The Frank Moore Archives

Hidden treasures discovered while digging through Frank Moore's huge archives.

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Art is a Bitch

Nude Stacy by Frank Moore

Someone asked:

1. What were the THREE MOST IMPORTANT things you did to get a break and start moving toward recognition as a performance artist?

2. While you were moving toward getting to where you needed to go, how did you make enough money to survive while not taking away TOO much time and energy from your creative work?

3. How do you spend your days now, mostly? e.g., approximately what percentage of each day is spent writing, marketing yourself, planning shows, arranging tours, scoping out and applying for grants, bringing in outside income, acting as a mentor to other artists, etc.?

4. What do you love MOST about doing what you do now?

5. What do you HATE most about doing what you do now?

I can only answer
art is not a career
not a money maker
but a money taker
an addiction,
a life long master
who does not give
a flying fuck
what I “THE ARTIST”
loves, hates,
what I want to do,
where I want to go

the artist’s job is to surrender,
to follow, to melt into art

making money is easy
but the river of art rarely flows
naturally that way
without damming the river up

so keep your day job
get a day job you like doing
because art is your mistress of night
& you ain’t her pimp
she’ll take your money & time
she will take you into the basement
of the unseen

you’ll get old with her
attending her needs
rocking on the porch with her
no goals, no plans, no marketing,
no rush.

Just rocking, just surprises everyday,
just people dropping by,
just floating without knowing,
just doing, just suffering, just enjoying.
Just following.

Just trust the bitch art!

© Frank Moore 03/20/1999

“Frankly Speaking”

Frank wrote a column called “Frankly Speaking” for each issue of his zine, The Cherotic (r)Evolutionary, TC(r), that he published in the 1990s. Reading through them now … they are filled with gems … and so much of it applies to right now.

This, for example, is excerpted from the TC(r) #2 “Frankly Speaking” column:

“I’m lazy. For months I have been thinking about writing about the liberal sickness called “political correctness.” This sickness fragments people into artificial groups (black, gay, women, disabled, etc.) within which they then are forced to stay. This sickness makes the individual so fragile that any “bad” or “wrong” word or image (nigger, fag, chick, cripple) can completely shatter the person. This fragileness makes it impossible to function in the real world without the artificial dome of pc-censorship. I was going to examine this sickness within the art world, using the art combine Highways/High Performance magazine as my case study. But I kept putting it off. I’m lazy. Then Curtis York’s letter fell into my hands. Now I don’t need to write that article!

Talking about pc-censorship brings us to the cartoon by the rock’n’roll artist John Seabury. We have gotten shit for running his “pig rape” drawing in this issue … from people who normally are against censorship. I’ve been thinking about why this drawing gets people so angry or uptight. I don’t think it is the images. After all, look at LaBash’s drawings. The taboo-breaking image contents are equal between them. The difference between these two artists is LaBash is nonlinear while Seabury is linear.”

(Frank is talking about “The Political Correctness Mafia” by Curtis York that is in Issue 2. You can see John Seabury’s cartoon here:  https://www.eroplay.com/seabury-pig.html)

And then there is this excerpted from Frank’s column in Issue #4:

“I was feeling better. Then I remembered that some “gay” bookstores will not carry T.C.(r) because it is not “queer enough”! It doesn’t matter that about eighty percent of our contributors consider themselves gay or bi. It doesn’t matter that some of the works focus directly on “gay” reality. It doesn’t matter that T.C.(r.) has always been included in the queer zine scene. And it does not matter that I am a lesbian in a male body.”

“Frankly Speaking” from TC(r) issue #4

This is the very first “Frankly Speaking” column. It appeared in Issue #0. Frank thought that Issue #0 was totally self-promotion so he didn’t put it on the website and it wasn’t available to buy! We have just added this column to the site. Issue #0 will appear in the compilation book.

SPEAKING FRANKLY
Editorial by FRANK MOORE
April 10, 1991

At first look, this first issue of TCR looks like a shameless self-promotion, a big advertisement for my book, Cherotic Magic, for my apprenticeship, for my 6-session course, for my performance art and videos and tapes, and who knows what else. Well, you have to start somewhere. And that somewhere is the exploration of the magical edge I have been on for about 25 years. This promotion that we call TCR is a promotion of the edge itself.

Since Cherotic Magic was published, there has been a written dialog centering around the book. What is exciting about this dialog is that the people in the dialog are serious explorers of the edge themselves. They are writers, artists, publishers, cultural revolutionaries, reality subverters around the world. In this issue, under the cover of writing about my work, they talk about magical issues that I for one have been hungry to talk about for a long time in the depth that is possible with people who have committed their lives to going across the taboo border to effect evolutionary change. In future issues of TCR, I hope we will move far beyond the book, Cherotic Magic, and give one another aid and comfort on the edge by linking together, by announcing new findings of our hidden experiments of nonlinear change.

TCR is a journal of the edge. TCR is an offensive movement or measure, offering alternatives to the fragmentation, isolation, personal helplessness which is actively promoted by the combine of power systems. TCR is anarchical, based on the personal responsibility to reshape reality into a more human, trusting, loving reality, full of fun and pleasure. TCR is not a reaction. It is a magical act of enjoying life. It is a journal of and for people who are doing this magical act. Thanks to S/R Press, we finally have a channel of communications among the personal revolutions … otherwise known as mutations … which has always been the main fuel for evolution. Now we magical misfits know we are not alone, that there are others out/in here/there feeling, thinking, trying, doing similar things. This just by itself should speed evolution up.

Let me hear from you. Let us play together…

All of the columns are linked from here: https://www.eroplay.com/frankly.html

Frank’s Letterboard

Here are some of Frank’s old letterboards … construction varies depending on how they connected to Frank’s wheelchair. Frank designed all of his letterboards starting back in the 1960s.

Frank in New York City, NY circa 1974:

Circa late 1970s:

Also circa late 1970s:

Frank on the boardwalk in Atlantic City, NJ, August 1984:

Street performance in front of The Lab, San Francisco in 1988 with a letterboard mounted on plexiglass:

Board circa early 1990s that Frank used on his “motor” wheelchair (painted by Mikee LaBash):

Frank and Linda Mac on University Ave circa 1990. Photo by Jim Appleton.

Board mounted on plexiglass circa early 1990s used on Frank’s “push” wheelchair (painted by Mikee LaBash):

Frank and Linda Mac during Frank Moore’s Shaman’s Den on FAKE Radio circa 1998/1999 with another plexiglass board:

This board was used through the 2000s until 2013 (board construction by Alexi Malenky, painted by Mikee LaBash):

Frank and Linda at Risk For Deep Love October 2012.
Frank is now using a laser pointer.

This “adjustable” board was built in 2013 by Alexi for use on Frank’s new reclining wheelchair. The board had hinges so it could be adjusted as Frank reclined (painted by Mikee LaBash):

Frank and Linda at Erotic Risk For Deep Love September 2013 performance
… with adjustable board.