Rashaad Newsome

R AS H AA D N E WS O M E L. EGENDS S. TATEMENTS S. TARS

RASHAAD NEWSOME L . E G E N DS S . TAT E M E N TS S . TA R S

DECEMBER 9, 2014 - JANUARY 3, 2015

4 0 W E S T 5 7 T H S T R E E T | N E W YO R K | 1 0 0 1 9 2 1 2 - 5 4 1 - 4 9 0 0 | M A R L B O R O U G H G A L L E R Y.C O M

L.S.S.

by Veronica Sekules Rashaad Newsome’s work combines the glamour of luxury display and the glitz of popular culture, taking forms from one artistic world and transforming them with the tools and tricks of another, much more contemporary one. He transcends a number of different eras, time-travelling between past and present. He has a medievalist’s interest and seriousness about heraldry as a formal language of signs, symbols, power and status but its rules are both followed and subverted.

Heraldry governs ritualised images, forms and shapes, it inspires gallery performances with macho tinges of menace, featuring glistening black and gold appliqued tabards and sinister over-scaled regalia. His taste for gilding, pimping, preening, and customising comes partly from the fast track world of pop consumerism and showbiz, but ultimately from the Baroque, where he returns for his designs for framing, composition and installations. He moves easily as an artist between modern America and Old Europe, between New Orleans and New York, and totally commands a world of voguing and hip hop contemporaneity, while embracing the sobriety of antique glamour. But there is something much deeper than just inhabiting these parallel worlds. This kind of cross-breed, trans-cultural (and incidentally, trans-gender) inventive sensibility makes him a master of the hybrid. As such, he feeds back into a very long history of works of art dating back to the European Middle Ages, works that inhabit the edge of orthodoxy, somewhere between order and subversion, disruption and measure. He understands the fine line between flamboyance and extravagance. His work celebrates a culture which he is never far from critiquing, observing it for its follies and excesses, as much as for its beauty and richness.

The show opens with spectacle, like a vogue ball, with the LSS collage series the Legends, Statements and Stars, which give a flavour of the excitement of the performances to come. These collages accumulate the characters, the fantastic layers, of jewellery, naked limbs, flowing hair, interspersed with and animated by fire–works, fire-bombs, and flames. They are intended to evoke the excitement and explosive dance forms of vogue performance, the fireworks symbolising its energy. But these collages also operate outside the specifics of that genre, mixing the sinister and the beautiful; combining elements to do with adornment, sexuality, luxury with those of threat, fear and danger. As such, they create a fine tension between the body as display, taking part in a sexualised assemblage of visceral experiences, and the body as subject to some kind of aesthetic violence, being blasted apart in the bomb damage.

The framing of Rashaad’s work literally and symbolically is of vital importance. Not only in the obvious way does the frame provide a physical surround for the image, but the frame is central to the entire ethos of the work, providing a primary vehicle for communication, containing clues to its core meaning. Rapture is such a work, where the enormous customised 17th century frame constitutes the image as much as does the collage within it, both combining to shape and to question values at the same time. Almost hidden within the edges of this work are important cultural statements, which overturn the normal expectations of historical and Christian imagery. Rashaad has re-cast history by placing black cherubs there, rather than pink dimpled Baroque ones, and a black angel adorns the ethereal realm. The image within the frame of Rapture is made from a three-dimensional photo collage, with fans of feathers and gems, circles and festoons of sparkling jewels and right at the centre, a large domed ruby cabochon like a reliquary from a medieval treasury. One may imagine the mysterious stones recalling or harbouring the remains of something or someone utterly precious.

Architecture is a major theme of the current phase of Rashaad’s work. The frame is also part of the architecture and context. Some works speak of, with and to architecture, but by no means in a conventional way. Golden Arch makes its own quiet subversive comment about attitudes to modernism, formalism and the class associations of architecture. The frame forms a double arcade adorned with chains, jewels, flowers, and with curious ‘green man’ foliate heads in the spandrels. Surely there is a sharp comment inherent in this work about values, about status and about heritage, in that it contains an image of Queensbridge South Houses, a large block of public housing in Long Island City. Its reification here has a certain irony as it represents a complex mixture of ordinary ‘project’ housing and the harbouring of talent, it being a well-known reference point for hip-hop culture since the 80’s.

Wild Magnolia connects to another architectural reference, the former Magnolia Housing Projects of New Orleans. These dated from the early 1940s and were pioneering developments for the black community. They were destroyed by hurricane Katrina in 2005 and the remnants finally demolished two years later, victims to chance, climate change and urban regeneration policy. But this work evokes an idea, a memory, a tribute, it is not literal. It is in fact another hybrid, appearing like a stained glass window through which, or in which, is revealed a modulated pink, blue and purple dream sky, within a frame adorned with exotic flowers.

No 1 Stone of Vigilance again inextricably combining a customised antique frame with its collaged image, like much of Rashaad’s work also references hip-hop culture. The frame is a rich and gaudy display of flowers, like an exotically coloured rose arbour surrounding an image which itself forms another kind of exquisitely jewelled framed setting for the portrait of the rapper Bryan Bird Man Williams. While the subject is entirely contemporary, the image derives its form from a number of sources of great antiquity. Its geometric interlace, surrounding coloured gem patterns and a jewelled monogram, (which reads ‘R&B’ for Rashaad and Bryan) echoes Irish manuscript ‘carpet pages’ from the 7th – 8th century. Through the use of a form that evokes history, the image of the rapper is framed with a kind of reverence and ritual.

Rashaad is a traveller, having spent time in Europe, particularly in France and England. Such monuments which have inspired him, and which feature in a number of ways in his current work, range from the pomp and grandeur of the 18th century Panthéon in Paris, once church, now national monument to the founding intellectuals of the Republic, to the 14th century vaults of Gloucester Cathedral in the UK. Both these architectural works feature in Ballroom Floor.

The formalities and structure of architecture give substance and order to images which in many other ways play with the chance and chaos of colliding worlds.

Patterns, Pathologies and Paradigms references an Islamic textural pattern, creating an image of geometry and serene order which crosses the worlds of two and three dimensional space. Turn Up is more turbulent and plays around with space, time and symbolism. Its frame combines gilding, alligator skin, chains and fur.

The collaged image appears to grow layer upon layer from it, merging with a gold filigree overlay incorporating black cherubs as caryatids. It frames a pattern of coffered and vaulted ceilings receding into depth and apparently stretching up into space beyond, with a gold watch frame centrally revealing Byzantine domes, columns and a mosaic vault. Di sotto in su´, a bricolage of Gothic and Baroque, luxuriously piles on swirls of golden hair, chains and rubies to frame heraldic lion’s heads with their diamond eyes floating in champagne. Arches at its edge create the illusion of depth height and distance, as if we are looking up into a trompe l’oeil sky of leopard-skin.

PATTERNS, PATHOLOGIES AND PARADIGMS, 2014, COLLAGE, 50 x 60 x 3 3/4 IN., 127 x 152.4 x 9.5 CM

Many of Rashaad’s artistic echoes from former eras of art are conscious, and knowing, and rarely are they accidental. His interest in heraldry is well documented, but there is much more here than the formulaic heraldic language of shields and achievements. It gives his work the possibility of structure and ritual, but what he takes from it and turns it into, is playful and subversive. The heraldic cartouche is a favourite form, with the equivalent of the central coat of arms, elaborately surrounded by patterns and layers of complications and curlicues. In terms of historical models one can find equivalent exemplars in frontispiece book plates, or in heraldic jewellery. But in the series Saints and Centers, Rashaad takes the ‘Cartouche’ form to new levels, drawing also from architectural influences. Literally centring the image, he creates a series of symmetrical facial forms, combining limbs, jewellery, hair, fur, Islamic architectural pattern, time-pieces. The halo is a diamond eternity ring in one, a circlet of intertwined amber and gold signet rings in another. The mouths are human, possibly female, lips gawping, parted threateningly, or a little vacuously. The effect is at the same time rich and satisfyingly detailed, formal and absurd, disturbing and funny. The images are a clash of ideas on gender, sex, luxury, resolved into a composition of apparent, but sham rationality and a tinge of horror. They owe a debt to, or form a tribute to, Surrealism: they call to mind Surrealist collages by Hannah Hoch or Man Ray, or even echoes of Salvador Dali with their floating fragmentary body parts. But what is their message as saints? Are they holy or profane, or are they ‘sanctifying’ the profanity of those contemporary values of consumerism? The wilful overturning of centre and periphery, and the production of hybrid forms has so much in common with the tradition of the ‘world turned upside down’ a genre which derived from Classical sources and grew in the Middle Ages as a critique of the secularisiation of the church and which lurks in the shadows, edges and margins of buildings, manuscripts in performance and celebration. Images in this realm are like Rashaad’s hybrid and jovial forms, stitched together from disparate parts, pointing above all to human follies, while at the same time celebrating their beauties. One can imagine these collages existing as insignia, badges of office, as a kind of upside-down heraldry for the modern age.

Ideas of symmetry and the relation of the body to architecture, Rashaad derives from the ultimate Classical source, the Roman architect Vitruvius’s Ten Books on Architecture. In Book III Chapter 1, the proportion of man in a square and a circle is described, the passage which was famously illustrated by Leonardo da Vinci: For if a man be placed flat on his back, with his hands and feet extended, and a pair of compasses centred at his navel, the fingers and toes of his two hands and feet will touch the circumference of a circle described therefrom. And just as the human body yields a circular outline, so too a square figure may be found from it. For if we measure the distance from the soles of the feet to the top of the head, and then apply that measure to the outstretched arms, the breadth will be found to be the same as the height, as in the case of plane surfaces which are perfectly square…….Therefore, since nature has designed the human body so that its members are duly proportioned to the frame as a whole, it appears that the ancients had good reason for their rule, that in perfect buildings the different members must be in exact symmetrical relations to the whole general scheme.1 The Vitruvian principle is eccentrically but accurately explored first in the film Knot, exhibited at the Brooklyn Museum, where gothic rib vaults form the locus for an extraordinary rap performance and sampling of vogue dance, and are echoed by the formal patterns formed by collaged body parts, and then overlaid with fluttering and writhing bodies and animated customised flowers. At the core, a male figure in pink high heels performs a series of demonstrations of the Vitruvian principle within a circular jewelled frame. For the current exhibition, its successor, the film Icon is once again the ultimate fusion of architecture and body, the stillness of structure counter-poised with the frenzy of movement in a much more three-dimensional version than its predecessor. Spectacular ribbed vaults and domes from medieval British and European cathedrals and great public buildings connect the scenes. But layers of the imagery, music, the gyrating movement of transgendered bodies, animates, inverts and subverts the structure and could not be more of a contrast to the holy origins of the domes and netlike vaults which underlie them. These works more than anything presents an echo, even a kind of reawakening, of the carnivalesque aspects of the medieval ‘world turned upside down’, a ritual inversion-subversion of expectations. Ironically the norm inverted in Icon is a pole dance, the epitome of the skilling up of sexualised movement, performed normally for voyeuristic and lascivious male entertainment. But it is turned inside-out here, in settings which evoke order and holiness, there is a tongue-in cheek queering of the genre.

The gilded frame of Deep Waves contains a collage of a cartouche form set against a geometrical pattern of multiplied architectural elements. The collage stands out for its tangled subject matter of luxury: jewellery and bodies crowded in with black flowing hair and black hooded drapery. A glittery dark blue face sticks out its tongue to one side. Female limbs, breast, mouth, emerge from the centre and at the summit is pretty unmistakably, a penis crowned by gold jewels. One of the black draped figures at the bottom, is what might be a stereotypical image of threatening youth, a ‘hoodie’, but with his face replaced by jewels. With his gold-chained body and cupped black hand waving almost mockingly to the viewer, he somehow looks like a warning, and one can read into it deeper meanings about the transience of life, consistent within well-worn traditions of Memento Mori of the late middle ages, or Dutch still life Vanitas images of the 17th century.

Rashaad’s suggestive combination of sex, death and rock and roll can have, overall, a sinister warning edge, to point to the brevity and vanity of life.

While Newsome’s art constructs formal associations governed by pictorial imperatives, such complex juxtaposition of disparate worlds between past and present, near and far, and high and popular culture, does strike a chord with contemporary writings on cultural difference and hybridity. It can work on a number of levels, formally as itself, but also as a way to open up associational thinking about its implications for the way we understand relationships between history and the culture of the present. Homi Bhaba, reflecting in his introduction to The Location of Culture, on an art-work he had just seen, writes of the parallels between the physicality of architecture and its potential to inter-connect spaces, and the symbolism of connectivity and difference culturally, both in terms of binaries, such as between higher and lower, heaven and hell, black and white, and in terms of creating an ‘imaginary of spatial distance which enables us to live beyond the border of our times’.2 In such a way, Rashaad’s work may lead to thoughts about how a series of ideas from afar and from a distant era might have new relevance through their reframing in a present idiom. One might also reflect on the work of Caribbean philosopher Kwame Anthony Appiah, writing about the effects of globalisation in terms of appropriations of habits and practices across and between cultures.3 A custom or a taste, or an object from elsewhere once it assimilates into the local, changes it, but the local remains true to its own character. In that sense, Rashaad is the ultimate global artist in that he draws so much across time and place, creating work that is totally assimilative and yet assuredly part of his own artistic language. He is the exemplary re-coloniser, taking elements from ancient and historic Europe to feed an art which needs to speak equally and genuinely from the perspective of a black artist from New Orleans immersed in hip-hop, dance and film, producing work entirely in a modern city world. ________________________________________________________________________________________________________________________________ 1 Marcus Vitruvius Pollio, De Architectura/ The Ten Books on Architecture, http://www.gutenberg.org/files/20239/20239-h/29239-h.htm#Page_72 2 Homi Bhaba 1994, The Location of Culture, Abingdon, Routledge.

3 Kwame Anthony Appiah, 2008, ‘Cosmopolitan Contamination’ 234-242. in Cultural Politics in a Global Age, ed David Held and Henrietta L. Moore, Oxford, Oneworld Publications 4

TURN UP, 2013, COLLAGE IN CUSTOMIZED ANTIQUE FRAME, 61 x 47 1/2 x 9 1/2 IN., 154.9 x 120.7 x 24.1 CM 5

DEEP WAVES, 2013, COLLAGE IN CUSTOMIZED ANTIQUE FRAME, 53 x 41 x 6 IN., 134.6 x 104.1 x 15.2 CM 6

WILD MAGNOLIA, 2013, COLLAGE IN CUSTOMIZED ANTIQUE FRAME, 72 x 70 x 7 IN., 182.9 x 177.8 x 17.8 CM 7

DI SOTTO IN SÙ, 2014, COLLAGE, 50 x 50 x 4 IN., 127 x 127 x 10.2 CM

BALLROOM FLOOR, 2014, COLLAGE, 50 x 60 x 3 1/4 IN., 127 x 152.4 x 8.3 CM

DOME PIECE, 2013, COLLAGE IN CUSTOMIZED ANTIQUE FRAME, 23 1/2 x 23 1/2 x 5 IN., 59.7 x 59.7 x 12.7 CM 10

RAPTURE, 2013, COLLAGE IN CUSTOMIZED ANTIQUE FRAME, 92 x 83 x 12 IN., 233.7 x 210.8 x 30.5 CM 11

LSS (ALEX MUGLER), 2014, COLLAGE IN CUSTOMIZED ANTIQUE FRAME, 50 1/2 x 58 x 4 IN., 128.3 x 147.3 x 10.2 CM 12

LSS (KEVIN JZ PRODIGY), 2014, COLLAGE IN CUSTOMIZED ANTIQUE FRAME, 50 1/2 x 58 x 4 IN., 128.3 x 147.3 x 10.2 CM 13

HEY PAPI, 2011, COLLAGE IN CUSTOMIZED ANTIQUE FRAME, 41 x 51 1/2 x 6 1/2 IN., 104.1 x 130.8 x 16.5 CM 14

NO 1 STONE OF VIGILANCE, 2013, COLLAGE IN CUSTOMIZED ANTIQUE FRAME, 66 x 56 x 7 1/2 IN., 167.6 x 22 x 19 CM 15

LSS (OMARI MIZRAHI), 2014, COLLAGE IN CUSTOMIZED ANTIQUE FRAME, 50 1/2 x 58 x 4 IN., 128.3 x 147.3 x 10.2 CM 16

LSS (BABY HURRICANE), 2014, COLLAGE IN CUSTOMIZED ANTIQUE FRAME, 50 1/2 x 58 x 4 IN., 128.3 x 147.3 x 10.2 CM 17

SAINTS AND CENTERS 6, 2014, COLLAGE, 30 x 22 x 2 IN., 76.2 x 55.9 x 5 CM 18

SAINTS AND CENTERS 5, 2014, COLLAGE, 26 x 40 x 3 IN., 66 x 101.6 x 7.6 CM 19

SAINTS AND CENTERS 3, 2014, COLLAGE, 30 x 25 1/2 x 3 IN., 76.2 x 64.8 x 7.6 CM 20

SAINTS AND CENTERS 4, 2014, COLLAGE, 30 x 25 1/2 x 3 IN., 76.2 x 64.8 x 7.6 CM 21

SAINTS AND CENTERS 1, 2014, COLLAGE, 22 x 30 IN., 55.9 x 76.2 CM 22

GOLDEN ARCH, 2014, COLLAGE, 50 x 60 x 3 3/4 IN., 127 x 152.4 x 9.5 CM

RASHAAD NEWSOME 1979 2001 2004

Born in New Orleans, Louisiana BFA, Tulane University, New Orleans, Louisiana Studied Film at Film/Video Arts Inc., New York, New York

The artist lives and works in New York, New York.

SELECTED AWARDS 2011 2010

2009

2008

2007 2006

Award, Louis Comfort Tiffany Foundation, New York, New York Visual/Interdisciplinary Arts fellow, Urban Artist Initiative, New York, New York Artist Grant, The Urban Artist Initiative, New York, New York Visual Arts Grant, Rema Hort Mann Foundation, New York, New York BAC Community Arts Regrant, Brooklyn Arts Council, Brooklyn, New York SVA/LMCC Visiting Artist Award, School of Visual Arts, New York, New York Lower Manhattan Cultural Council’s Workspace Artist Residency Joint Multimedia Residency, BCAT/Rotunda Gallery, New York, New York Franklin Furnace Grant for Performance Art, Franklin Furnace Fund, New York, New York

SOLO EXHIBITIONS 2015 Art Gallery of York University, Toronto, Canada (forthcoming)

Savannah College of Art and Design, Savannah, Georgia (forthcoming)

FIVE, The Drawing Center, New York, New York 2013 Score, Gallerie Henrik Springmann, Berlin, Germany

The Armory Show, Marlborough Chelsea, New York, New York

Rashaad Newsome: King of Arms, The New Orleans Museum of Art, New Orleans, Louisiana 2012 Converge, McColl Center for Visual Art, Charlotte, North Carolina 2011 Shade Compositions, Galerie Stadtpark, Krems, Austria

Rashaad Newsome: Herald, Marlborough Chelsea, New York,

New York

Rashaad Newsome/MATRIX 161, The Wadsworth Atheneum Museum of Art,

Hartford, Connecticut 2010 Rashaad Newsome: Videos and Performance 2005-2010, Syracuse University Art

Galleries, Syracuse University, Syracuse, New York

Honorable Ordinaries, Ramis Barquet Gallery, New York,

New York

Futuro, ar/ge Kunst Galerie Museum, Bolzano, Italy 2009 Rashaad Newsome: Standards, Ramis Barquet Gallery, New York, New York 2008 Untitled (Banji Cunt), Talman + Monroe, Brooklyn, New York

Compositions, Location1, New York, New York

SELECTED GROUP EXHIBITIONS AND BIENNIALS 2014

2013

2012

2011

24

Killer Heels, Brooklyn Museum, New York, New York BLACK EYE, New York, New York The Concept of Baroque in Contemporary Art, curated by Dr. Sabine Maria Schmidt, Gallerie Henrik Springmann, Berlin, Germany In God We Trust — The Religious Mosaic in America, Zacheta National Gallery of Art in Warsaw, Poland GODDESS CLAP: HIP HOP FEMINISM IN ART (curated by Katie Cercone), Cue Art Foundation, New York, New York Tectonic- 24 International Artists in Dubai, The Moving Museum, Dubai, United Arab Emirates Stage Presence: Threatricality in Art and Media, SFMoMA, San Francisco, California It’s Time to Dance Now, Centre national d’Art et de Culture Georges Pompidou, Paris, France Sound Quality, Grey Area, New York, New York Revel, Revel, Cave, Detroit, Michigan Beauty Contest, Austrian Cultural Forum New York, New York, New York; traveled to MUSA, Vienna, Austria Commercial Break, Garage Center for Contemporary Culture at the 54th Venice Biennale, Venice, Italy

2010

2009

2008 2007

2006

2005 2004 2003 2000

Prospect 1.5, Good Children Gallery, New Orleans, Louisiana Free, The New Museum of Contemporary Art, New York, New York Word-Less, The Elizabeth Foundation For The Arts, New York, New York Greater New York, MoMA PS1, Queens, New York Whitney Biennial, Whitney Museum of American Art, New York, New York After Image, School 33 Art Center, Baltimore, Maryland Art Hysteria, Nicola Vassell Salon, New York, New York That Was Then..., Rush Arts Gallery, New York, New York East Coast Video, Ramis Barquet Gallery, New York, New York After Dark, A.D. Projects, New York, New York Stage II, The Project Gallery, New York, New York The B Sides, Aljira Center For Contemporary Art, Newark, New Jersey We Are Familia, Colette, Paris, France New York Electronic Arts Festival, Lower Manhattan Cultural Council Swing Space Program, New York, New York Beauty Shop, Soul Gallery, Miami, Florida Video Dumbo, DUMBO Arts Center, Brooklyn, New York Believe, Rush Arts Gallery, New York, New York Brother To Brother, Zero Station, Portland, Maine A TV, Rush Arts Gallery, New York, New York Live Fast Die Young, DUMBA Arts Collective, Brooklyn, New York Summer Salon, DUMBA Arts Collective, Brooklyn, New York New Orleans Emerging Artists, Zeitgeist Multidisciplinary Arts Center, New Orleans, Louisiana

PUBLIC COMMISSIONS 2014 Shade Compositions Graz, Steirischer herbst Festival, Graz, Austria (forthcoming) 2012 MTV Art Breaks, Rashaad Newsome SWAG the Mixtape Vol.2, New York, New York 2010 Status Symbols #22, Collage, Atlantic Records, New York, New York 2009 Shade Compositions 2009, Performance, Lower Manhattan Cultural Council

Downtown Dinner at 7 World Trade Center, New York, New York

LIVE PERFORMANCES 2014 FIVE, The Drawing Center, New York, New York 2012 Shade Compositions, San Francisco Museum of Modern Art, San Francisco, California

FIVE, Feast Projects, Hong Kong, China 2011 FIVE, Institute of Contemporary Art, Boston, Massachusetts

Hair Affair, ArtBook/D.A.P., New York, New York

Hair Affair and FIVE, Miami Art Museum, Miami, Florida

The Tournament, in conjunction with Performa 11, Marlborough Chelsea, New

York, New York 2010 Honorable Ordinaries, Under The High Line, New York, New York

Shade Compositions, Greater New York, MoMA PS1, Queens, New York

Shade Compositions, First International Performance Art Festival, Garage Center

for Contemporary Culture, Moscow, Russia

FIVE, Whitney Museum of American Art, New York, New York 2009 FIVE, Eyebeam, New York, New York

Shade Compositions, The Kitchen, New York, New York 2008 Shade Compositions, Location One, New York, New York 2007 Shade Compositions, Dumbo Arts Center, Under The Bridge Festival, Brooklyn,

New York 2006 International Electroacoustic Music Festival, Brooklyn College, Brooklyn, New York

Shade Compositions, K.U.E.L., Berlin, Germany

Shade Compositions, Glassbox, Paris, France

PUBLIC COLLECTIONS Brooklyn Museum, Brooklyn, New York San Francisco Museum of Modern Art, San Francisco, California Whitney Museum of American Art, New York, New York

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//

Important Works available by: Twentieth-Century European Masters; Post-War American Artists D E S I G N / Dan McCann P H O T O G R A P H Y / Bill Orcutt E D I T I O N O F 1 2 0 0 P R I N T E D I N N E W YO R K B Y P R O J E C T

© 2014 Marlborough Gallery, Inc. ISBN 978-0-89797-477-6

COVER IMAGE: SAINTS AND CENTERS 2, 2014, COLLAGE, 30 x 22

IN.,

76.2 x 55.9 CM

R AS H AA D N E WS O M E L. EGENDS S. TATEMENTS S. TARS

DECEMBER 9, 2014 - JANUARY 3, 2015

4 0 W E S T 57 T H S T R E E T | N E W YO R K 1 0 0 1 9 | 2 1 2 - 5 4 1 - 4 9 0 0 | M A R L B O R O U G H G A L L E R Y.C O M