MICHELLE HANDELMAN THESE UNRULY AND UNGOVERNABLE SELVES - MMOCA IMPRINT GALLERY APRIL 24 - AUGUST 15, 2021
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
MICHELLE HANDELMAN THESE UNRULY AND UNGOVERNABLE SELVES MMoCA IMPRINT GALLERY APRIL 24 - AUGUST 15, 2021
MICHELLE HANDELMAN THESE UNRULY AND UNGOVERNABLE SELVES
8 DARK MATTER
Emily Goretski
20 THE PANDEMIC SERIES:
IDENTITY IN ISOLATON
Clare Dowd
28 DISCOMFORT:
A QUEER EXPRESSION
Micaiah Severe
36 ACKNOWLEDGEMENTS
DARK MATTER
Emily Goretski
As your vision adjusts to the death itself? The mysterious
enveloping blackness of the visage acts as a threshold—a
gallery, a haunting image of doorway leading into Michelle
two eyes slowly materializes Handelman’s world.
on the wall in front of you.
After squinting, you recognize The exhibition Michelle
the eyes as human. But they Handelman: These Unruly
are static, unblinking, and and Ungovernable Selves
eerily artificial. The longer you includes Candyland (2000)
stare, the more you question and Irma Vep, The Last Breath
your intuition. Uncertainty (2013), in addition to a virtual
and discomfort escalate until presentation of The Pandemic
you’re jolted by the realization Series, the artist’s new video
that the dark pupils staring trilogy comprised of These
back at you are painted onto Unruly and Ungovernable
the eyelids of the stranger, Selves (2020), Solitude is
possibly postmortem. an Artifact of the Struggle
Against Oppression (2020),
Soft, billowy eyelashes frame and Claiming the Liminal
the colorless irises, dominating Space (2021). Taken together,
Irma Vep, The Last Breath (production
the face with their dramatic this exhibition touches on still) 2013/2015, HD video installation
artifice and exaggerated themes central to Handelman’s and otherwise stigmatized with sound, 33:13 min
scale. Your body tenses with artistic practice and invites topics.
uneasiness, but curiosity viewers to engage in a shared cover and previous spread, Irma Vep,
The Last Breath (production still)
takes over. What can they discourse about identity, The themes addressed in this 2013/2015, HD video installation with
see through closed eyes? Is sexuality, morality, discomfort, publication are inspired by sound, 33:13 min
this supernatural image a and death. The following Michelle Handelman, a New
symbol of self-reflection, compilation of essays sheds York-based artist whose work
a representation of the light on the ways in which in photography, video, and
transcendent third eye, or Handelman, through her art, live performance spans
are we being called to face addresses these often avoided several decades. Expertly
9
the world around us and the the complicated terrain of
human condition. sexuality and queerness.”
Handelman has also
Handelman employs a creative maintained a collaborative
use of various mediums to practice throughout her
create confrontational art career, working closely with
that pushes against the other creatives to provide
boundaries of gender, race, a platform that encourages
and sexuality. Her style is freedom of expression and
characterized by lush colors, storytelling on countless
sensual imagery, and futuristic levels. She has worked with
and fetish elements, all of such queer legends as
Irma Vep, The Last Breath (production which come together to Zackary Drucker, Mother BloodSisters: Leather, Dykes and
still) 2013/2015, HD video installation Sadomasochism (production still)
with sound, 33:13 min, photograph by
articulate a radically feminist Flawless Sabrina, John Kelly, 1995, Hi-8 video, 69:00 minutes
Laure Leber body of work. Her pieces Shannon Funchess, and Viva
explore ways of looking at the Ruiz.
forbidden, revealing the dark Lesbian, Gay and Bi Equal
combining striking visuals and subconscious layers of Rights and Liberation, the
with emotionally resonant outsider agency, and HUSTLERS OF THE WORLD San Francisco International
characters, Handelman challenging societal norms Ms. Leather Pageant, and
is known for creating EARLY WORK
and individual comfort. the New York City Pride
confrontational art that pushes Functioning as an expression Handelman’s career began in March. The piece served
against the boundaries of of the artist herself, San Francisco, where she set as an alternative archive
gender, race, and sexuality. Handelman’s work has the tone for her early works that could be used to raise
Writing about her practice evolved in concert with her with the documentary awareness and spark more
in Filmmaker Magazine, she own creative progressions. BloodSisters: Leather, Dykes complex conversations about
stated her artistic intention Her themes, nevertheless, and Sadomasochism (1995). private and public elements
is to deal with “transgressive have remained consistent. This piece amplified the of sexuality, trans identity, and
material on the margins of In a Filmmaker Magazine ostracized but dynamic gender fluidity. In Filmmaker
social acceptability.” Indeed, article, Handelman noted, lesbian BDSM and leather Magazine, Handelman said,
her videos command attention “Over the years, my work scene in San Francisco in the “It represented a fierce group
and catalyze feelings of has shifted from single- mid-1990’s. The film gave of feminists whose stories
intrigue, discomfort, and channel experimental films, to an overview of relevant were being presented on
deep reflection. The subjects documentary, to performance, terminology and followed screen for the first time,
exemplified in her work are to large-scale multichannel self-identifying leatherdykes and for that reason, it was
paramount as tools for installations, but the content as they marched in the 1993 important.” Bloodsisters
understanding and challenging remains the same—exploring March on Washington for was an influential piece that
11
sparked controversy and SEXUALITY AND (IM)MORTALITY question their assumptions no less importance now than
uncovered the captivating ARTISTIC THEMES about the world and each they were then. Handelman’s
history and reality of a largely other. activism shines through
misunderstood community. The works included in the her work because it is an
The film brought her exhibition demonstrate the Many of the themes present essential component that is
attention, and Handelman many ways Handelman’s work in Handelman’s work are built into who she is as an
further describes that she has evolved over time—from born from her connection artist and a person. She
found herself on the receiving her own performance in to people who suffered (or continues to forge her own
end of journalists’ questions Candyland, to her direction who continue to suffer) in the path in both the film and art
like, “What are you? What of Irma Vep, The Last Breath, ongoing HIV/AIDS crisis, and worlds, confronting harmful
should I call you? Are you an and the recent recutting and to individuals who society taboos that permeate society
artist, a filmmaker, or a writer? recontextualization of her attempts to silence. By giving and suppress growth. In an
Do you make documentary other works in These Unruly space and power to these interview with The Broad
or experimental? I need a and Ungovernable Selves, underrepresented stories, the
label to give to my editor!” Solitude is an Artifact of the artist actively broadens our
But Handelman identified Struggle Against Oppression, collective understanding of
as a poly-hyphenate, an and Claiming the Liminal what it means to be human.
outsider, a multidisciplinary Space. These pieces all This philosophy is often
artist, filmmaker and writer delve into essential motifs tied to one’s understanding
who would not be confined that explore and challenge of their self or identity - a
to one label, one method, how the viewer understands theme Handelman wields in
and so many rules. Her work identity, sexuality, and death. harmony with the discomfort
truly defies categorization; Much like a compelling of introspection as well as the
she continues, “I was fighting debate that prompts deeper experience of identifying as
for representation, having to contemplation, Handelman’s queer. Handelman stated in an
consistently define who I was.” art offers a counter- interview with BOMB
Bloodsisters is a particularly argument to traditional views magazine that her work
important film to reference surrounding sexuality and “...acknowledges the
because it helped to launch the human condition. In an importance of struggle, the
the trajectory of Handelman’s interview for the University belief that change that’s
future work, a selection of of Washington’s Henry Art worthwhile must be hard-
which is presented in the Gallery, she asserted, “... it’s won and can happen within
exhibition that accompanies my job to problematize the one’s lifetime—if you’re lucky.”
this publication. hetero-normative position Indeed the conversations
… to voice what I believe surrounding queer identity Irma Vep, The Last Breath (production
still) 2013/2015, HD video installation
is ‘unsayable.’” In doing so, and rights have changed over with sound, 33:13 min, photograph by
she challenges viewers to the past 30 years, but are of Laure Leber
13
Museum, Handelman noted her therapist broach topics We’re all transcendental struggles with morality and
that, “Society and religion like the thrill of terrorizing the beings, aren’t we? I mean this “...unresolved questions of
enforce the taboo to keep upper class, redistribution body is just a shell, a carcass. identity…”, two hallmarks in
people from achieving their of wealth, the detriment of Handelman’s work. Shadows
own personal zenith. Taboos consumerist culture, and But it’s Handelman’s and darkness permeate the
are just a form of control.” the multi-layered identities provocation as well. She film, lending to the disquiet
and desires that exist is asking us to expand our apparent within Irma’s
simultaneously within a understanding of the self, and subconscious. Later in the
IRMA VEP person. The viewer gets the to recognize her art as an piece we observe an older
opportunity to listen to Irma extension of her self. The idea version of Irma living alone,
INTERVIEW WITH A VAMP
speak honestly and directly of transcendence involves working in the box office
A poignant example of from her perspective as going beyond or relating to at a movie theater. This is
Handelman’s themes she references criminality, a nonphysical realm. This an homage to the actress
coalescing is delivered through validation, relationships, and state could be achieved by who originally played Irma
her short film, IrmaVep, The vulnerability—issues to which transcending one’s past, one’s Vep in the 1915 French silent
Last Breath. An anagram for Handelman has personal fears, the opinions of others, film Les Vampires, Jeanne
Vampire, Irma Vep delves connections. In an interview or societal stigmas and Roques, professionally
into the psyche of the titular published in Rhizome, dichotomies. People who known as Musidora. In the
character, revolving around Handelman acknowledged, reach this pinnacle of being later years of her life she
a conversation between Irma “as I started to work on the are mystical, spatial, self- sold tickets to the films she
and an anonymous therapist project and dig deeper … I aware, and innately connected had starred in without ever
(voiced by Handelman really tried to figure out why to others, nature, and the being recognized. When
herself) that shares space I was so attracted to her … universe. As Irma explains, Handelman’s Irmas finally
with the voyeuristic audience. I realized it was because meet, their deafening silence
Psychotherapy is a form of in a way, I was Irma Vep.” The inside of my soul is dark fuels the film’s turbulent
conversation that gives Additionally, Handelman has matter...it’s imperceptible. climax. Her true identity is
meaning to and seeks to said, “We all live undercover to finally revealed in a revelry
analyze a person’s thoughts, some degree, but some of us In a Henry Art Gallery of self acceptance in violent
feelings, and behaviors. The are doing it more consciously.” interview, Handelman delights. The film closes with
audience bears witness to This artistic symbolism and expressed her interest in Mother Flawless Sabrina
the catsuit-clad Irma as character bonding can be fictional characters existing serenading the audience in
she sits and sprawls on a expressed through the idea outside of their “narrative French. Handelman shared
glowing white leather couch, that we are more than our text”, which drives the candor in the Henry Art Gallery
slinks across rooftops, and physical selves. This concept of Irma’s introspection interview that the performers’
eventually reconnects with a is further explored In the piece and pulls the audience “...life experiences are integral
manifestation of her future self. when Irma asks, uncomfortably close to the to the project.” Zackary
In just 36 minutes, Irma and leather-clad jewel thief. Irma Drucker is a trans woman and
15
impending darkness, anxiety, pouring out of my own
and uncertainty. Moments of existential questioning.
auditory respite allow time Working from a place of pain
for reflection and curiosity for and pleasure. I don’t feel I’ve
what might come next. resolved anything, I just keep
getting deeper and unlocking,
revealing that which resides
under the surface.” Self-
FIN
reflection is a tool meant
As you sit with these for both the creator and the
selections from Michelle observer. In this exhibition,
Handelman’s body of work, Handelman skillfully guides
take time to recognize the us in thinking about critically
thoughts and emotions important but challenging
they bring to the surface, contemporary issues, opening
contemplate the conversations up space for conversations to
being had by the characters take place that we might not
installation view, Michelle Handelman:
within the pieces, as well otherwise risk having.
These Unruly and Ungovernable Selves as the conversations
Handelman initiates with her
SOURCES
audience through the lens
Flawless Sabrina was an iconic Many of Handelman’s videos of her camera. What is the Handelman, Michelle. “Irma Vep, The Last Breath
drag queen. Both are queer are multi-channel, immersive significance of shadows, (Single-Channel Version).” Vimeo, 6 July 2014, vimeo.
com/100071607.
activists and performers who experiences that are designed color, light, sound, and
Handelman, Michelle. “Letter From an Unknown
experienced living undercover, to surround and engage the surfaces? How might they Filmmaker.” Filmmaker Magazine, 8 Mar. 2018,
filmmakermagazine.com/104931-letter-from-an-
and they exemplify the voices viewer on an atmospheric symbolize and personify unknown-filmmaker/.
that Handelman’s work seeks level. In Irma Vep, the themes of identity, sexuality, Harris, Jane Ursula. “A Surreptitious Form of Activism:
to amplify. In a studio visit synthesis of inherently dark morality, discomfort, and Michelle Handelman Interviewed by Jane Ursula Harris
- BOMB Magazine.” A Surreptitious Form of Activism:
with UW-Madison students, but intentionally illuminated death? What can a character’s Michelle Handelman Interviewed - BOMB Magazine,
24 Aug. 2020, bombmagazine.org/articles/michelle-
Handelman shared that much visuals and suspenseful dialog reveal about the handelman-interviewed/.
of Drucker’s dialogue was atmospheric sounds creates artist’s own life? In a Rhizome Stermitz, Evelin. “This Delicate Monster Becomes Irma
improvised and came a cinematic experience in interview Handelman said, Vep: An Interview with Michelle Handelman.” Rhizome,
Dec. 2013, rhizome.org/community/45102/.
extemporaneously from which the viewer immediately “Conceptually it’s always been Handelman, Michelle. Interview. Conducted by the
her own experiences and becomes part of the world about sex and death. From Henry Art Gallery, Seattle, WA. 2015
using her vernacular. she’s created. The driving, the beginning I’ve made work Handelman, Michelle and Michael Michael Rush.
Michelle Handelman’s Irma Vep, The Last Breath. Broad
echoing tones elicit feelings of that’s highly personal, a Art Museum, Lansing, MI 2013.
17
THE PANDEMIC SERIES:
IDENTITY IN ISOLATON
Clare Dowd
Michelle Handelman’s The Last Breath is inspired
Pandemic Series reworks by the classic French film
previous video art and series Les Vampires, and
installations – Dorian, A reinterprets Vep’s criminal
Cinematic Perfume (2009/12), persona, showing her in
Irma Vep, The Last Breath conversation with her
(2013/15) and Hustlers & therapist, discussing
Empires (2018/20) – to create everything from relationships.
new video for the conditions to female identity, self-
of quarantine. Much of esteem, and perception by
Handelman’s focus on identity others. Finally, Handelman’s
carries over in this new series Hustlers & Empires follows
in which she investigates characters based on Iceberg
unexplored narratives driven Slim’s Pimp (1967), Marguerite
by the pandemic. Duras’s The Lover (1984),
and Federico Fellini’s Toby
A core theme in Handelman’s Dammit, who according
original work is the portrayal to Handelman “each find
of characters grappling themselves pushed out of
with their identity. Dorian, A their own game and forced
Cinematic Perfume is based back to confront what their
on the novel The Picture of lives have become” while
Dorian Gray by Oscar Wilde. considering “how identity
The classic story narrates a is formed in resistance to
man’s struggle with his own oppressive forces.”
image and identity; in
Handelman’s version, the These Unruly and
main character faces similar Ungovernable Selves, the first
struggles, confronting of three works in Handelman’s
These Unruly and Ungovernable Selves (production still), 2020 from The Pandemic increasingly grotesque Pandemic Series, begins with
Series, single-channel video with sound, 6:00 min circumstances. Irma Vep, two flashing texts: states of
previous spread, Solitude is an Artifact of the Struggle Against Oppression
(production still) 2020, from The Pandemic Series, single-channel video with 21
sound, 4:00 minseparation and boredom is a thought during a pandemic new development for The
harrowing path, followed by when many things are Pandemic Series. Handelman
an intense montage of shifting and changing offers context for these blunt
images. Emphasizing the completely out of our control. and often confrontational
audience’s isolation through Following a glimpse of statements and questions in a
these stark statements on Irma Vep in her sleek, black 2013 interview with Rhizome,
a black background, we are costume, the phrase traumatic “There are things that cannot
primed for emotive revelations time works its own line flashes be expressed through words,
and contemplation in a time on the screen. The phrase and there are things that can
of isolation. The question is relates to Vep’s therapy only be expressed through
vulnerability the same as sessions, taking on a new words. It all depends on what These Unruly and Ungovernable Selves
intimacy appears on the meaning in the context of part of the brain I want to (production still), 2020 (Pandemic
screen over a video clip of isolation, referencing how access.” Series), single-channel video with
sound, 6:00 min
someone removing Dorian’s it takes time to overcome
false eyelashes. This question trauma and how this timeline Michelle Handelman’s
invites the audience to may not be linear, but filled Pandemic Series examines
think about how identity is with loops and doubling how being alone and isolated
inherently connected to other back. The text daring to enter can affect the formation of
people and their perceptions. the realm of the unknown and relationship with one’s
Another phrase Handelman appears after a clip of the identity, and gives viewers
employs is fear of evolution, hustlers passed out; this could space to contemplate what
an especially poignant be a reference to how when changes they may have gone
stripped of everything you through over the course of
know, you must search the pandemic.
uncharted territory within.
SOURCES
Solitude is an Artifact of the
Struggle Against Oppression, Baker, Vincent. “Hustlers & Empires 2017.” Michelle
Handelman, www.michellehandelman.com/
the next piece in The performance/hustlers-empires.
Pandemic Series, features Handelman, Michelle. “These Unruly and Ungovernable
“The Actor” from Hustlers Selves, 2020 (Pandemic Series).” Vimeo, 19 Apr. 2021,
https://vimeo.com/430460794.
& Empires. The black and
Handelman, Michelle. Solitude is an Artifact of the
white video, focused on Struggle Against Oppression, 2020 (Pandemic
Series).” Vimeo, 19 Apr. 2021, https://vimeo.
solitude, encourages us to com/446868362.
These Unruly and Ungovernable Selves read the fuck out of this Stermitz, Evelin. “This Delicate Monster Becomes Irma
(production still), 2020, from The
moment and claim the liminal Vep: An Interview with Michelle Handelman.” Rhizome,
Pandemic Series, single-channel video 11 Dec. 2013, https://rhizome.org/community/45102/.
with sound, 6:00 min space. This use of text is a Handelman, Michelle. Interview. Conducted by the
Henry Art Gallery, Seattle, WA. 2015
23DISCOMFORT:
A QUEER EXPRESSION
Micaiah Severe
Michelle Handelman produced that is exterior to typical
Candyland in 2019 as part of queer images, but that still
her larger Cannibal Gardens work against a normative and
series (1998-2000), a body straight narrative. Handelman
of work that examines, in the crawling on all fours and
artist’s words, “constructed consuming the crystals
identity as it mutates through without using her hands,
digital space … In an act of for example, is animalistic
autoeroticism, contamination in nature. Combining
is contained within the lens.” animalistic expression with
Candyland begins with a queer expression opens up
nude performer, wearing a conversation about queer
only a blue wig, crawling sexuality while also resisting
across the floor towards a the standard definitions on
pile of colorful crystals. With which many conversations
saliva dripping from her about identity and queerness
mouth and onto the floor, rely. Handelman’s approach
she consumes the crystals to exploring queerness recalls
without restraint—a display the work of artist Juliana
of autoerotic self-indulgence. Huxtable. In her photographic
Candyland (production still), 1998-
The performer is Handelman series titled ZOOSEXUALITY 2000 from the Cannibal Garden Se-
herself. Through her (2019), Huxtable presented perception of queer identities ries, single-channel video, 5:36 min
performance for the camera, images of “furries” and as being so different that
previous spread, These Unruly and
she intimately engages in the trans-speciesism to discuss they are unnatural or Ungovernable Selves (production
construction of an identity what she calls an “anarchy of incomprehensible. still), 2020 from The Pandemic
using identifiably queer- identity.” By embracing and Series, single-channel video with
coded images. For example, celebrating “the outrageous” The experience Handelman sound, 6:00 min
the inclusion of her blue wig in their depictions of creates in Candyland
introduces a campy aesthetic queerness, both Handelman is intensely visual and
associated with drag. She and Huxtable challenge psychological, driven
also incorporates imagery the straight, normative by themes of desire and
25discomfort is an essential people’s attitudes have since
tool for communicating with shifted, the apprehension
her audiences because it is a that still exists in many
feeling that implores viewers corners of society continues
to engage in self-inquiry. She to thwart more open and
wants viewers to investigate honest conversations about
why they are uncomfortable the full spectrum of sex and
by the film and where that sexuality. BloodSisters reveals
discomfort manifests itself in an important part of Michelle
their own experiences. Handelman’s practice:
confronting societal aversions
BloodSisters: Leather Dykes to the sexual by creating an
Candyland (production still), 1998- and Sadomasochism (1995) open space for the discussion Candyland (production still), 1998-
2000 from the Cannibal Garden 2000 from the Cannibal Gardens
offers another example of of taboo and specifically
Series, single-channel video, 5:36 min Series, single-channel video, 5:36 min
how Handelman confronts queer issues.
our society’s uneasiness with
consumption that are sexuality, particularly queer The discomfort surrounding the performer’s apparent
intentionally mobilized to sexuality, by broadening queerness often stems from consumption of crystals—
discomfort the viewer. The discussions around private the misperception that sexual cannot be excluded from
soundtrack for the piece, expressions of eroticism and difference does not belong queer sexual interpretation.
for example, is repetitive their political implications. The in society—that this type of Even as a viewer, or perhaps
and chant-like, conjuring documentary film focuses on difference should be hidden more appropriately as a
associations with an unfamiliar self-identified “leatherdykes” or overlooked and feared. In voyeur, watching Candyland
sexual ritual. The placement of who in the mid 1990s were part, this fear is derived from can be interpreted as a queer
the camera on the floor and active in San Francisco’s the link between queerness sexual act. This implication
the circular lens reminiscent BDSM scene. When the film and desires in excess of is at the root of what can
of a peephole add voyeuristic was released, the leather procreative and reproductive make a viewer uncomfortable.
implications to the film. subculture it documented imperatives. In Candyland, Candyland immerses and
Handelman’s performance in was a completely taboo Handelman’s consumption infiltrates the viewer, and
the film is also unsettling— topic, as demonstrated by of the brightly colored it forces questions about
from the animalistic way she the controversy the project crystals offers a parallel where desire comes from
crawls across the floor, to her drew from many groups. The to expressions of queer and the ways in which it
suggestive consumption of American Family Association, desire. The broad spectrum can manifest itself. It also
the crystals, to the paradoxical for instance, saw the film encompassing queer desire forces viewers to ask where
combination of sexuality and project’s radical take on and pleasure implies that queerness and desire can
vulnerability expressed by her sexuality and lesbianism as any act from which pleasure and should exist. The idea of
naked body. For Handelman, unacceptable. While some can be derived—including queerness manifesting in a
29attempt to comfort her viewer.
By opening up space to have
conversations about often
taboo subjects, especially
sexuality, Handelman’s work
confronts audiences in sites
where they may not otherwise
encounter queer expression.
SOURCES
Baker, V. (n.d.). Candyland 1999, single channel
video, 05:36. michellehandelman. https://www.
michellehandelman.com/performance/candyland.
Busta, C., & @LILINTERNET., Juliana Huxtable on
zoosexuality, furries, and the fetishization of outrage.
Art Basel. https://www.artbasel.com/news/juliana-
huxtable-project-native-informant-art-basel-hong-
kong.
Handelman, Michelle. “Handelman_
CanibalGardenVideos.” Vimeo, 16 Apr. 2021, vimeo.
com/471504986/6ac7b08da9.
Harris, Jane Ursula. “A Surreptitious Form of Activism:
Michelle Handelman Interviewed by Jane Ursula Harris
- BOMB Magazine.” A Surreptitious Form of Activism:
Michelle Handelman Interviewed - BOMB Magazine,
24 Aug. 2020, bombmagazine.org/articles/michelle-
handelman-interviewed/.
Candyland (production still), 1998-
2000 from the Cannibal Garden
Series, single-channel video, 5:36 min public space, such a museum,
challenges the expectations
following spread, These Unruly and
Ungovernable Selves (production
and restrictions that limit
still), 2020, from The Pandemic Series, expressions of queerness to
single-channel video with sound, private spaces.
6:00 min
Handelman’s embrace of sex
and excess are key to her
work. She situates her practice
in a space that makes no
31Acknowledgements
Members of the Design Thinking for Exhibits course and their Design Thinking for Exhibitions developed Michelle Handelman:
professor, Anna Campbell, wish to thank Leah Kolb, Curator These Unruly and Ungovernable Selves over the course of the
of Exhibitions for her generosity and vision, without whom 2021 academic spring semester, using MMoCA as a critical
this exhibit would not be possible, and Elizabeth Shoshany training ground for hands-on application. Stemming from a
Anderson, Assistant Curator, for her guidance in developing shared interest in utilizing museum spaces for direct learning,
the exhibit and for moderating the Virtual Opening Celebration. this cross-institutional venture cultivated the next generation
We would also like to thank Charlotte Cummins, Director of of museum professionals by introducing participants to the
Education and Programs, for supporting our outreach work, practical and theoretical matters of curation. The resulting
Marni McEntee, Director of Communications, for helping us to exhibition opened in the museum’s Imprint Gallery on April
generate public-facing language to inform our audience about 24th and is on view through August 15th, 2021. For this course,
the show, and Christina Brungardt, Gabriele Haberland Director classroom-based learning with Professor Campbell employed
at Madison Museum of Contemporary Art, for her support of the strategies of design thinking—a human-centered approach
the exhibit. to understanding and solving real-world problems.
Catalog Committee Media Committee
Emily Goretski (Chair) Lianne Milton (Chair)
Clare Dowd James Apter
Micaiah Severe Carsyn Barber
Mirana Carrassi
Design Committee
Ali Deane (Chair) Programming & Outreach
Taylor Fote Committee
Madison Leggett
Becca Owen (Chair)
Nicole Ludford
Logistics Committee
Maeve Hogan (Chair)
John Dietz
All images courtesy of the artist.
Catalog designed by Ali Deane following spread, Irma Vep, The Last
Breath (production still) 2013/2015, HD
video installation with sound, 33:13 min 35You can also read
