On March 29, 2019, 24700, News from California Institute of the Arts featured my D+R Residency at Automata for Model Killer in their blog article by Katie Dunham.Continue reading “24700 Blog (press)”
From December 10th-20th, “(In)/Animate Objects triptych”, a limited edition photograph, is part of an online auction for Automata, a Los Angeles arts organization dedicated to experimental puppet theater, film, and contemporary art practices. The dolls in the photograph were originally part of (In)/Animate Objects, my installation for the 2016 COLA Fellowship exhibition. Continue reading “(In)/Animate Objects triptych, Automata (online auction)”
On September 2nd, 2016, I finished my tenure at the Puppet Slam Network (PSN), which I co-founded in 2005 with Heather Henson and through support from her production company, Ibex Puppetry. As PSN coordinator for just over a decade, my work focused on cataloguing, connecting, supporting, and generating awareness for evenings of short-form puppetry for adults.
On August 11th, 2013, Automata hosted a private reading of my script, Object of Her Affection, for invited guests. Object of Her Affection is centered on a woman, who in her search for true love develops intimate relationships with inanimate objects.
On January 28th, 2013, The Portland Press Herald briefly covered my work with the Puppet Slam Network as part of a larger story on Blainor McGough, curator of King Friday’s Dungeon in Portland, ME.
On Friday November 30th and Saturday December 1st, 2012, I presented a reading of Ashes to Ashes, Rust to Rust, an excerpt from Object of Her Affection at Automata in Los Angeles. In Ashes to Ashes, Rust to Rust, a woman who desires intimate relationships with inanimate objects discovers that the bridge she has come to love has been cheating on her.
In the Spring of 2012, The Puppetry Journal ran a substantive cover story on the world of puppet slams, featuring my work as co-founder of The Puppet Slam Network and my interviews with puppet slam artists. The Puppet Slam Network fostered connections for independently produced puppet cabarets, so that puppet artists knew where they could perform, venues could find puppet artists, and audiences could enjoy an intimate, tactile, and compelling form of entertainment. Continue reading “The Puppetry Journal (Press)”
On September 2011 – I began a series of informational blog posts on the Puppet Slam Network website that addressed topics related to organizing evenings of short-form puppetry and object theatre for adults. Topics included: the significance of puppet slams, puppet slam history, the future of slams, sources of inspiration, working with a fiscal recipient, learning from fabulous failures, advice on hosting and performing in slams, self promotion, and how to get the most out of the Puppet Slam Network.
On April 2nd, 2011, I hosted a puppet cabaret at the Nafe Katter Theatre with long-time Blood from a Turnip collaborator, Vanessa Gilbert. The line up included short-form puppet acts from Great Small Works, Big Nazo, Michael Sommers, and Kate Brehm. The cabaret was part of Puppetry and Post Dramatic Performance: An International Conference on Performing Objects in the 21st Century at the University of Connecticut in Storrs, CT.
On April 2nd, 2011, I presented The New American Vaudeville: The Puppet Slam Network, at Puppetry and Postdramatic Performance – an International Conference on Performing Objects in the 21st Century hosted by the University of Connecticut in Storrs, CT. In The New American Vaudeville I contextualized growing field of puppet slams – evenings of short-form puppet and object theater for adult audiences. The presentation was informed by my position as co-founder of the Puppet Slam Network which ran from 2005 to 2016.