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2010
Trisolini
Collaborator Annie Sprinkle
Trisolini Gallery, Ohio University, Athens, OH
Wedding Outfits, Wedding Videos, Wedding Ephemera
loveartlab.org
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2009
Sexecology
Collaborator Annie Sprinkle
Sexecology, Femina Potens Gallery, San Francisco, CA
Wedding Outfits, Wedding Videos, Wedding Ephemera
loveartlab.org
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2008
The Bridal Party
Collaborator Annie Sprinkle
The Bridal Party, Institute of Contemporary Art, San Jose, CA
Wedding Outfits, Wedding Projection, Wedding Ephemera
loveartlab.org
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2007
Faire L'amour Avec Marcel Duchamp
Collaborator Annie Sprinkle
Faire L'amour Avec Marcel Duchamp, Emmetrop, Bourges, France
Visual Art, Video Projections, Performances
loveartlab.org
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We Made Love with Marcel Duchamp
Collaborator Annie Sprinkle
We Made Love with Marcel Duchamp, Femina Potens Gallery, San Francisco, CA
Wedding Outfits, Wedding Projection, Wedding Ephemera
loveartlab.org
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2006
Love Art Lab
Collaborator Annie Sprinkle
Orange Wedding Installation Femina Potens Gallery, San Francisco, CA
Wedding Outfits, Wedding Projection, Wedding Ephemera
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2005
I DO
Collaborator Annie Sprinkle
Red Wedding Installation Femina Potens Gallery, San Francisco, CA
Wedding Outfits, Wedding Projection, Wedding Ephemera
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2004
The Porn Star Academic Panty Collection
This series of bronzes juxtapose academic and porn star panties. Porn stars and academics are cultural heroes. They are both in the forefront of thought and practice around issues such as sexuality, sexism and identity politics. In the academic world the brightest intellectuals are fetishized in a manner that bears certain similarities to the ways in which porn fans adore their stars. Both are sexy, powerful and compelling. This work is homage and a wink to the bravery and chutzpah of porn stars and adventurous academics who are physically and intellectually stimulating, be it in the classroom or on the silver screen.
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THE WORKSHOP FROM HELL
An opera in one act - Libretto Eileen Myles, Music Michael Webster
The fax machine is connected to an outside telephone line. This enables anyone to fax any text or images they’d like to the bed. By faxing this work in a museum or gallery, anyone can be an artist. Red rope lights blink continuously, referring to the electric circulatory system of technology. The ubiquitous presence of technology molds our dreams even during sleep.
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2003
WHAT IS ART GOOD FOR? 100X KUNST
In collaboration with Annie Sprinkle - Kunsthalle, Vienna, Austria
Artists were invited to create signs for a Viennese park. Ours read "Be Nice to prostitutes and artists."
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WISH YOU WERE HERE
Exhibition Views - Projections, Photographs, Video Books, Website and An American Road Trip Map
This exhibition was composed of various objects I produced while I was performing my roadtrip. Shown together these objects, photographs and video pieces represented my travels in terms of time, texture, space and imagery.
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2002
VIDEO TRAVEL GUIDES, WHWY Project
While travelling during my interactive road trip performance piece, Wish You Were Here, I shot hours of video footage. I also collected, read, and otherwise used several travel guides to the United States in preparation for and during the Wish You Were Here Project. These Video Travel Guides mark the spot where travel footage meets travel guide to provide a purely visual experience of my journey on the road and off.
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U.S.A. QUILT
American Flag, Photographs on Canvas, Denim 10'x7'
This quilt is constructed of images I photographed in each state while I was on the road performing 3 separate versions of Wish You Were Here. The images are printed on canvas and sewn together. Each state is made from an image(s) that were taken in that state. The red ribbons represent the state capitals. The map of images is backed on an American Flag.
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2000
PRESIDENTIAL
Squirting Speculums, Talking Speculum, Lab Coats, Electronics, Flag and Ink; approximately 4'x10'x6'.
A series of events occur sequentially. First, one speculum squirts blue ink onto a white lab coat, then the other speculum squirts red ink onto the other lab coat, then the speculum in front of the American flag says, "I’m sorry." This piece is loosely based on the presidential fiasco between Monica Lewinsky and President Clinton but could be seen as a generic apology to the world for the many crises that the U.S. have had a hand in creating.
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1999
SQUIRT
The speculum slowly moves back and forth, intermittently spitting a thin stream of blue ink onto the lab coat. Spitting ink as an act of rebellion against the authority that the lab coat signifies represents a kind of critical freedom for artists, women and others outside the system. Over time the coat became saturated with blue ink while the pan below the piece filled with excess liquid that in turn reflected the coat above.
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WORKOUT
Steel, Video, Stirrups, Motor; two frames; 8'x4'x4' each
Two large gym-like frames, each with eight sets of gynecological stirrups that slowly open and close, face each other. Behind the stirrups on each frame is a bank of video monitors. The center monitors display footage of bodies in exercise. The larger outside monitors display a mouth expelling babies, houses, money and milk on one frame and on the other, a complimentary mouth is consuming these very same things. The shots are close-up, repetitive, and slow in order to examine body and consumer fetishism.
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1998
JUMP
Steel, Water, Video Projection, Sound; 14'x4'x2'
A tall steel ladder looms over a small bucket of water. A video projector projects the lips of several women reading a siren-like text into the bucket. The text dares and cajoles the viewer to jump. This work was inspired by cartoon characters who would leap from tall ladders into small buckets of water, defying fear and logic, only to emerge unscathed from seemingly impossible situations. These characters were too foolish to be afraid of death and for that, I loved the
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AUTO-BIOGRAPHY
Van, welded lightening rods, LED's, Megaphone, Slide Projector
Collaboration with E.G. Crichton. This was a roving performance that evolved over the course of Philadelphia’s Fringe Festival. A Plymouth Voyager became the "Ben-Mobile," complete with Ben’s hundred-dollar portrait. We drove this vehicle throughout Old City, reading Franklin’s autobiography through a loudspeaker. At night, we scrolled Franklin’s aphorisms on the LED signs and projected his quotes onto the walls of passing buildings.
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PARTIAL RECALL
Steel, Video and Monitors, Motor; 11’x9’x9’ - Etched Mirror Plaques, Enriched White Flour Statistics
Collaboration with E.G. Crichton. This site-specific installation juxtaposed Ben Franklin's sayings with contemporary statistics. We placed our own historical plaques in Old Town, Philadelphia. Each one was etched with a partial Franklin aphorism. Below each plaque we stenciled an enriched white flour statistic consisting of a certain fact, stable for an hour or a week. We questioned whether statistics have become the anchor for today's “pull yourself up by your bootstraps” philosophy that seems to ignore real social problems and needs.
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DYSPHORIAS: TROUBLE IN TOYLAND
Wood Cutouts, Lighting, Sound Track, Video, Rugs
Collaboration with E.G. Crichton and Mary Psiongas. "Toyland" used the trope of toys to investigate the dysphoria of gender. Large shadows and sound permeated the gallery, evoking a troubled childhood landscape. Toy silhouettes snaked around the walls of the gallery following a boy-to-girl gender line. In the next room, viewers could sit on toy-shaped rugs to watch videos with slowly dissolving abstract color and quick subliminal image flashes of boy toys speaking with female toy voices, and visa versa.
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1997
ON THE ROAD
Steel, Glass, Speculum, Straw, Video;2'x 10"
This piece is composed of two boxes. The upper box holds a pink mermaid drinking straw encased behind etched glass, warning, "Only Break in Case of Emergency." The box below holds a speculum. As the viewer gazes into the speculum's lips they see video footage of the California coastline. The relationship between the boxes is a whimsical one concerning travel, thirst, and possible viewpoints into and out of both nature and the female body.
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1-800-TELL-ALL
Collaboration with E.G. Crichton and Scott Brookie
We invited viewers to enter the phone booth that served as the interface to 3 prominent second story windows. A voice mail system presented a menu of questions to participants while a surveillance video camera captured their images. Upstairs computers, projectors, and crew created a feedback system whereby participants and their words were randomly projected onto the windows. This piece communicated the New Years’ Eve collective consciousness of Santa Cruz, CA to the viewing public.
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DINNER PARTY FOR TWO
Table, Chairs w/Vibrators, Video Monitors, Text; 3'x5'x2'
This piece is simultaneously a homage and contemporary criticism of Judy Chicago's "Dinner Party" installation. The place settings are composed of two video monitors situated beneath red Plexiglas. These monitors display female genitalia. Scrolling over these shots is text that locates various women who Judy Chicago neglected to invite to her party. Some of these women include Emma Goldman, Lizzie Borden, Mary Read, Lucille Ball, and Valerie Solanas. Viewers activate vibrators embedding in the chairs when they sit down.
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NO REGRETS, IMELDA
Bronze, Steel, Video and Motor; 5'x13"x12"
The bronze high heel taps as the viewer approaches. On the face of the pedestal are two peepholes, behind which are small video monitors. The monitor on the left displays the viewer’s own feet as they watch the video. The monitor on the right combines footage of the neon sign in the window of the Lusty Lady with images of Dorothy’ ruby red slippers and other various foot and shoe worship footage.
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1994-6
ROCKING RED ROCKING
Motorized Rocking Chairs, Recorded Voices, and Rear Slide Projection
Collaboration with E.G. Crichton. This multi-media installation was sited on the front porch of the UCSC Women's Center. As the chairs rocked mechanically, taped voices played of women speaking of their hopes, fears, and desires. In the evenings, slides projected through the windows of the house. The images ranged from women's bodies, to historical photos of suffragettes, to burning flames. During the day people would often sit on the porch and listen to the voices or talk amongst themselves.
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A TRIBUTE TO ED MOCK
Motorized Video Swings, Interviews, Slide Projections, Costumes, Broadsides
Mock’s former dancers and students asked me to produce this installation to commemorate the 10th anniversary of the San Francisco dancer and choreographer's untimely death from AIDS. It was located in the San Christina Hotel, Market Street, San Francisco. The triangular space was filled with the reflected light and motion of the city and displayed Mock's performance artifacts in a ghost-like and ephemeral sculptural installation. His voice and the soundtracks of his performances could be heard throughout.
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BEFORE/AFTER
Posters, Slide Projections, Magnetic Words, Text, Napkins
A collaboration with E.G. Crichton. This installation/intervention occurred at the international feminist conference "Transformations," held at Lancaster University in England. We used the "Before and After" theme to depict change. We created 122 magnetic theoretical buzz words that people could arrange into complex and often humorous identity labels on bathroom stalls. We secretly stamped provocative questions on the underside of the napkins at each table. These questions were revealed during a formal banquet as the diners unfolded their napkins.
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THE PLEASURE WHEEL OF SISYPHUS'S SISTER
Steel, Video and Monitors, Motor; 11’x9’x9’
The continuously turning wheel plays video images on the monitors. These images depict a series of poetic vignettes of discreet pleasures such as pulling off rose petals that become a mouthful of pearls or a long kiss turning into water running through hands. A single staring eye that watches the viewer separates or acts as a book end to each video coupling. This work explores both the physical and virtual sites of pleasure.
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1993
LOCATING YOURSELF IN A SEA OF IDENTITY
Wood, Text, Steel, Ores; 6'x8'x8'
Locating Yourself in a Sea of Identity: A Cultural Exercise Machine was located underneath the Brooklyn Bridge, overlooking the East River and into Manhattan. The viewer/participant is invited to row the text circles into any configuration of adjectives, racial descent, gender geographical location that describes who they are or could imagine themselves to be. The multiple configurations of identity echo the multiplicity of people living in NYC. Considering different identities maintains ones cultural fitness.
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1992
SAFE SEX EXPRESS
Latex Gloves, Dental Dams Text, Projected Images and Sound; 14’x14’x14’
Collaboration with Diane Bonder. This installation was intended to educate women about protection from HIV transmission. Parodying the clothing store, "Limited Express," we proposed safe sex accessories as a desirable fashion statement. Slides of women modeling safe sex fashions projected between two latex dresses. Latex gloves, condoms, and dental dams were also exhibited. Throughout the show condoms and informative HIV literature for women were available for the viewers to take home.
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A PROPER LADY ALWAYS CROSSES HER LEGS WHILE SEATED
Steel, Video, Plexiglass; 7'x2'x2'
A close-up video depicting a series of erotic encounters between two females plays beneath the red Plexiglas seat. One can view this footage by standing up and gazing down or by sitting on the chair itself. The electronic components of this piece are exposed and unprotected, lending an air of danger to the piece. This physical danger compliments the ever present danger of desire.
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1990
TECHNOLOGY IS DREAMING YOU
Steel, Rope Light, Fax Machine; 28” x 32” x 6’
The fax machine is connected to an outside telephone line. This enables anyone to fax any text or images they’d like to the bed. By faxing this work in a museum or gallery, anyone can be an artist. Red rope lights blink continuously, referring to the electric circulatory system of technology. The ubiquitous presence of technology molds our dreams even during sleep.
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MY MOTHER HAD A SINGER AND HER MOTHER HAD ONE TOO
Sewing Machines, Wood, Motors; 7'x6'x15
Running under low lights, these sewing machines represent the spectacle of the sweatshop and its relationship to the home. This piece is an investigation into and display of the mechanical means by which women have been able to earn income and create objects of utilitarian pleasure. It also refers to the potentially exploitative environment of the industrial and domestic workplace.
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1989
HOME
Car, Lawn Furniture, Television, Mixed Media; 10’x 7’x 14’
Collaboration with Mags Harries. This piece was shown at the World Trade Center in Boston for a benefit to raise money for a homeless shelter. We proposed using abandoned materials such as a junk car to build alternative living sites for the homeless. This particular car was outfitted with curtains, a T.V. under the hood and a storage rack on top to store one’s sundries.
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