Penny Arcade—poet, actress, essayist, spoken word, video and theatre maker—discusses her trajectory from an immigrant family, originally from Basilicata, Italy, to her upbringing in a working-class Connecticut town to her entry into the art world of New York’s East Village. Looking back on her life as a homeless teen in the Village, her discovery by Jamie Andrews who introduced her to John Vaccaro’s Playhouse of The Ridiculous, becoming a Warhol Factory Superstar, and her departure to Amsterdam, Arcade narrates the story of how she set off for Formentera, in Spain’s Balearic Islands, where she started a school for children there, some of whom were children of drug smugglers. Recounting her return to New York City in 1981 and her split from Vaccaro, which marked the beginning of her independent work, Arcade recollects the state of the various art scenes in New York City during the Reagan era, the loss of friends to AIDS, and the censorship of the era. She vituperates the class divisions within the art world and the Manhattan Downtown art scene into which she never fit neatly, while underscoring her desire to “create theatre for people who had no theatre,” a fact which made her extremely unpopular within academia and among arts administrators because her work challenges these very elite systems. Pondering the values she espouses in her art and the fact that her audience has always been unique in maintaining a shared investment in her performances, Arcade considers how the catharsis in reaction to her art takes place well beyond the theatre hall. As an outsider to the art scene, noting how she hasn’t received institutional support and has operated without funding, legacy media coverage, or any form of academic sponsorship, Arcade criticises the state of art funding from even before the 1980s, when the Moral Majority took aim at the art world and at the NEA (National Endowment for the Arts) funding structures. Calling out the academic art world as a “pyramid scheme,” Arcade observes how the academic-produced genre of “emerging arts” has become a way for the elite class to ensure that their children would have a guaranteed “entry level position” post-graduation in the arts akin to the professional tracks for finance and law, proclaiming: “Art is not a profession—it’s a vocation.” She also delves into the problems of identity politics that have permeated into arts funding and the art world and culture at large, remarking how these institutions recycle not only the same personas and narratives, ultimately limiting the “professionalised” scope of art. Responding to the recent “queering” of Marsha P Johnson, Arcade argues that Johnson was not transgender but was a drag queen, contending that the only reason why Johnson was recategorised as “trans” is because “Marsha is dead and black.”

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