council Visual Artist Fellowship, 2011 ASC McColl Award, and support via the Reemprise Fund and a 2019 ASC Cultural Visions Grant for his expansive LGBTQIA+ venture, PLOOFF, have facilitated Love’s presence being felt stateside, abroad, and throughout the Arctic.
The Cathedral of Messes
John W. Love, Jr. is an interdisciplinary artist traversing literature, performance, installation, mysticism, video, and media in a world of blurred lines and absurdist kisses to the psyche.Artist Bio
The Cathedral of Messes is the scene of a crime: a mystic has assassinated his inner saboteur. Crystalline enshrined shoes and body parts of sculpted black salt float in a sea of video, literature, and performance in an installation dedicated to obliterating a virus known as shame.