Madison Museum of Contemporary Art (MMoCA) Triennial submission

So, yeah, I just did my submission of the MMoCA Triennial submission, and I’m kinda freaking out.

…yes, I do realize that I freak out–internet-publicly via void-screaming–most of the time.  Sorry-not-sorry.

It’s a thing; I’ll stop someday.

Maybe.

Who am I kidding?

So–whatever–submission.  This is what I submitted.  Now with headcanon!

spindle’s work, Zellandine’s denouement: Echo
2012
copper wire, plastic-coated electronics wire, jewelry wire, silk and stainless steel yarn
Katrina (‘Trie) Blasingame

heacanon:  Utilizing Tuttle’s idea of “shadow sketches,” Echo doubles the mythological figure of Echo and the visual culture character Echo from Dollhouse to bring the idea of shadow-selves forward and to emphasize the myriad of selves that we each have and (re)present depending upon time, place, and circumstance that come from that same central place of self no matter the societal or cultural impositions.

spindle’s work, Zellandine’s denouement: fairy forest
2012
handspun yarn, fairylights
Katrina (‘Trie) Blasingame

headcanon:  Fairytales are always about that which is seen and unseen, that which can become manifest with just the right circumstance, just the right nudge.  fairy forest works with that idea and illustrates it through the change that the piece undertakes via the absence and presence of light, both exterior and interior.

spindle’s work, Zellandine’s denouement: The Wolf-Prince
2012
handspun yarn, plastic-coated electronics wire, copper
Katrina (‘Trie) Blasingame

headcanon:  The Wolf-Prince references the ubiquitous “wolf” (i.e., beast-form) characters in fairytales as well as placing the idea of idealized “prince” into question.  Additionally, The Wolf-Prince references a number of characters from visual culture:  Oz from Buffy the Vampire Slayer, Rory from Doctor Who, Derek Hale from Teen Wolf, anything and everything from Game of Thrones, and so on.  By referencing these vastly different characters in difference ways, the paradigm of the beast and the prince is problematized.

spindle’s work, Zellandine’s denouement: The Ur-Prince
2012
plastic-coated electronics wire, copper wire
Katrina (‘Trie) Blasingame

 

headcanon:  Anthropologically, “Ur” is used as an indication of “original” or “primordial;” additionally, Ur was also the first city of Sumeria.  The Ur-Prince draws upon this ideas, these references, to negotiate the ubiquity of the prince-figure in fairytales and how the prince is largely an incidental figure whose agency wears ruts in the surface of the tale, yet in the decision to represent the prince as useless, purely ornamental armor, there is hope and shadowing of the new “princes” who have begun to crop up via (post)post-modern fairytales like Once Upon a Time and Grimm.

spindle’s work, Zellandine’s denouement: Kore-Persephone
2012
handspun yarn, plastic-coated electronics wire, copper wire, copper
Katrina (‘Trie) Blasingame

 

headcanon:  For me, the story of Kore-Persephone is the origin site of all fairytales, is the discursive space in which we can see how all the strength of the feminine was appropriated, changed, and buried by the assertion of masculine whims:  Persephone’s original Minion ferocity subsumed and subordinated by Doric invasion and assimilation.  The story of Kore-Persephone, as we know it now, is the story of most fairytales with its juxtaposition of opposites that really aren’t opposites and transformations that really aren’t transformations:  death stealing life and life changing death; shy maiden to powerful queen; cruelty begetting mercy; the conquered becoming the conqueror.

Yep.  That was my submission.  What do y’all think?

Courage.

so, I had a post…

A good post.  Smart.  Carefully laid out.  But I got weather sitting on my head all day causing a migraine–cause it could, don’t ya know–and there went-eth the post.

 

/bad Spike paraphrase  <–‘ Cause, occasionally, Wikipedia doesn’t make me crazy.

 

Another day; another billion things in my head.

 

The post was going to be this entire story about a conversation at the ARTgarage about what the next juried show should have as its theme/required element.

 

Which ended up being tossed about as taxidermy or, at least, bones.

 

Who knows if that’s going the be the thing (I think it highly unlikely), but it’d be awesome if it were.

 

And all of this made remember an artist that I had seen on Craftzine, and that was going to be the point of the post.

 

I think I’m going to save it for later this week, but that’s what I’m going to talk about:  taxidermy as fine art.

 

A kinda gothic homage to Joseph Cornell.

 

I have also been busy; I was invited to take a silk painting class last Sunday (the results of which will be posted soon–probably still in process), and I’m taking a bag sewing class tomorrow (did y’all see my first sewing machine sewn seams over on my Facebook artist page?).

 

I didn’t want to leave y’all hanging.

 

So, yeah, things and things and other things entirely (like job interviews).

 

Real and true post on Thursday.

 

Courage.

…part 2 of music video analysis craziness, or happy Filler Bunny of doooooooooooooom

So, the title says it all. I’m not certain if anyone’s really interested in it, but, ya know, shaaaaaaaaaring like they taught us to do in kindergarten.

 

Bjork. “All is Full of Love”. Homogenic. Elektra Records/EEG, 1997. Music Video. Dir. Chris Cunningham. VH1. 20 Sept 2008.

 

Although Bjork’s “All is Full of Love” is visually connected to the 2004 film I, Robot, director Chris Cunningham is more concerned with beauty, revulsion, and transformation. Cunningham, a video artist who has created video art pieces for a variety of musicians as well as movies likeAlien 3, exhibits a preoccupation in his work for sexuality and the erotic while simultaneously seeming to comment on the coldness of the modern, industrialized world, narcissism, the posthuman, and, possibly, the impersonal intimacy inundating contemporary society with its increasing dependence on the internet for socialization.

 

 

Fall Out Boy. “A Little Too Sixteen Candles, a Little Less ‘Touch Me'”. From Under the Cork Tree. Island, 2005. Music Video. Dir. Alan Ferguson. VH1. 20 Sept 2008.

 

Alan Ferguson, director of Fall Out Boy’s “A Little Too Sixteen Candles, a Little Less ‘Touch Me‘”, creates a postmodern pastiche of teen movies, vampire mythoi, and pop music which begins with “credits” reminiscent of 40s and 50s horror movies like The Blob and Hammer Film‘s Dracula with a direct visual quoting from the 80s vampire film The Lost Boys whose title references Peter Pan’s band of followers. The video, more of a mini-film than a traditional music video, continues to reference vampire movies and TV shows such as Monster Squad, theBlade movies and series, and Buffy the Vampire Slayer, particularly the Wishverse created in “The Wish” (3.9). In addition to the variety of vampire texts available in this video, there are also visual references to A Clockwork Orange while members from other bands appear as characters.

 

 

Fatboy Slim. “Weapon of Choice”. Halfway Between the Gutter and the Stars. Astralwerks, 2000. Music Video. Dir. Spike Jonze. VH1. 20 Sept 2008.

 

Prolific director, producer, and writer Spike Jonze was the mastermind behind Fatboy Slim’s “Weapon of Choice” featuring actor Christopher Walken. Although recognizable due to the breadth of his acting career, Walken is most commonly known for his portrayal of mentally unbalanced characters such as Johnny in the film adaptation of Stephen King’s Dead Zone and the angel Gabriel in the Prophecy series. Yet this characterization is misleading because Walken began his career off-Broadway in musicals. Walken’s background in dance and musicals was used to choreograph “Weapon of Choice” to aid in the creation of a postmodern pastiche that ranges in references from Fred Astaire to the stage and the proscenium screen (4th wall) to silent film comedy and silent film as a purely visual medium to Frank Herbert’s Dune.