Poetry parade for a permanent collection at the MoMA, 11.10.12
An ongoing collaboration with Katherine Hubbard
Poetry parade for a permanent collection is a migrating feminist reading action. This version took place throughout the 4th and 5th floors of the permanent collection at the Museum of Modern Art. With an interest in disrupting the stasis and authority of a permanent collection, the parade is a slow migration through the galleries stopping periodically to coalesce around a specific work and read aloud to it. Texts were chosen and paired with works either as a celebration, a disassociation or to stage a confrontation.
Readers: Jess Arndt, Malin Arnell, A.K. Burns, Corrine Fitzpatrick, Gordon Hall, Katherine Hubbard, Zoe Leonard, Ulrike Müller, Jeanine Oleson, Litia Perta, Risa Puleo, Geo Wyeth
Poetry parade for Hortense Fiquet at the Met, 2.27.15
This project culminated from working with the Artists Institute, whose season was dedicated to Carolee Schneemann, and the Metropolitan Museum’s exhibition Madame Cézanne. This parade is derived from a story about Carolee as a young girl, who wished to discover woman painters in the hegemony of art history. She thought she had discovered a mentor in Cézanne, when she mistook ‘Céz-Anne’ for a woman’s name. Later, in the early 70s, she re-appropriated her childhood confusion as a banner for exploring how women had been misrepresented in the arts, publishing a collection of writings titled Cézanne: She Was a Great Painter. This ‘Poetry Parade’ is titled after Madame Cézanne’s maiden name, Hortense Fiquet, and is an opening to reconsider the contributions of women in the arts, not as muses, props, wives, or possessions but as active participants.
Readers: Malin Arnell, Fia Backström, A.K. Burns, Barbara Hammer, Katherine Hubbard, Eileen Myles, Jennifer Rosenblit, Carolee Schneemann, and Lanka Tattersall.
Poetry parade for Site and Sight at the Whitney Museum of American Art, 9.26.15
This Poetry Parade responded to the inaugural exhibition America Is Hard to See, while also addressing the new building itself, its location and histories relating to the evolution of the Meatpacking District and the Whitney as an institution. This series of live readings focused on works from the exhibition as well as site-specific locations in and near the museum. Through proximity of texts and images the ‘Parade’ reexamines how the museum as a marker of culture materializes through various relationships of looking and framing. Considering how works have been framed by the institution, how the artists biography and intentions inform an artwork, and the architecture of the new building as well as the site in which the Whitney was built. This parade attended to past and present actions of bodies and uses of this site—a site of ongoing transition with an ever looming question about the assumed benefits of progress, newness and visibility.