The program is out, the book ‘animaladies’ is printed and ready to be launched at Animaladies II. I’m really looking forward to speaking about the developments in my work – ‘bloodlines: tracing paths from bodies to biotechnologies’.
It’s an amazing line up and I’m really proud to be an invited speaker among these scholars.
Just finished up an article writing about my propositional large scale installation. One day I hope to install it – but it requires a lot of wall and ceiling space.
Abstract: This paper outlines my current sculptural research project in which the lives and deaths of dairy cows are entangled with multiple biotechnologies. My propositional sculptural installation brings together extant works such as fleshlumps, boobscape and slink, and new works, to represent the dairy industry, multi species nurturing, the environmental impacts of animal agriculture and the biotech innovations of in-vitro meat and bio-fabricated leather. These works are linked together by a web of interconnected fluids; urine, milk and blood. In this new work I hope to make the links between the diary industry and these extended concerns visible and visceral.
Just started work on re-purposing some existing sculptures. Using the skins from boobscape – inverting breasts and teats, to create some small wall sculptures for the Vulva Project, curated by artist Rebeka Axon. It’s an interesting process, and very much a homage to those feminist precursors – it’s been almost 30 years since I first started teaching visual art / art history – and I remember the difficulties (pre-internet) of finding and incorporating the ‘cunt art’ of the 1970s such as the amazing Hannah Wilke’s – S.O.S. – Starification Object Series. 1974-82, and of course Judy Chicago’s Dinner Party.
Using the skins from these works, for me, brings the material meanings of slink and boobscape into this work, and further entangles those maternal material bodies.
The Vulva Project, 2018
Delighted that this image of my sculptural installation boobscape (2016-18) has been selected for the front cover of the forthcoming (Dec 18) book animaladies, Bloomsbury Press, 2018. I also have an essay featured in the collection ‘making and unmaking mammalian bodies’.
Fabulous news – my work slink (as installed for SPOM: Sexual Politics of Meat Exhibition, The Animal Museum, LA 2017) is one of the works Carol J Adams is including in the new Bloomsbury Revelations Edition of ‘Neither Man Nor Beast: Feminism and the Defense of Animals’ 1994. Due out in April 2018, this work in which Adams considers abortion rights and animals rights, antiracism work and speciesism, theological issues, animal experimentation, sexual violence and injury to animals, and other issues at the intersection of feminism and animal defense, will feature artworks by myself, Sunaura Taylor, Nava Atlas, Yvette Watt, Susan Kae Grant and Kyle Tafoya. So honoured to be in this book, and in such great company.
boobscape (3 skins), 2017 at Animal Intersections, 2017
SPOM boobscape, 2017 The Animal Museum, LA
SPOM boobscape, 2017, The Animal Museum detail of inverted boobscape
SPOM: slink, 2017
Today is the last day of The Sexual Politics of Meat Exhibition at The Animal Museum, LA. The exhibition followed on from the book The Art of the Animal, eds Kathryn Eddy, LA Watson and Janell O’Rourke, Lantern Press, 2015. It has been, and continues to be an amazing project to be involved with.