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Until very recently all gay-male cultural production was dismissed as the product of pornographic imaginations. In my own lifetime the value of serious works of literature or visual art had been tainted by the odious reputations of their criminalized authors. One needn’t go very far into the past to find visual artists who were forced by the threat of public censure (or worse) to maintain two portfolios of work – one official and public, and one… for discreet private distribution. That collectively, these old samizdat (in whatever medium) today are often viewed as classics of their form is ironic given that many artists continue to operate just as schizophrenically. I have really no idea what was going through my head when I made “Cuts of Meat”. I am neither at one extreme a vegan, nor at the other extreme involved with cannibalism – except that it was a response to the AIDS pandemic. Is it any surprise that the one book that nailed the 1980s was Bret Easton Ellis’ “American Psycho”? .
Bruce Eves was the recipient of the Governor-General’s Award for Outstanding Achievement in the Visual and Media Arts in 2018 and was the subject of Peter Dudar’s feature-length documentary “Bruce Eves in Polari” that premiered at The Power Plant. Eves was ranked 26th on the Alt-Power100 list compiled by ArtLyst (UK). In the past he was assistant-programming director at the Centre for Experimental Art and Communication (CEAC) in the late 1970s; and throughout the 1980s was the co-founder and chief archivist of the International Gay History Archive (now housed in the Rare Book and Manuscript division of the New York Public Library). Eves continues an active practice of exhibiting and curating on the cutting-edge, and in recent years has pushed the envelope further by expanding his work to include spoken-word projects performed monthly at the Black Eagle bar’s Dirty Queer Poetry Nights. Eves lives and works in Toronto and seeks representation. His CV can be viewed at www.bruceeves.net
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"Work # 570: Cuts of Meat"
Bruce Eves
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