Whether it’s disintegrating dolls, mutant ceramic bunnies, or rescue animal pinups, the artists of Stuck Together: Marsian De Lellis, Simone Gad, Debra Broz, playfully handcraft responses to mass-produced objects and images charged with autobiographical fragments. Join me on a virtual tour, where we can survey the work for context… Continue reading “How We Got Stuck Together”
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 August 19th, 2017, there was a book launch for COLA 20, featuring DJ Daedalus at Grand Performances in downtown Los Angeles. COLA 20, a hardbound edition, that tells the story of the Los Angeles art scene and the impact of the Department of Cultural Affairs through its 20 year history of the COLA Individual Artist Fellowship Initiative. I was awarded a COLA Fellowship in 2016, which enabled me to create the installation (In)/Animate Objects at Los Angeles Municipal Art Gallery. (In)/Animate Objects explored the excesses of a doll hoarding grandmother and featured 1,261 handmade, distressed rag dolls. Continue reading “COLA20 (book launch)”
From to June 3rd-10th, 2017, video documentation from my performance, Raggedy Ann to Real Doll was on display at Los Angeles Contemporary Exhibitions as part of Irrational Exhibits 10th Anniversary: Mapping the Divide, curated and produced by Deborah Oliver. In Raggedy Ann to Real Doll, I constructed a storefront operating theater at LACE as one of America’s most beloved dolls went under the knife. I examined how we negotiate our idea of personal identity in an ever-shifting landscape of technologies that can drastically alter and re-map the body. Projected video and the remote voyeurism from a live stream provided multiple onsite and virtual opportunities for spectatorship.
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 June 29th. 2015, I was awarded the 2015-2016 DCA (Department of Cultural Affairs) COLA (City of Los Angeles) Master Artist Fellowship. The funding supported my work on (In)/Animate Objects, a performative installation I created for the 2016 COLA Fellowship Exhibition at Los Angeles Municipal Art Gallery. In conjunction with the exhibition, I gave an artist-talk hosted by Allison de Fren, was interviewed by LA Times High School Insider, reviewed in Artillery Magazine and included in the COLA20 retrospective book and exhibition.
Continue reading “DCA 2016 COLA Fellowship (support)”
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.
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)”