When Jane Rubin was in her 20s and exhibited in the 3rd LACE Annuale, Klik Magazine called Jane Rubin "The Star of the Show."
While that sounds great — Klik also libeled Jane Rubin in ways that have endangered and harmed Jane ever since.
Jane Rubin's real lifestyle is conservative compared to her peers.
For complex reasons, some of Jane Rubin's early art incorporated explicit imagery. Numerous contemporary artists have used sexually explicit imagery in their art.
In Jane Rubin's case — in her 20s and early 30s — Jane was commenting on our voyeuristic society, as well as representing issues related to human sexual health and childhood trauma.
Jane Rubin is a professional contemporary artist and a self-disciplined woman.
Jane Rubin is also a straight, cisgender woman.
Jane Rubin has always supported everyone's civil rights and marriage rights.
No individual or institution is allowed to trample on Jane Rubin's civil rights and safety with slander, libel and bullying.
However — Jane Rubin — and her middle-class family — have been repeatedly injured.
In September, 1988, when Jane Rubin was 25 years old, she was selected for the 3rd LACE Annuale.
Jane exhibited a multimedia installation in the 3rd Annuale, at the LACE Museum in LA's downtown arts district. The opening party was held at "Cocola" on Boyd Street.
However, Jane was then libeled in Klik Magazine, the pop culture publication that covered the show.
At the time, Jane was living with her steady boyfriend, Charles Field.
Charles shot the polaroid (above) of the architectural model that Jane had created for her large-scale installation — which was featured on the cover of "LA Art."
Jane Rubin's real life has never been wild. Jane has never been a promiscuous person.
Simply put: No one has a right to lie about those facts.
Charles and Jane were living together in Los Angeles in a faithful relationship.
Charles Field was also selected for the show. Charles's 2D photo-based work and Jane's 3D installation were intimately interrelated and were romantically exhibited in one room at the museum, across from one another. Charles and Jane attended the opening at LACE, and the after-party at Cocola, together.
Charles Field's and Jane Rubin's intimate — and faithful — heterosexual relationship was romantically and sensually represented in the room at LACE — in which only their art was displayed. Charles Field can provide sworn testimony to confirm that fact.
On opening night — September 7th, 1988 — Charles and Jane — were making love at Charles's downtown loft. They arrived late at the opening.
When Charles and Jane arrived at LACE — in the room containing their work — a line of people was waiting to enter Jane Rubin's installation.
The popularity of Jane's installation was not surprising.
The main reason for its popularity was — ironically — part of what her installation was about. The people lined up to see what was inside of it became part of the piece.
Jane's real, personal life is conservative compared to her peers.
Jane Rubin's art is not her life.
The lies about Jane Rubin and her art in Klik were so blatant that Jane would have won a lawsuit without going to court.
However, the show's Curator — from The Museum of Modern Art — who later went on to curate the UBS Paine Webber Collection — angrily told Jane to forget about it and not sue. The Curator claimed that no one would notice it. The Curator was wrong.
That Curator, MoMA, LACE, and UBS Paine Webber, would have immediately sued Klik if one of their Curators were libeled.
In fact, because Jane Rubin, a 25-year-old emerging Female Artist, was verbally bullied, intimidated, and unprotected by that Curator, unprotected by the Museum, and did not sue Klik, many people wrongly assumed that that libelous article was stating facts.
As a result, the libel in Klik has caused repeated harm to Jane Rubin ever since.
Wealthy people in pop culture and politics have mainstream media power — and they can severely injure anyone with one public "joke."
Usually — Fine Artists do not have mass-market wealth or media power.
So — an individual Fine Artist can have her career and life destroyed in an instant — when mentally unstable narcissists — in pop culture, business, the media, and in politics — spread slander and tell denigrating, misogynist jokes about her.
Anti-Semitism is also in play. Although Jane Rubin is from a liberal, Reform Jewish family — not Conservative or Orthodox — Jane Rubin is Jewish and proudly keeps her Jewish name.
Mainstream pop culture often makes Jewish-Americans the targets of bigoted stereotypes and jokes.
Still — too many Jewish-Americans allow it.
Basically — crudely — and stupidly — Klik Magazine libeled Jane Rubin by depicting Jane as a "dirty jewess" to an international mass-market audience.
Those who control mainstream media can destroy any innocent life and any career simply by broadcasting one lie — joke — or nickname — about an unprotected individual — especially in the internet and social media age.
Some forms of slander and libel should be criminalized as a felony.
When Klik Magazine — an international pop culture magazine — libeled Artist Jane Rubin and falsely portrayed Jane — a serious and self-disciplined Female Artist — as a wild woman and seducer who was hanging out at Hollywood porn shops at night — they were essentially murdering Jane Rubin's professional and personal life and Jane's safety.
Klik Magazine's libel was also unconscionably dumb. So are any individual or institution who promoted that libel.
A smear campaign perpetrated by wealthy people and institutions — and spread to the masses — against an unprotected, middle-class American — is a lethal weapon.
Those who intimidated Jane Rubin — when she was in her 20s — out of suing Klik — and those who have perpetuated the libel about Jane Rubin to this day — have colluded on a real-life assassination.
Jane Rubin never lies.
The following is one of numerous instances of gross libel that Klik Magazine published about Jane Rubin and her art.
Jane Rubin received her MFA Degree at CalArts in 1988.
For her first-year MFA Show, Jane Rubin had exhibited figurative paintings .
This is Jane Rubin's MFA Thesis Show, shown in the CalArts A402 Gallery in April, 1988.
During 1987-88 — for her MFA Thesis Show — Jane created a multimedia exhibition that originally included paintings, drawings, photo-based images, and text.
In the end, Jane exhibited the large, black-and-white textual panels — only.
While Jane Rubin is primarily a Visual Artist — not a writer — Jane wanted the look of "Little Girl" to be austere, clean, and minimal. No bodies. No paint.
However — this is the sensationalist libel that Klik Magazine published about Jane's MFA Show:
"In the exhibition for her graduation, Jane painted a whole room red and hung paintings of genitalia on the walls. In the middle of the room was a table covered with bondage paraphernalia, and the entrance to the installation was reminiscent of female genitalia."
Obviously — that is false.
Jane Rubin's CalArts MFA Show is well-documented and was witnessed by many.
There were no paintings in the show at all. There was no table with bondage paraphernalia. The only shred of truth in Klik's description of Jane Rubin's MFA Show was that she did have the walls painted red, and she did design a symbolic door and have it built and installed at the entrance to A402. The entrance had a geometrical opening that simultaneously alluded to both a camera lens and female reproductive organs — a condensation. It was not literal. There were no details. The doorway was minimalist and geometrical.
The reason for this boundary between the world and Jane's show inside the A402 Gallery was that "Little Girl" dealt with what happens to a little girl when adults invade her boundaries.
Jane Rubin was — in fact — sexually assaulted by two women and a man in childhood — in the early 1970s, at The Rubin's beach house on Long Beach Island, New Jersey.
The pedophiles were babysitters — a married Belgian couple who had been living with Jane Rubin's cousins, the Levys, across the street — and the Rubin's live-in Danish babysitter — Lissu — who watched while the Belgian couple attacked Jane — doing nothing to stop them. Jane's parents were at a dinner party.
The next morning, still in shock, Jane told her parents that they had assaulted her.
Jane Rubin's mother — Peggy Rubin — remembers that Lissu — when questioned — told her that the couple had done something to Jane. The couple were immediately fired by her cousins. Lissu was fired the following year after she endangered Jane's life again.
Also — Jane Rubin's third cousins — musicians Jed Levy and Todd Levy — can testify that the Belgian Couple had been living in their house and were suddenly fired. While they may not have been told why the couple taking care of their grandmother was fired — they should remember the banishment of the Belgian couple from their home.
Here is more of Klik Magazine's dangerous and destructive libel about Jane Rubin — a child sexual abuse survivor.
Jane Rubin's clean installation in the 3rd Annuale dealt with trauma, voyeurism, and transcendence.
Inside of it, there were three minimalist "watching and listening" booths. In the first booth, spectators could pay 25 cents to watch an adult video clip.
Jane Rubin's real lifestyle is — conservative — compared to most of her peers.
The adult video clip was being used — ironically — as commentary about a voyeuristic, escapist society.
As Jane Rubin did not know anything about the adult movie world — she asked her friend Mike Kelley where to get the clip.
Mike had worked with Jane during 1986 to 1988 at CalArts — and he also recommended Jane to The Whitney Museum Independent Study Program.
During 1986 to 1988, while completing her MFA at CalArts, Jane was creating paintings and multimedia art dealing with female sexuality and childhood trauma. During that time, Mike began working on his "stuff animals" series.
Jane Rubin and Mike Kelley had a different perspective on childhood trauma memories, a topic that Jane will discuss further in the near future.
Jane's transcendental installation in the 3rd Annuale was rooted in real traumas in her childhood, including life endangering ones. In Jane's early art, the violent child sexual assault, endangerment, and bigotry in her childhood were re-emerging. The abusers were mainly female.
When Jane Rubin — who did not hang out at porn shops — needed a clip for her show — Mike recommended a place called "Stan's" in East Hollywood. Stan supported the LA art scene.
Jane went to Stan's one time — in the daytime — and spent about fifteen minutes there getting what she needed for the show. Jane was not comfortable being in there — but Stan made sure that Jane was safe — and he donated an extra moneybox he had behind the counter to Jane's installation.
To obtain another clip for the art, Jane went to one other adult video store which was actually an upscale tourist place on Melrose.
Jane was there for less than ten minutes — in the daytime.
Jane's installation in the 3rd Annuale — was pristine and minimalist.
It was the polar opposite of Stan's.
Jane's art was pristine and minimalist.
The only remnant of Stan's was the clip that people lined up to watch, and the moneybox.
It was irony and social commentary.
However — Klik Magazine also published dangerous libel about Jane's 'art in the 3rd Annuale.
Costas Salpas, the Klik journalist who interviewed Jane Rubin, wildly fictionalized just about everything.
Salpas invented the following statement that Jane Rubin supposedly said to him — but Jane never said any of this:
"I researched my piece in the porno shops of Hollywood. I went there at night, late at night, when nobody else was there. The employees were a bit shocked to see a woman alone in there and they probably thought I was looking for the one thing, but I set the record straight, pretty soon. My favorite porno shop is on Western and Santa Monica BLVD. It's the most atmopheric one. You should go."
Jane never said one word of that. None of it is factual.
Jane Rubin never did research in porno shops at night.
Jane Rubin never went to a porn shop on Western and Santa Monica.
As stated — Jane Rubin went to Stan's in the daytime — briefly — on Mike Kelley's recommendation — and Jane was at one other adult store — in the daytime — on Melrose — a West Hollywood tourist shop that was always packed and was full of all-American couples looking to spice up there private lives or do couples therapy.
Jane Rubin never went to adult shops at night to do research.
Also — Jane Rubin was always faithful to her boyfriend, Charles Field — and Charles was fully aware of and supportive of what Jane had been doing to create her installation.
In addition to creating long-term bullying and harassment of Jane Rubin, Klik Magazine libeled a child sexual abuse survivor.
Jane Rubin's early art — from the 1980s and early 1990s — dealt with trauma and transcendence.
The domino effect of Klik Magazine's libel has been decades of injury to Jane Rubin — professionally and personally. That includes decades of re-traumatization of Jane — a child sexual abuse survivor — by delusional, narcissistic entertainers who saw Klik's dumb, false "story" about Jane Rubin — and who wrongly fantasized that Jane Rubin was a real life Hollywood bad girl.
Some of them have bullied, harassed and stolen from Jane — and also traumatized Jane's parents.
In recent years — the criminal abuse and defamation against Jane Rubin — escalated into large-scale public and private corruption.
Bad actors are using corrupt means to protect themselves from lawsuits and prosecution — to obstruct justice.