Iâ€™m on the porch rifling through Barbie posters and notes on what she would prefer when running away to a deserted island. I know Barbie would want to be with Ken. The way â€œMarianne,â€ played by Anna Karina in â€œPierrot le fouâ€ (â€œPete the madmanâ€), ran away with â€œFerdinand,â€ played by Jean-Paul Belmondo, to live in the French Riviera. The couple ran away for two different reasons, and their fears kept them together. At the end of the film, I like to reinvent different outcomes. Perhaps they should have stayed in town.
Photo from kistenet.com
Photo from kistenet.com
Photo from kistenet.com
This argument applies to play with Barbie as well. I take her outside of the box, adjust her arms and legs, and am free to imagine Barbie in a variety of ways. She is Kenâ€™s girlfriend getting ready for date night when I put black high heels on her. She is Midgeâ€™s friend getting ready for brunch when I put strappy sandals on her. She is Skipperâ€™s sister getting ready for a yogurt run when I put sparkly flats on her. I assign Barbie various identities, and each time the fictional truths may be compared to real-world cultural representations.
My adjustments to Barbieâ€™s identity are necessary. For many she seems such a frivolous thing. Questions about her importance reinforce the idea that Barbie encourages the creative interpretation of identity. I cannot escape her. I have spent so much time alone with her. Some have not understood, but many have been supportiveâ€”my man included. (I say â€œmanâ€ because after a certain age â€œboyfriendâ€ just doesnâ€™t seem to be able to sustain the weight of an adult relationship.) Things changed along the way. I changed when I got close to the essence of Barbie. I got close to myself. I learned to trust myself. I learned about the superficial sting.
I also know that Barbie is â€œplasticâ€ and â€œanatomically incorrectâ€â€”like some â€œrealâ€ women that I know. But, sheâ€™s gotten a â€œbad rap.â€ I know that I â€œjust canâ€™t changeâ€ the opinion of some. That sometimes it just â€œis what it is.â€ That Barbie is made for â€œartâ€™s sakeâ€ and that some â€œartâ€ is inspired by Barbie. That Barbie â€œinspiredâ€ the long list of female characters of La Nouvelle Vague. Consider Artist Nickolay Lammâ€™s â€œcomparison of bodies.â€ Lamm suggests that the â€œaverageâ€ womanâ€™s body is â€œno match.â€ In fact, Lamm found â€œunrealistic measurements of 36-18-33, compared to the typical 19-year old girlâ€™s 32-31-33â€ (Revealed: What Barbie would look like as a Real Woman). This explains why Barbie canâ€™t stand-up on her own.
Iâ€™ll admit, I â€œagree.â€ She sends the â€œwrong messageâ€ to â€œimpressionableâ€ girls. Barbie is not for the â€œweak.â€ I learned this my â€œfirst yearâ€ in Chicago. We went to some â€œpop-upâ€ art gallery on a Friday night and there was Barbieâ€”â€œdecapitated,â€ lying in the â€œmiddleâ€ of the room, on the â€œfloor.â€ I asked the artist â€œwhyâ€ heâ€™d done this. He calmly, â€œsippedâ€ red wine out of a mason jar, said â€œI used to do this to my older sisterâ€™s Barbie when I was a kid.â€ He then joked about Barbieâ€™s â€œpowerâ€ to revert him to â€œchildhood.â€ This has always stayed with me. Barbie brings out the angry adolescent in every adult.
Who is not disappointed, enchanted, or tempted by Barbie? Most days, in the world of Barbie, the view from the porch provides a narrow balconyscape which hosts the angular silhouettes of red-tipped bricks. Sometimes we have company and they join us on the porch. In these moments the table is cluttered with wine glasses, water crackers, cheese platters, Barbie, Midge, and Skipper. On an eventful evening, Barbie is a kaleidoscope twirling from hand to hand. Soon we are scampering. There arenâ€™t enough hours. There is never enough time, just the way time ran out for â€œFerdinand.â€
Soon, I feel the twin twinkle of goodbye kisses. Itâ€™s just me at the door. At the heart of La Nouvelle Vague is a breathless, powerful glance because it is difficult to turn away from the beautiful tragedy. It is difficult to answer and dispute the fullness that Barbie deserves. I only rarely come close to completing the lanky jigsaw puzzle. I cannot really see the end. The journey is mine, this Barbie pink path that leads to the unknown, the pink purgatory.
Jamie Kazay teachesÂ in the English DepartmentÂ at Columbia College. A California native, she holds a BA in English from California State University, Northridge and an MFAÂ in Creative Writing, Poetry from Columbia College. She co-curates the Revolving Door Reading Series and is currently reading of a lot of Camus, Derrida, and Dorothy Allison. Her collection,Â Small Hollering, was published by Dancing Girl Press in 2011.
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Hope Esser performing “Telegraph Progress” at The Watermill Center’s 20th Annual Summer Benefit.
Celebrites fawn over Chicago artist at Watermill
Hope Esser Goes Viral
Reportings coming in this evening from sources from Facebook to Bloomberg indicate that Chicago performance artist and occasional What’s the T? correspondent, Hope Esser, painted The Watermill red at the art center’s celebrity studded annual summer benefit. Esser could be viewed from on high, performing in a red dress with flag sleeves from atop the performance lab’s building. Her figure was made more striking by the red fabric draped rapunzel-like directly under her.
Bloomberg.com revealed celebrities from Abromavic to Gaga to bankers no one care about were seen at the event. The article smartly shouts out Esser as well. Watch out for Esser’s performance in the next Lady Gaga video, featuring Marina Abromavic.
Real collaboration at The Hills.
Drain & Reeder Create “On The Spot” Art Exhibition
Show in real time at The Hills Esthetic Center
This past Monday (yes, an opening on a Monday) evening at The Hills Esthetic Center “Jyson Deeder and Tim Rain” debuted “A Nerdier Red”, “community organized” by Josh Reames, at everyone’s “favorite” Garfield Park “gallery”, The Hills. The collaborative exhibition came together as it opened with Reeder & Drain turning the notoriously useless loft above the gallery into the command center from which the art was generated and then incorporated into the official gallery space.
Reeder & Drain tell it like it is.
Down in the gallery, visitors feed off the artists’ frenzied energy and joined in, painting a huge canvas, random hats and eventually joining in on a “drum circle.”
Visitor’s in various states of gallery attendance.
Walter De Maria, The Lightning Field, 1977. Long-term installation in
Western New Mexico. Photo: The New York Times.
Reading is Fundamental
Some Unrequired Reading: As Jerry Saltz opens his piece on Deitch’s depature from LA MoCA, “It was always only a question of when, never if.” That being said, the internet is ablaze with opinions on the development. If you’re into that sort of thing, more here, here, and here.
Gay Marriage is Trending and TotallyFab-u-lous: The Gossip is that The Gossip’s Beth Ditto recently married her partner, Kristin Ogata, in Maui. Ditto and Ogata has my dream wedding: Ditto wore a Gaultier gown and it looks like they made all their guests coordinate. To. Die. For.
Don’t worry beaus, Buxom babes aren’t the only one getting hitched. Recently, our personal fav queen Latrice Royal made news by becoming ordained in order to officiate over a good friend’s wedding ceremony. Catch this great interview on Latrice’s killer outfit and her controversial opinions on gay marriage on Dragofficial.com.
This past Saturday the Printer’s Ball, hosted by Spudnik Press with the support of the Poetry Foundation, took over the Hubbard Street lofts, once again proving print media’s vitality with displays, demonstrations, lectures, conversations and empanadas. WTT? was especially impressed with the Riso demonstrations provided by SPARE residency in the Post Family space.
Tony Fitzpatrick in conversation with Printer’s Ball founder, Fred Sasaki. Fitzpatrick regaled the audience with tales of Studs Terkel, Lou Reed, Haiti and Cuban cigars.
Spotted at the Printer’s Ball: Momentarily back from Ox-Bow, Lauren Anderson checks out photos and posters at Johalla Projects.
Harm Van Den Dorpel recently talked with me over a shared-screen skype session about his semi-generative imageÂ navigationÂ system called Dissociations. The work could be described in many ways: feedback platform, assistend-intelligenceÂ interface, online studio, anti-tagging archival system. But regardless of hard definition, this ongoing engine fuels a lot of Van Den Dorpel’s online presence, as well as guides the way in which he decides to translate that work into physical galleries. The uniqueness of this project not only rests in Van Den Dorpel’s distinctive visual approach to online imagery, but is also due in part to this system being a type of conceptual launching pad for critiquing the ways in which certain user-generated image curation platforms all too quickly create a kind of same-same-ness (ahem Tubmlr).
In our conversation, we discuss some of the back-end of Van Den Dorpel’s program as well as how the selection process – which again is based on negative association -Â nurtures the artists’ intuitive studio practice. In doing so, the project becomes a kind ofÂ tableau for Van Den Dorpel’s work that is not based upon typical systems of organization like construction material and/or chronology. Instead, as we find in our explorations of both the selection process and the front-end display of the “results” of this software, one looks at the artist’s work in a more nuanced way. As a result, Dissociations becomes more like a game; one in which the feedback and immediacy of the computer can become more measured and distinct when brought offline.
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