Gender, Space, and Labor in Clorox's The Laundry Timeline
In thirty-five seconds, The Laundry Timeline illustrates a serialized narrative of women performing the laundry across the last century, but positions this unpaid domestic labor as part of a broader legacy of middle-class family values and tradition. The pictorial representations of these domestic scenes are marked not only by an inheritance of women’s generational knowledge as it relates to domestic labor, but also by distinct classist, racialized and heteronormative coding.
Making Strange the Domestic Space:
Renovating Relations Between Labor, Commodity, Amateurism, and Theatricality in Jessica Stockholder's Just Sew
This essay take up Jessica Stockholder’s installation work, Just Sew, and her essay “Art and Labor,” within a broader conversation concerning her work’s relationship to feminist craft, gendered labor, and the domestic space. By analyzing the ways in which Stockholder’s work grapples with commodity fetishism, this essay demonstrates how Stockholder makes use of representations of the domestic as a site through which to restructure dominant assumptions about gendered labor and its relationship to craft.
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 into a conversation about the instances in-between daughters, mothers, seduction, saints, nomadism, armour, urbanity, flesh, rot, decadence and absence.
On the 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. If we conceive of religious objecthood as a language that is codified, with the potential to be deconstructed or undone; is it 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?