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Reviews

Reviews of Karen Finley’s performance piece “Covid Vortex Anxiety Opera Kitty Kaleidoscope Disco”: “The structure here is a series of poems, their inspiration bards such as Gregory Corso and Allen Ginsberg. . . . Obviously, her work is never done, and the culture will keep throwing situations her way, to be met by her unrestrained talent. Her intention here is to heal herself and us, to help us see ourselves, feel our fellowship, and be able to say, ‘Look, we’ve come through!’ In this, she succeeds.”—Elisabeth Zimmer, The Village Voice “Yep, she’s still got it. . . . Like the most inspiring religious services, 'Covid Vortex Anxiety Opera Kitty Kaleidoscope Disco' ends on an optimistic note, with Finley pivoting from shock and horror at the lives lost, access and control over one’s body into hope—for change, peace, courage, love. And art. Always art.”—Elisabeth Vincentelli, The New York Times Reviews for Shock Treatment: 25th Anniversary Edition: “If you haven’t read this book yet–buy it, take it home, and read it now! This is the work that made me get off my ass and actually do something, and it will inspire you, too.”—Kathleen Hanna, singer, Bikini Kill, Le Tigre and The Julie Ruin “I believe Karen Finley’s un-careful rage was threatening because it is filled with grief, humor, and a profound passion for this life. Rereading it, I feel refreshed, as if I’ve been self-policing for years by tolerating boring, stupid things and now I’m free again. Thank you, Karen.”—Miranda July, author of The First Bad Man “Shock Treatment is as timely and crucial as ever, inspiring feminist rage and wildness just as when it first blew my mind twenty-five years ago.”—Michelle Tea, author of How to Grow Up “Karen Finley is an iconoclast who, ironically, became an icon when her work in Shock Treatment was targeted by right wing politicians. This important book is as necessary and vital today as it was twenty-years ago.”–Sapphire, author of Push “Reading Shock Treatment today reminds me that Karen Finley has always been a writer of conscience. I remember seeing and hearing her read “The Black Sheep” off a piece of legal paper in the middle of a play at The Kitchen. No frills. She simply re-invented the poem.”—Eileen Myles, author of A Working Life “How exciting for you, me, Karen, and the world–to have an occasion to revisit this period of powerful and earth-shaking work. Culture wars? Those bastards had no idea what they were up against.”—Justin Vivian Bond, author of Tango: My Childhood, Backwards and in High Heels

Reviews of Karen Finley’s performance piece “Covid Vortex Anxiety Opera Kitty Kaleidoscope Disco”: “The structure here is a series of poems, their inspiration bards such as Gregory Corso and Allen Ginsberg. . . . Obviously, her work is never done, and the culture will keep throwing situations her way, to be met by her unrestrained talent. Her intention here is to heal herself and us, to help us see ourselves, feel our fellowship, and be able to say, ‘Look, we’ve come through!’ In this, she succeeds.”—Elisabeth Zimmer, The Village Voice “Yep, she’s still got it. . . . Like the most inspiring religious services, 'Covid Vortex Anxiety Opera Kitty Kaleidoscope Disco' ends on an optimistic note, with Finley pivoting from shock and horror at the lives lost, access and control over one’s body into hope—for change, peace, courage, love. And art. Always art.”—Elisabeth Vincentelli, The New York Times Reviews for Shock Treatment: 25th Anniversary Edition: “If you haven’t read this book yet–buy it, take it home, and read it now! This is the work that made me get off my ass and actually do something, and it will inspire you, too.”—Kathleen Hanna, singer, Bikini Kill, Le Tigre and The Julie Ruin “I believe Karen Finley’s un-careful rage was threatening because it is filled with grief, humor, and a profound passion for this life. Rereading it, I feel refreshed, as if I’ve been self-policing for years by tolerating boring, stupid things and now I’m free again. Thank you, Karen.”—Miranda July, author of The First Bad Man “Shock Treatment is as timely and crucial as ever, inspiring feminist rage and wildness just as when it first blew my mind twenty-five years ago.”—Michelle Tea, author of How to Grow Up “Karen Finley is an iconoclast who, ironically, became an icon when her work in Shock Treatment was targeted by right wing politicians. This important book is as necessary and vital today as it was twenty-years ago.”–Sapphire, author of Push “Reading Shock Treatment today reminds me that Karen Finley has always been a writer of conscience. I remember seeing and hearing her read “The Black Sheep” off a piece of legal paper in the middle of a play at The Kitchen. No frills. She simply re-invented the poem.”—Eileen Myles, author of A Working Life “How exciting for you, me, Karen, and the world–to have an occasion to revisit this period of powerful and earth-shaking work. Culture wars? Those bastards had no idea what they were up against.”—Justin Vivian Bond, author of Tango: My Childhood, Backwards and in High Heels

Author Information

Karen Finley is an artist, performer, and poet. Born in Chicago, she received her MFA from the San Francisco Art Institute. Finley was the named plaintiff for the Supreme Court case Finley v. NEA that challenged the decency provision in government grants to artists through the National Endowment for the Arts. Her work has been presented internationally such as the Barbican in London; Lincoln Center, New York City; Art Basel in Miami; and the Centre Pompidou in Paris, among others. She is the author of nine books, including Grabbing Pussy (OR Books, 2018), the 25th anniversary edition of Shock Treatment (City Lights, 2015), and The Reality Shows (Feminist Press, 2011). A recipient of many awards and grants, including a Guggenheim Fellowship, she is a professor in Art and Public Policy at New York University. She lives in Westchester County, New York.

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