Brose is an experimental film artist and has created over thirty films since
1983. His films have been shown at international film festivals, museums, art
galleries, and cinematheques in the United States, Europe, Asia, Australia and
South America. Brose’s most recent film, De Profundis has been greeted with
critical acclaim and has been screened at more than eighty venues and festivals
worldwide since its release. De Profundis is a 65-minute experimental film
based on Oscar Wilde’s prison letter with an original score for the film by the
American composer Frederic Rzewski. In 1989 he began a series of film
collaborations with contemporary composers to explore the relationship between
the moving image and music.
The issues here are fundamental: freedom of speech, freedom of
expression, and artistic freedom. The case is precedent-setting, and
will help determine whether anyone exercising their right to free speech
can be criminalized merely for their ideas—a fundamental violation of
the United States Constitution.
The case of Lawrence Brose is a prime example of the contemporary
abuse of power by Homeland Security and the Justice Department. The
charges brought against Brose essentially make engaging a difficult
issue a criminal offense and recall the government’s tactics during the
McCarthy trials of the 1950s. Like that infamous challenge to
Democracy, this case questions how far the government can reach,
unopposed, into artists’ studios, galleries, museums, and even our homes
to silence free speech, thought, and inquiry.
Case For Support
Lawrence Brose is not a criminal, he is an artist, doing what artists
do best: asking difficult questions about our life and times in order
to illuminate a new perspective as we struggle to move forward as a
culture. His experimental cinema has a distinguished track record of
engaging issues that affect the gay community, such as AIDS and
hostility from certain segments of the public. Facing problematical
subjects is precisely the job that people like Brose carry out in our
society – they explore unexamined dilemmas and present them for our
contemplation. It is truly tragic to see him attacked with the blunt,
and misguided legalistic weapon of pornography prosecution.
Lawrence Brose is working in a well-established tradition of image
appropriation, drawing specifically on images of masculinity in home
movies, old films, Gay erotica and documentaries. Brose collects found
still images, which he then processes and re-processes to find more
depth in the picture, producing complex layers of imagery that are
highly conceptual and offer a poignant commentary on normative
conventions of gender and sexuality. The final product is as abstract as
the paintings of Willem de Kooning, and a seizure of source material
entirely misrepresents the final outcome.
As experimental filmmakers Kenneth Anger and Andy Warhol before him,
Brose’s work pushes the envelope to create space for new expression.
For our society to remain open and vibrant, the answer is not to
criminalize that space for investigation, but rather to welcome it into
the marketplace of free ideas for examination.
The case against Lawrence Brose demonstrates an inappropriate
application of laws intended to protect children, and in the process
victimizes an experimental artist seeking to comment on societal woes.
The fact that he is under indictment for using images made by others to
examine the taboos that the laws are meant to prevent--is as
overreaching as it is troubling. It is so far from the intent of the
law, that it serves only to create a climate of fear. The result is
censorship and a chilling effect on the free expression of all artists
and all people. Censorship of this nature, and in all of its many forms,
occupies a realm of self-righteous presumption that abjures complexity
and results only in contradiction. It is very important that as
individuals living in a democratic society, we contribute to and speak
out openly in Brose’s defense, in essence defending our own lives and
our fundamental rights to think, work, and create freely.
This is the first time a case of this nature will be taken to trial.
It is important to note that Brose was not searching for the alleged
images nor is he accused of producing, distributing, buying or selling
pornography. This suit will be a protracted and expensive ordeal; one
that will have a profound impact on all artists. Your support is
greatly needed and much appreciated.
This website has been published by friends, colleagues and supporters
of Lawrence Brose, an artist and arts curator who has recently been
alleged to possess purportedly illicit digital images. One hundred of
the listed images are film frames from his highly acclaimed film De
Profundis, based on Oscar Wilde's prison writing. The purpose of the
website is to attest to Lawrence’s innocence, to provide a forum for
testimony on his behalf, and, importantly, to collect funds needed for
his legal defense.
We are in the process of collecting testimony from individuals, many
of whom are artists, academics and curators significant to the fields of
art and culture.
The Lawrence Brose Legal Defense Fund is a Class A Non-Profit
Corporation registered with the State of New York. Donations are not
tax deductible. To donate please send a check payable to "Lawrence Brose
Legal Defense Fund" and mail your check to PO BOX 501, Callicoon, NY
12723. Please see the Donate Now page for additional information. Or make a donation using Paypal.
(left to right: Lola Pashalinski, Mario Montez, Linda Chapman)
...the great drag Superstar who reigned over the New York Underground film and theater scene from the early 1960s until the mid-1970s.
Presented by the NYU Tisch Department of Performance Studies
Mario Montez and Marc Siegel (he is a Berlin based archivist and found Mario in Orlando Fl and invited him to the Berlin Film Festival when the Jack Smith documentary was being shown in 2009...)
in conversation with Ela Troyano and Lola Pashalinski
Tuesday April 6th 7 to 8:30PM
34 Stuyvesant Street The Barney Building Einstein Auditorium New York City
Seating is limited and is on a first come basis. Please arrive early.
This is a historical event .. two
authentic legends talking about the creation of underground theater ,,,off off
Broadway .. and the queerness of the Ridiculous Theater company etc.. Mario is
75 and Lola ageless so who knows when next they will be in the same place
chatting about history, He worked with Jack Smith and Warhol as well in Vain Victory, She was an original
Ridiculous Theater member and most recently played Gertrude Stein
So, I just heard Teri Gross interview with Tom Ford about his new movie adaptation of Christopher Isherwood's story "A Single Man." Gross also asked for his opinion on the state of fashion. He made some comments about the current state of fashion and how we imagine the body these days. I went back to the audio to capture it. Fascinating comments:
"Right now everything is pumped up. Cars look like someone took an air pump and pumped them up. They look engorged. Lips, pumped up. Breasts, pumped up. Everything is pumped up. And it's also kind of offputting. It's sexual but in such a hard way that it's, for me, not sexual at all...
We are becoming post-human. Actually we are! We are actually starting to manipulate bodies, because we can, into a shape. We are becoming our own art. What happens for me is it desexualizes everything. You know you start to become more polished or more lacquered, like a beautiful car. Does anyone want to sleep with you? Does anyone want to touch you? Does anyone want to kiss you? Maybe not, because you're too scary! But, you're beautiful, you're glossy, you're shiny, but you're not human. Very interesting. It's fascinating culturally." Tom Ford in his interviewed by Teri Gross'sFresh Air