Gender, Space, and Labor in Clorox's The Laundry Timeline
Renovating Relations Between Labor, Commodity, Amateurism, and Theatricality in Jessica Stockholder's Just Sew
In consideration of the popular resurgence of 1970s feminist craft traditions in contemporary art, it is pivotal to consider what it means to mine a past era of time in order to transplant the trappings onto the present. It would not be enough to simply prescribe the contemporary definition of craft, if there even is one, but more productive to determine precisely why it is that feminist craft and female-oriented labor are popular not just again, but precisely at this moment? What exactly is at stake in grafting the seventies feminist craft aesthetic onto a contemporary art phenomenon? Can this revival possible convey the same sincere political weight that it did at the time of its emergence? In order to attempt to address some of these questions, the discussion that follows will be organized around three case studies in which craft is invoked as both the predominant material, aesthetic and conceptual methodology.
This constellation of poems, vignettes and short essays focuses on a series of paintings titled Facings in an attempt to unpack contemporary feminist concerns in relation to desire, sexual difference and the female body as it is negotiated in the urban landscape. In composing this roaming figuration of femininity, I asked: How do I carve out a space for myself? How do I make a home? How do I locate my own feminism as an extension of myself in the urban social climate? In trying to reconcile these competing ideas I venture to take up writers and theorists such as Rosi Braidotti, Audre Lorde, Roland Barthes, Gilles Deleuze and Hito Steyerl and enter into a conversation about the instances in-between daughters, mothers, seduction, saints, nomadism, armour, urbanity, flesh, rot, decadence and absence.
Emergent Meanings of Christian Objects in Western Culture
This book is an investigation into three major Christian icons: the crucifix, the purity ring and rosary beads. Having read the literary theorist Roland Barthes’s A Lover’s Discourse at the time this project began, I was ruminating heavily on desire, especially within the framework of commodity culture. In a structuralist sense, I began conceiving of religious objecthood as a language that is codified, with the potential to be deconstructed or undone; relieved of its imposed values. How have the mythical properties of the objects engendered them as fetishized commodities, now championed for their profanity, coveted primarily for aesthetic purposes? How do these objects of religious origins form emergent, multiple meanings in contemporary culture? And in what ways have the current social deployment of these icons shifted from their historical functions?