Digital Embodiment

[Image Description: Digital image of a book cover designed with Heinrich Hoerle’s oil painting Monument to the Unknown Prostheses (1930). The main colors include tan, red, blue, green, and black, and the cover is split up into three sections. The title Disability in Twentieth-Century German Culture covers the top third. Hoerle’s painting includes three robotic-like figures in the center third; the left and right figures are shown in profile and the center figure is smaller and faces the viewer. The lower third shows the author’s name “Carol Poore,” below which reads “Winner of the Aldo and Jeanne Seaglione Prize from the Modern Language Association and the DAAD Book Prize from the German Studies Association.]

Image of a book cover

Book Description: “Disability in Twentieth-Century German Culture covers the entire scope of Germany's most tragic and tumultuous century—from the Weimar Republic to the current administration—revealing how central the notion of disability is to modern German cultural history. By examining a wide range of literary and visual depictions of disability, Carol Poore explores the contradictions of a nation renowned for its social services programs yet notorious for its history of compulsory sterilization and eugenic dogma. This comprehensive volume focuses particular attention on the horrors of the Nazi era, when those with disabilities were considered "unworthy of life," but also investigates other previously overlooked topics including the exile community's response to disability, socialism and disability in East Germany, current bioethical debates, and the rise and gains of Germany's disability rights movement.

Richly illustrated, wide-ranging, and accessible, Disability in Twentieth-Century German Culture gives all those interested in disability studies, German studies, visual culture, Nazi history, and bioethics the opportunity to explore controversial questions of individuality, normalcy, citizenship, and morality. The book concludes with a memoir of the author's experiences in Germany as a person with a disability.” - Michigan Publishing, University of Michigan Press

Book citation: Poore, Carol. Disability in Twentieth-Century German Culture. Ann Arbor: University of Michigan Press, 2007.

[Video Description: A compilation of viewer reactions to the exhibit Frida Kahlo: Appearances Can Be Deceiving. Viewers are interviewed in a gallery, in front of Kahlo’s clothing and ephemera on display. Viewers discuss what they learned, what they liked, and how they feel after seeing the exhibit.]

Frida Kahlo: Appearances Can Be Deceiving organized by Catherine Morris and Lisa Small in collaboration with Circe Henestrosa, Claire Wilcox, and Gannit Ankori at Brooklyn Museum

Video documentation of viewer reactions at an exhibit

Exhibition Description: “Mexican artist Frida Kahlo’s unique and immediately recognizable style was an integral part of her identity. Kahlo came to define herself through her ethnicity, disability, and politics, all of which were at the heart of her work. Frida Kahlo: Appearances Can Be Deceiving is the largest U.S. exhibition in ten years devoted to the iconic painter and the first in the United States to display a collection of her clothing and other personal possessions, which were rediscovered and inventoried in 2004 after being locked away since Kahlo’s death, in 1954. They are displayed alongside important paintings, drawings, and photographs from the celebrated Jacques and Natasha Gelman Collection of 20th Century Mexican Art, as well as related historical film and ephemera. To highlight the collecting interests of Kahlo and her husband, muralist Diego Rivera, works from our extensive holdings of Mesoamerican art are also included.

Kahlo’s personal artifacts—which range from noteworthy examples of Kahlo’s Tehuana clothing, contemporary and pre-Colonial jewelry, and some of the many hand-painted corsets and prosthetics used by the artist during her lifetime—had been stored in the Casa Azul (Blue House), the longtime Mexico City home of Kahlo and Rivera, who had stipulated that their possessions not be disclosed until 15 years after Rivera’s death. The objects shed new light on how Kahlo crafted her appearance and shaped her personal and public identity to reflect her cultural heritage and political beliefs, while also addressing and incorporating her physical disabilities” - Brooklyn Museum

Reviewed in “Frida Kahlo’s Home Is Still Unlocking Secrets, 50 Years Later: The artist’s life, through clothing, jewelry, objects, films” by Jason Farago

[Link description: Art Gym Gallery website discussing the physical portion of the exhibit digital embodiment, May 23 - June 14, 2019, curated by Mary Grace Bernard. The main photo shows a pixelated image of an IV drip. To the right read the words “Digital Embodiment” in white pixelated letters.]

digital embodiment, curated by Mary Grace Bernard at Art Gym Denver

Link to Art Gym’s website with information on the physical portion of the exhibit digital embodiment.

Physical Exhibition: May 23 - June 14, 2019

EXHIBITION OPENING: MAY 23, 2019, 5-8PM

Artists included: Bob Flanagan, Carolyn Lazard, Park McArthur, Melissa Tamporello, Constantina Zavitsanos, Mary Grace Bernard, Sheree Rose

[Image Description: Close-up of artist Martin O’Brien during the performance It’s Good To Breathe In (This Venice Air). The artist’s head is shown flung back and in profile, with eyes wide and mouth open. A shiny substance coats their chin and neck.]

Photographic still from It’s Good To Breathe In (This Venice Air) (2016) by Martin O’Brien

Image documentation of a live performance

Artwork Description: “At the VENICE INTERNATIONAL PERFORMANCE ART WEEK 2016, O'Brien presents the live performance It's Good to Breathe In (This Venice Air). Venice is the city of water. We need water to live but in water there is always the possibility of death. People often say that dying of cystic fibrosis feels like drowning. Martin says he's always been shit scared of this. This performance is part of Martin's ongoing series of works that respond to the specific locations in relation to his sick body. It's Good to Breathe In (This Venice Air) is an improvised performance with the 2008 B-movieShark in Venice as the backdrop. Martin will use a series of objects and his body to explore water as a place of death, his own disease and the nature of human mortality. This will happen over the length of the film.” -Venice International Performance Art Week

Performance at Venice International Performance Art Week 2016

Related Link: Survival of the Sickest: The Art of Martin O’Brien, edited by Martin O’Brien and David MacDiarmid (Live Art Development Agency, 2018)

[Video Description: A person walks into a darkened booth and holds a stethoscope microphone to various parts of their body, including near their mouth as they sing a note, to show the vibrations on a projected screen behind them.]

Inner Contact, Outer Sight by Melissa Tamporello

Video documentation of a multi media installation, 1:16 minutes total

Artwork Description: “This installation utilizes a homemade stethoscope microphone to create visuals of the human body’s inner vibrations giving participants a personal experience with their inner body.” -Melissa Tamporello

Installed at the International Visual Literacy Conference, October 5-8, 2016

[Video Description: Lisa Bufano dances, crawls, writhes, and walks on all fours like an insect or spider. She has stilts that look like furniture legs attached to her legs and arms. She performs in front of a moving projection of black and white drawings, nature scenes, telephone wires, and other slightly abstracted imagery.]

HOME IS NOT HOME by Lisa Bufano and Jason Tschantré 

Video documentation of a 3:16 minute performance

Artwork Description: “HOME IS NOT HOME is a collaborative dance and video piece by performance artist Lisa Bufano and Jason Tschantré. It was performed in Douai and Bethune, in North France, in November 2011 as part of the Bethune Arts Festival. The piece explores relationships between people and locations, travel, and the elusive feeling of belonging.” - Jason Tschantré

“Home is Not Home (working title) is a movement/video collaboration created by Lisa Bufano and Jason Tschantre for L'art+toi, Bethune 2011, Capitale regionale de la culture.” -Lisa Bufano

Debut performance on November 14, 2011 at 7pm, Hippodrome, Douai, France

[Image Descriptions: Two screenshots of pages on sinsinvalid.org. Both images have red curtains on each side of the screen like a performance stage. Center stage is black with images. The first screenshot shows a performance piece by a person in overalls who points to a folding chair and table with table cloth. The header reads “Sins Invalid: An Unshamed Claim to Beauty in the Face of Invisibility.” A screen showing two figures is projected in the background. The second screenshot shows six thumbnails of performances from Sins Invalid.]

Sins Invalid Website

Website Description: The official website of Sins Invalid, which describes the Sins Invalid project, provides videos and still from performances, and details Sins Invalid workshops. Sins Invalid is “...a performance project that incubates and celebrates artists with disabilities, centralizing artists of color and queer and gender-variant artists as communities who have been historically marginalized. Our performance work explores the themes of sexuality, embodiment and the disabled body. Conceived and led by disabled people of color, we develop and present cutting-edge work where normative paradigms of "normal" and "sexy" are challenged, offering instead a vision of beauty and sexuality inclusive of all individuals and communities.” -Sins Invalid

Images courtesy of SinsInvalid.org

[Image Description: A row of three pieces of paper with black drawings. The first (left) says “DISTRIBUTION INSTEAD OF DECENTRALIZATION” above a shape with connected vector dots. The second (middle) says “CARE INSTEAD OF CONTROL” and shows two simply drawn human figures holding hands. The third (right) says “INFORMATION INSTEAD OF DATA” and shows two stick figures surfing on a wavy line above an angular wave.]

Distributed Web of Care Website, an initiative of Taeyoon Workshop

Image documentation of the DWC website

Website Description: Distributed Web of Care is an initiative to code to care and code carefully.The project imagines the future of the internet and consider what care means for a technologically-oriented future. The project focuses on personhood in relation to accessibility, identity, and the environment, with the intention of creating a distributed future that’s built with trust and care, where diverse communities are prioritized and supported.The project is composed of collaborations, educational resources, skillshares, an editorial platform, and performance. Announcements and documentation are hosted on this site, as well as essays by select artists, technologists, and activists.Distributed on Dat and GitHub. - DWC

[Video Description: Part 3 of 3 of the Director’s Cut of David Mitchell and Sharon Snyder’s documentary Vital Signs, Crip Culture Talks Back, available on YouTube. The footage for the documentary was shot at the University of Michigan’s 1995 conference on disability and the performing arts, This/Ability. Part 2 includes interviews with disabled studies scholars, artists, poets, authors as well as performances and discussions.]

Vital Signs: Crip Culture Talks Back, Part Three (copyright 1995, Fanlight Productions, now on YouTube) by David Mitchell and Sharon Snyder

Part three (10 minutes, 17 seconds) of a documentary, closed captioning included

Documentary Description: “During a conference on disability and the arts interviews and performance art routines were recorded in the video, “Vital Signs: Crip Culture Talks Back.”  The documentary captures the emergence of disability culture – the active sharing of community, politics, and critiques of academics, artists, activists, and other disabled people.” - David Mitchell

“This edgy, raw documentary explores the politics of disability through the performances, debates and late-night conversations of activists at a national conference on Disability & the Arts. Including interviews with well known disability rights advocates such as Cheryl Marie Wade, Mary Duffy and Harlan Hahn, Vital Signs conveys the intensity, variety and vitality of disability culture today. Open-Captioned. Contains strong language and nudity.” -Fanlight Productions

Filmed at the University of Michigan’s conference on disability and the performing arts, This/Ability: An Interdisciplinary Conference on Disability and the Arts, on May 18-20, 1995

Related Links: Talking About Talking Back: Afterthoughts on the Making of the Disability Documentary Vital Signs: Crip Culture Talks Back by David T. Mitchell and Sharon L. Snyder

[Video Description: Part 2 of 3 of the Director’s Cut of David Mitchell and Sharon Snyder’s documentary Vital Signs, Crip Culture Talks Back, available on YouTube. The footage for the documentary was shot at the University of Michigan’s 1995 conference on disability and the performing arts, This/Ability. Part 2 includes interviews with disabled studies scholars, artists, poets, authors as well as performances and discussions.]

Vital Signs: Crip Culture Talks Back, Part Two (copyright 1995, Fanlight Productions, now on YouTube) by David Mitchell and Sharon Snyder

Part two (18 minutes, 35 seconds) of a documentary, closed captioning included

Documentary Description: During a conference on disability and the arts interviews and performance art routines were recorded in the video, “Vital Signs: Crip Culture Talks Back.”  The documentary captures the emergence of disability culture – the active sharing of community, politics, and critiques of academics, artists, activists, and other disabled people. - David Mitchell

This edgy, raw documentary explores the politics of disability through the performances, debates and late-night conversations of activists at a national conference on Disability & the Arts. Including interviews with well known disability rights advocates such as Cheryl Marie Wade, Mary Duffy and Harlan Hahn, Vital Signs conveys the intensity, variety and vitality of disability culture today. Open-Captioned. Contains strong language and nudity. -Fanlight Productions

Filmed at the University of Michigan’s conference on disability and the performing arts, This/Ability: An Interdisciplinary Conference on Disability and the Arts, on May 18-20, 1995

Related Links: Talking About Talking Back: Afterthoughts on the Making of the Disability Documentary Vital Signs: Crip Culture Talks Back by David T. Mitchell and Sharon L. Snyder

[Video Description: Part 1 of 3 of the Director’s Cut of David Mitchell and Sharon Snyder’s documentary Vital Signs: Crip Culture Talks Back, available on YouTube. The footage for the documentary was shot at the University of Michigan’s 1995 conference on disability and the performing arts, This/Ability. Part 1 includes interviews with disability studies activists, artists, and scholars, footage from activist marches, and excerpts of performance art, poetry, and speeches.]

Vital Signs: Crip Culture Talks Back, Part One (copyright 1995, Fanlight Productions, now on YouTube) by David Mitchell and Sharon Snyder

Part one (18 minutes, 41 seconds) of a documentary, closed captioning included

Documentary Description: “During a conference on disability and the arts interviews and performance art routines were recorded in the video, "Vital Signs: Crip Culture Talks Back."  The documentary captures the emergence of disability culture -- the active sharing of community, politics, and critiques of academics, artists, activists, and other disabled people.” - David Mitchell

“This edgy, raw documentary explores the politics of disability through the performances, debates and late-night conversations of activists at a national conference on Disability & the Arts. Including interviews with well known disability rights advocates such as Cheryl Marie Wade, Mary Duffy and Harlan Hahn, Vital Signs conveys the intensity, variety and vitality of disability culture today. Open-Captioned. Contains strong language and nudity.” -Fanlight Productions

Filmed at the University of Michigan’s conference on disability and the performing arts, This/Ability: An Interdisciplinary Conference on Disability and the Arts, on May 18-20, 1995

Related Links: Talking About Talking Back: Afterthoughts on the Making of the Disability Documentary Vital Signs: Crip Culture Talks Back by David T. Mitchell and Sharon L. Snyder

[Image Description: Three photographs of Anti-Stairs Club Lounge at Wassaic Project by Shannon Finnegan. The first photo shows the entrance to the Lounge; the door is open and a sign is on the wall stating “ANTI-STAIRS CLUB LOUNGE” in letters evoking steps. The lighting is dim and slightly orange. The second and third photos show the inside of the Lounge, illuminated by natural light from a large window. The second photo shows a single white bucket seat chair with a blue pillow and a bedside table with plants and objects. The walls are yellow and salmon. In the third photo, five chairs with pillows are lined up against the yellow walls. A sign in step-letters reads “THE HIGHER YOU CLIMB...”]

Anti-Stairs Club Lounge at Wassaic Project (2017-2018) by Shannon Finnegan

Photographic documentation of exhibition space; materials include furniture, custom textiles, books, and snacks

Artwork Description: Anti-Stairs Club Lounge addresses the inaccessibility of the Wassaic Project's exhibition space, Maxon Mills. Maxon Mills is seven floors with no ramps or elevator above the first floor. Anti-Stairs Club Lounge is a space exclusively for visitors who cannot or choose not to go upstairs. The space includes: seating, reading materials, light refreshments, plants, and a charging station. It features a mural that says “The higher you climb, the farther you fall.” - Shannon Finnegan

[Image Description: Vector graphic of a browser window with the word “Search” in blue, red, yellow, and green reminiscent of the Google logo. The search bar displays the text “THE 504 SIT-IN 1977″ and a search button is displayed below.]

Disability History PSAs (2018) by Shannon Finnegan

Vector graphic, dimensions variable

Artwork Description: Part of “a series of simple drawings,” Shannon Finnegan uses easily recognizable imagery to prompt viewers—disabled and abled—to think about their knowledge of disability history. In the artist’s own words:

“I am an artist making work about disability culture and access. My work is often intended specifically for a disabled audience and reflects the humor, vibrance, and nuance of our community.” - ShannonFinnegan.com

“I’m working with the tools that I’ve developed in my practice over the past decade. I use text to make a direct connection with the viewer. I use the personal and specific to talk about larger societal forces. I employ earnestness and humor, delicately balancing the two. My work is playful, but my politics and critiques are clear.” - wnewhouseawards.com

[Image Description: Four screenshots of onhell.website by Johanna Hedva. Each image has a dark, cloudy sky background with lightening and rain animations. There are cat gifs lining the borders of each image. One cat gif is a baby riding the cat like a horse. The first image has text that reads ONHELL.WEBSITE IS THE OFFICIAL WEBSITE OF THE NOVEL ON HELL BY JOHANNA HEDVA. The second image shows a video that reads EXCERPTS FROM ON HELL. The third and fourth images are sections of animated leaked government documents.]

Oh Hell Website by Johanna Hedva

Image documentation of website 

Website Description: The official website of Johanna Hedva’s On Hell novel. Features hundreds of animated leaked government files 100% for free, tour dates, praises, and excerpts of the novel. The Youtube video “Float Through the Cosmos” is embedded into the background as a soundtrack to accompany the site. The website is an artwork that can experienced anywhere at anytime. 

[Video Description: Amanda Cachia sits at a desk with a computer in the lower, right hand corner of the video. Behind her is a screen showing her power point presentation. Opposite of her is a banner that reads Shape, www.shapearts.org.uk, supporting disabled artists to develop their professional practice.]

Disabling the Museum: Curator as Infrastructural Activist by Amanda Cachia

Video documentation of presentation

Presentation Description: “Amanda Cachia discusses curatorial issues around disability and representation in this hour-long exchange with an invited audience at Shape Arts. Click on captions for subtitles.” - Shape Arts

When: March 30, 2016 at 4:00 PM

[Image Description: A person with a black jacket grabs their hair as they stand waiting for the subway. Their back is toward the camera.]

Festival Albertine: Redefining Normality and Disease organized by Albertine: A Project of the Cultural Services of the French Embassy in New York, New York

Image documentation of event

Event Description: Writers Siri Hustvedt and Laure Murat, and artist Johanna Hedva will join two representatives of L’Oiseau Mouche Theater Company to discuss how the understanding of mental illness can move beyond a dichotomous perception of normality and disease. Moderated by Sara Hendren.

“This event is part of Festival Albertine, an annual, five-day event hosted by Albertine Books, the bookshop and cultural center operated by the Cultural Services of the French Embassy in the US. Inaugurated in 2014, Festival Albertine has become a vital summit for discourse between leading French-speaking and American thinkers.” - Albertine

Participants: Johanna Hedva, Siri Hustvedt, Laure Murat, and L’Oiseau Mouche Theater Company

When: Saturday, November 3, 2018, 4:30 PM - 6:00 PM (Livestream)

Where: Albertine, 972 Fifth Avenue, New York

Image courtesy of Albertine