Instagram story viewer> @the_dead_supreme> Tagged

Scott Covert

@the_dead_supreme

3.6K

followers

1968

following

POSTS STORIES REELS TAGGED

A DECADE OF FIERMAN IN THE NEW YORK TIMES / SHOW ON VIEW THRU SUNDAY NOV 1 / THANK YOU WILL AND EVERYONE WHO HAS PAID ATTENTION TO THE GALLERY SINCE I STARTED !!!

CONGRATS TO SCOTT COVERT AND ALL THE ARTISTS INVOLVED, THANK YOU FOR TRUSTING ME WITH YOUR WORK, IT TAKES A VILLAGE, ETC !

153

32

Road trip🛸👽🛸🛸🛸

65

5

@peterhujarfoundation
October 11,1934 - November 26, 1987

Peter Hujar, born this day 1934, Nude self portrait, 1966
Scott Covert ‘Peter, Robert, Francesco, George’, 2014

486

5

A lot of talk this week about Jackson Pollock and Lee Kransner with their new survey ‘Past Continuous’ at the Met and Krasner moving further beyond her late husband’s shadow. Did you know he also killed 25 year old Edith Metzger in the crash that took his own life in 1956? Scott Covert included the names side by side as a haunting reminder typical of many of his Monument paintings that have doubled as anthropological studies of cultural figures forgotten by time.

3

3

Skip the standby line at the NYFF! Come see the immersive NYC doc that lets you feel a little PUNK!

Make Me Famous is a vibrant, fast-paced portrait of New York City’s explosive 1980s Downtown art scene where punk met paint, and the lines between art, music, and nightlife blurred. This was the world that launched Jean-Michel Basquiat, Keith Haring, Madonna, and Blondie—a cultural moment defined by its grit, glamour, and DIY ethos.

Amid the chaos was painter Edward Brezinski, a figure both present and peripheral, whose story offers a unique window into the era’s creative frenzy. More than a portrait of an artist, Make Me Famous captures a time and place where the dream of making it felt just within reach and heartbreakingly out of grasp.

Check out the one-night-only screening of Make Me Famous in New York
🍿Oct 11th 2:15 pm
🍿SUNDAY
🍿@new_plaza_cinema
📍35 W 67th St - NYC

👉Q&A to follow the screening
👉Tickets avail for purchase in the LINK in Bio

#richardhambleton #nycnostalgia #madonna

413

31

0

0

On the first wall in the exhibition, Scott Covert’s ‘Judy Garland’, 2014 hangs alongside Lizzi Bougatsos ‘Untitled (Latex Corset from Angelblood performance archive)’, 2004. The works are thematically linked by their subject’s inability to separate life and art — intentionally or otherwise.

In 2004, Lizzi Bougatsos and Rita Ackermann under the Angelblood moniker invited fellow artists (Kai Althoff, Jess Holzworth, Harmony Korine, Mario Sorrenti and more) to respond to a quote by French theorist and artist Antonin Artaud ‘The human face is an empty force, a field of death’

Angelblood’s use of Antonin Artaud’s Theatre of Cruelty provided a framework for understanding their attempt to move beyond representation and toward a direct, embodied experience. Artaud’s idea of “ripping off masks” and his rejection of the face as a stable representation of identity was reflected in Rita and Lizzi’s use of distorted bodies, theatrical costumes, abject materials, and ritualistic performance. In Angelblood, the body and face cease to function simply as images or portraits and instead become sites of transformation, excess, and confrontation. The performance reflected that art should not represent life but should produce an intense, physical experience that unsettles the distinction between the artwork and lived experience.

3

4

Hello, October!

This is Field Report—Issue 006  Alongside our artist conversation series, Field Report is a curated, New York City-based guide to art and culture for the public.

Sign up at weareartpeople.com/newsletter to receive directly to your inbox, first Monday of the month.

☺︎

#weareartpeople

3

1

‘A thousand birds will fly out of my mouth when I die | Lizzi Bougatsos & Scott Covert’ @baby_seal777 @the_dead_supreme is extended through Wednesday October 7th… Don’t miss it! A talk between Lizzi and Scott will take place at the gallery on closing day at 4:30PM, RSVP jed@amity.biz

📷 @luisa_opalesky

3

15

I’m fine with being the villain in the story pairings. #septemberartsaga #gratitudemydude #haroldstevenson #260madison #kelsakuchera

80

4

Don’t miss @baby_seal777 & @the_dead_supreme show @amity_nyc a gothic delight 🥀

4k

45

I’ve realized it’s important to further contextualize Scott Covert and his practice because a lot of visitors to the show this week have asked if he’s Gen Z, which I’m sure he loves:

“Born in 1954 in Edison, New Jersey, he began making after-school trips to New York City at the age of thirteen, catching the bus or stealing unattended cars to get there. After a couple of studio courses at Indiana University and a semester at San Francisco Art Institute, Covert dropped out of school and taught himself to paint.

In the late seventies and eighties, he became a fixture of the East Village arts scene that came to be known as “Downtown,” cofounding Playhouse 57 with the theater artist Andy Rees, at the storied performance venue and nightclub Club 57 at 57 Saint Marks Place. Covert had his first solo show, curated by Keith Haring, there in 1979.

For some four decades he has crisscrossed the country in his car and flown across hemispheres in search of the graves of composers, actors, musicians, poets, serial killers, and other cultural totems. From their headstones, he makes on-site rubbings with oil wax crayons, using myriad pigments and varying amounts of pressure.

The canvases that make up the Monument Paintings, an ongoing series, are laden with text—layers of names, birth and death dates, epitaphs, and fleur-de-lis—and topped with scribbles and swaths of color. Covert renders some celebrity names nearly indecipherable through the sheer density of their replication; others appear alone in the limelight of the canvas.

The paintings showcase his acute sense for depth and texture, as well as his attunement to death’s magnetism and absurdity.” - Excerpted from Jay Graham’s ‘If there’s a Rip in It: A Conversation with Scott Covert’ from the Paris Review, 2022

This canvas for example, has been in progress since 1996, having been completed just two weeks ago when I got to accompany Scott to Hartsdale New York’s Rosewood Mausoleum where he added Aaliyah’s name to complete the work.

‘A thousand birds will fly out of my mouth when I die’ featuring works by Scott Covert and Lizzi Bougatsos is on view now at 175 Canal Street, Tuesday - Saturday and by appointment.

3

32