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Funny Seething Rage: Adrienne Truscott & Karen Finley

NYU Skirball
Event organized by NYU Skirball

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"Not Funny Ha-Ha, Funny Seething Rage": A Conversation on Politics, Feminism, and Comedy with Adrienne Truscott and Karen Finley

Join Karen Finley and Adrienne Truscott for a conversation on performance, politics, feminism, comedy, rape culture, and "#metoo" -- in anticipation of "Asking For It" at NYU Skirball.

This event is free, open to the public, and wheelchair accessible. Tuesday, November 7th at 7pm, in the NYU Performance Studies Studio (721 Broadway, 6th Floor). Seating is limited and is first come/first serve.


On Friday, November 10: See Adrienne Truscott's "Asking For It" at NYU Skirball. Radical comedian, activist and performance artist, Adrienne Truscott’s "Asking for It" mixes humor, dance, video and p*ssy-puppetry, while undoing the rules and rhetoric surrounding rape. Truscott straddles the world of stand-up and performance art, dressed only from the waist up and ankles down. With commentary from George Carlin, Louis C. K. and others, Truscott takes on ducks, mini-skirts, rape whistles, Cosby, #45 and whoever is left in Hollywood. Heavy at its core but light on its feet, Truscott makes jokes about rape all night long… even if you ask her to stop. She'll be updating right up until curtains.



Adrienne Truscott is a choreographer, circus acrobat, dancer, writer and comedian. She has been making genre-defying work in New York City and abroad for over 20 years, has performed at many international Festivals, and most recently a sold out run at Joe’s Pub. She is one half of the infamous Wau Wau Sisters and has worked with cult cabaret legends Kiki and Herb, Meow Meow, and John Cameron Mitchell (Shortbus).

Since the 1970s, fearless conceptual artist Karen Finley has been foregrounding taboo issues surrounding sexuality, violence, celebrity, and the positioning of women in society in her no-holds-barred work. Known primarily for her searing performances, she also works in a range of other media, including music, writing, painting, and installation, choosing the method best suited to her ideas. Among the most famous of her many career-defining moments was her involvement in a lawsuit against the NEA, whose “decency clause” was invoked to cut funding of her work in 1990. Her projects, from subversively raunchy punk music rants to a public exploration that paired “sexting” with art consumption, provoke controversy and dialogue.

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