Wednesday, December 30, 2009

Chicago








“It is by going down into the abyss that we recover the treasures of life. Where you stumble, there lies your treasure”-Joseph Campbell

Since my arrival in Chicago, I have been trying to fall in love with this city. It was easy to fall for the alleys, and the reflection of light bouncing off of the puddles after a summer storm. Riding my bicycle down the Lakefront path. Building and collaborating on shows with my company. Teaching performance programs in the city schools. Exploring art, music, and sudden friendships in a fertile, if random, ground of influence and opportunities. I had believed to have committed myself fully to the quest for love of this city, despite the fact that one foot was always poised in either retreat or advance. Perhaps I had truly committed myself to falling.

The first time I visited Chicago was in 1994 for a Women’s Studies conference at Depaul. I was brought in as an actor to play Virginia Woolf in a play that had been written by another Wooster student, and had won some kind of award. I didn’t think much of Chicago-it reminded me of Cleveland, which, at the time, wasn’t a horrible association. Cleveland had been in a resurgence and beautification decade. Jacob’s Field was still new. Tower City was still current, and the Flats still had an array of clubs. Cleveland was a little bit pretty. The area of Chicago we were being housed in was seedy, so I didn’t have a huge impression of Chicago, necessarily. We didn’t even drive through downtown. I don’t remember Lake Michigan any differently than I know Lake Erie. Chicago=Cleveland, which was fine. No harm, no foul. I knew Cleveland, and was fond of Cleveland. Chicago didn’t offer anything new to me. I was at a conference. I didn’t feel that I had an opinion.

I did form one. It was while watching Saturday Night Live in the hotel room with Blind Melon as the musical guest. Shannon Hoon loped up to the microphone and mumbled, “This is for Kurt Cobain.” awkwardly. My first thought was that he was being snide and playing off of the common tone in the grunge days of calling another musician a sell out, or Kurt Cobain was dead. I couldn’t figure it out. It was clearly one or the other.

Kurt Cobain was dead. I had another association with Chicago. It was in a hotel room, and watching a television screen, confused and hoping for sarcasm, rather than remorse.

Years later, as an actor traveling and exploring residencies and contracts, meeting new sudden friends and cohorts, I heard about the storied potential of Chicago. Many of my friends aspired to live and build a career there, and it was presented as a wonderland. I was already based in NYC, a city I loved, and had no interest in Chicago. If I left New York, it would be for Los Angeles. In my mind, New York had theatre and Law and Order. Los Angeles had film and television. I grew up in the Midwest, and had no interest in returning. I had New York waiting. I had Los Angeles looming. First things first, especially while still in my 20’s.

At 26, I began planning my move from NYC to LA. I took a year to canvas, establish contacts, save money, and transition my tone. I wasn’t unfamiliar with LA, as my grandparents lived in Long Beach, and from five years old on, I had spent many holidays and vacations out there. Many memories were built and fantasies borne of those trips full of Seal Beach, Marina Del Ray, 70 degree Christmas’, back yard lemon trees, and morning feedings of the neighborhood rabbits. As a child, Los Angeles represented the dream world I would one day own, posted in snapshots of palm trees and beaches amid my Sassy Magazine posters of Johnny Depp and Christian Slater that decorated my bedroom walls at my Father’s house. As I grew older, went to college, and accepted opportunities, I found myself in New York City, hopelessly in love, training at Strasberg, and surrounded by constant amazement. Childhood memories and palm trees didn’t stand a chance against swollen stories passing by, towering in architecture, rooted in the frames of the sheer mass of people ebbing along, aware and blinded by the atmosphere of Everything. The Chelsea Hotel. Leonard Cohen oozing from every pore of the city that begged to be explored and trodden.

When I decided to leave New York, the dream of California was clear, and waiting. I did have the anticipation of training, the desire to work in independent film and television, the fruition of a few friends from my traveling actor days, NYC, and other places along the way. I had even struck up a romance with a friend from high school. Most importantly, though, was the energy of starting anew-exploring the landscape and opening up my path to the cliff’s edge, all the while admiring the view.

My final trip to L.A., before actual relocation, was a two-week stint to find an apartment. Knowing I’d be living the La Boheme life as a n actor again, I had staggered my connecting flights in Chicago to spend the weekends of travel with my best friend from college, Heather, who had been in Chicago for a few years. The Chicago I found on the first weekend en route to L.A. was drastically different from the “It’s just like Cleveland” Chicago I remembered. Nights were long and oddly glamorous, filled with champagne, martinis, laughter and late night runs to the lakefront. Days were filled with brunches, music, hilarity and art. Sleep was minimal. New friends were immediate, to the extent that a group of newfound friends stole my keys on my last night, trying to convince me not to go out to Los Angeles and to stay in Chicago. It almost worked, as when my flight was scheduled to take off at 8:30 am, I was still searching for the hidden keys. Part of me hoped I wouldn’t find them. Luckily, the flight had been delayed, and I did not miss it. I slept for the entire weekend on that flight. In that sleep, I recognized something I hadn’t expected-I was completely infatuated with Chicago. Who knew? Chicago raised my eyebrows and pushed my pulse. But I had already put my plan in motion, so that city was to be nothing more than a “what if?”

I got to Los Angeles, settled myself into the Holiday Inn in Hollywood, immediately took a nap, and slept through a mild earthquake. I had plans to meet up with the boy I’d been seeing, but he was insisting I drive out to Burbank, which I was not intent to do, having not driven in five years, and didn’t know how to get there, and frankly, found his whole demeanor a little rude. I cancelled the plans and opted to do some writing at the hotel bar, where I quickly fell into conversation with the bartender. We spoke of New York, the business, and all of the typical stuff. Then we came to the subject of Chicago, and she kept saying, “You know, I wish I had known about Chicago.” And my heart twitched a bit with the wonder if I was making a mistake in considering only two cities in which to play. I guess that is what usually happens when you walk away from infatuation. You wonder.

I woke the next morning to my hotel phone ringing. I had assumed it was the boy, calling to apologize, but it was my friend Carrie, calling in tears, telling me to turn on the television. This is where this turns into my September 11th story. Sitting alone in a hotel room in Hollywood, watching the literal world I had just left crumble as it would in a big-budget movie blockbuster.

Dumbfounded. Helpless. Confused. Horrified. Alone. Really, really, really far away.

My phone rang again, and this time it was the boy. He was laughing, shouting, “Are you watching this?!?Fuck New York!” I never realized what a terrible judge of character I had been.

Devastated. Cut off. Alone.

I tried to call everyone back home, but my cell was out(as it would be for another week or however long it was). Luckily, there was a youth hostel next door with internet, so I was able to get in touch with friends and family that way, and account for everyone I could. But there wasn’t much I could do, that far away.

I’ll spare the rest of the story, as it’s another entry in and of itself. I hid in my hotel room for a few days, trying to make some sense out of anything, and eventually came to “live what you love.” “Follow your bliss,” It was the only thing that made any sort of sense, and the only perspective I could muster to take a terrible tragedy and tie a makeshift rudder of hope and direction to it. It happened. Now what?

I spent my two weeks out on the West Coast, half-heartedly looking for an apartment, but had already decided that I couldn’t stay out there with family in Ohio and a life in New York. I decided to take my staggered return weekend to find an apartment in Chicago, which was easy to do. Rather than move to L.A., I moved to Chicago, intending to stay there for a year, until things settled down, then either move back to New York, or go out to L.A. again. I was still jumping off of the edge of a cliff, still admiring the view. This one just happened to be a little chillier for 6 months of the year, and offered opportunities other than the ones I had been surveying. Adventure always wins.

I came to Chicago in an unexpected transition stumble. Chicago was a treasure- a worthy crush that lived up to its promise of amusement, discovery and wonderful distractions. I had moved into an industrial loft space in the West Loop with Heather’s brother Jaime, and his punk-rock-hairdresser-from-Seattle girlfriend, who was absolutely insane, and kind of wonderful. We renovated the entire space in a free-form artists loft over the next year. Old friends, whom I never thought I’d see again, began appearing everywhere. The music scene was amazing, vibrant and contagious. Amanda, a friend with whom I had toured with the Rocky Horror Show years back, had just started a theatre company(She will say it’s “Interdisciplinary,” but I think that is redundant-theatre is, by nature, interdisciplinary, and we were, essentially, putting on plays in the first few years-check us out now at www.stridinglion.org---plug,plug. Wonderful company!), Striding Lion, and I had signed on for “Cowboy Mouth” as the producer, costume designer, assistant director and understudy(starting up companies=many hats). Summers were amazing. Winters were long and brutal. Work was constant.

With “live what you love” as an impetus for discovery, I soon found myself as the growing artist that had twitched and turned in discomfort during my time as an “actor and that’s it,” which led to the “actor turned restaurant general manager with stable income and health insurance” that led to “actor turned general manager turned bar manger/teaching artist in Harlem and Washington Heights.” Chicago became a playground of building identity and taking earnest chances to explore what truly drives me . It was within this city that I was able to bridge the connections of wants, desires and tuggings of my 20’s and early 30’s into a perspective that broadened into a path that makes sense.

With the breadth of this path before me, the foot that has been poised for years is gaining weight and momentum to continue , strengthened by this city, and all that it contains. I may not have fallen in love with Chicago, but I am reverent to the honor and freedom to explore that this city has granted me. It is certainly a treasure.

Thursday, September 10, 2009

fuck the couch



Towards the end of my Columbia experience, an esteemed professor of mine mused that he "laid on the couch for four months" after finishing grad school and his thesis. I laughed in appreciation at this and found myself conflicted-lay on the couch for four months?!?! With all of this momentum? That's not how I work! Oh, but the couch does look comfortable... 
So, I tried. 
It turned out that my couch wasn't so comfortable, after all, albeit pretty. 
And there was so much to do! Amanda, the Artistic Director for Striding Lion, was heading out West with Eloise and Ben, bound for the mountains, Ben's law school, and Eloise's new home state of Colorado. So, there were meetings, transitional eekings of keeping the company strong, inspired and fiscally sound. And there was planning, on my end, devising programming as the "becoming" Artistic Director, and the opportunity to frame and harvest the programming and community I've been laying out for nearly a decade through journals, teaching, personal musings, observations, and practice. There is no couch laying in that, but there was also a sense of stasis that became my couch, in many ways. Add to that, my unexpected unemployment, due to arts funding cutbacks resulting in my summer teaching position being cut, and I found myself living off my emergency credit cards, and my two bartending shifts that are muse-intensive, but by no means gainful employment... 
This summer was fraught with both feast and famine. The feast was in building opportunity with Striding Lion, structuring a kick-ass season, concern over economic stability, waiting to learn what funding will come through, and which ones will fail with our paranoid and flawed economy. The famine came in waves of recognition and manifested itself in spending hours trying to configure back-up plans, watching them fail, feeling caught and tangled in an isolation that I hadn't expected. I had planned to use this time as a gift-to learn to play my guitar well enough to perform live, learn my Logic software in order to record, write the great american novel. I did none of these things. I freaked out, trying to figure a way in which to survive. Is that a couch?
If it is, I don't like it, and I refuse to lay on it. I suppose it's wonderful that my couch is a lovely, yet uncomfortable, antique loveseat. Not a couch at all.Whenever I tried to settle in it, I could never get comfortable. I just didn't fit enough to relax or settle. It's better this way. 
Four months have passed. I'm back in action. Stasis session is over. Striding Lion is roaring along in the INCUBATOR series at the Department of Cultural Affairs(check out the blog at http://dcatheater.org/blog/) , which will culminate in our "Pioneers" performance at 7:30 pm on Tuesday, September 29th. There are two sections to this: a for-youth production based on the songs, stories, diaries and history of the Westward Expansion, and "Directional Shifts"- a production that is an introduction to the "Night Roars-live art series" in which our artists explore our own responses to the definition of "pioneer" in our current time and place. It's all very exciting and a certain exploration.

Now that I have dismissed stasis, I have learned that it's crucial to have a couch. I need a place to rest. So, for my birthday(September 1st), I built one out of my childhood wrought iron bedframe. It didn't really take much- a mattress, a boxspring, pillows made from remnant fabric from the local JoAnn Fabrics.It was a bit of a rescue effort, on multiple levels that I won't divulge here, and it makes sense.  I'm happy to build something new and functional out of my history. Points for being able to sleep upon it. I recognize that it is still not truly a couch, but I clearly don't dig on couches.

Saturday, May 30, 2009






The culmination of the thesis exhibition of Loss is Expected occurred on Friday, May 15th, 2009, during the Manifest Festival at Columbia College, Chicago. In keeping theme with my deconstruction of  performance and production, my previous performances in the installation were minimally advertised, and used to alter the space, rather than entertain an audience. Audiences were unexpected or coincidental, and often unaware that performance was going on whatsoever. Prior characters were subtle and completely pedestrian. Mad Lady Libs was the breaking of this rule in my performances. She, too, was minimally advertised, but her costume, make-up and distance from a pedestrian evocation made clear the performance element. Clearly, she is a character that belongs to Loss is Expected. Clearly, she is a familiar icon, skewed. Clearly, as she will tell you, she is on vacation, and she is very excited to see and be seen, watch, and be watched, divulge and be divulged, solve and be solved.
Being on vacation, she has the ability to travel and explore-smile for photos with strangers, pose for others willingly. She has also prepared games and gifts- a poem, a pledge, a song, she reads tarot cards and interacts. She is not aware of her costume, other than the fact that it is sharp if encountered carelessly(being made of chicken wire and trash), so she keeps a careful distance. But she is welcoming, funny, and clear, albeit a little awkward. Luckily, she has no shame.
Text: I am an Island
I am an island, enlightening the world
I am an island and a gift.
I am an island here to welcome you.
Welcome.
I am an island of an icon on an island.
A goddess of freedom
from slavery
oppression
tyranny.
I am your teen dream set aside to watch over you
in friendship
I am an island
begging you to bring me your huddled masses
in hopes that they get to me first.
Breathing free in the dream
surrounding my feet.
I am an island built on your base
reduced to pieces for travel,
stored for clearance.
Thank you, Cleveland!
I am an island representing your dreams,
your gifts to me are clear,
covering me top full
on this island.
I ask you to now help me fill in the blanks
So I can share with you what I have learned,
Watching, waiting,
here for you, of you.
She then asks the crowd to offer these nouns:

1)    Noun- something personally sacred

2)    Plural Noun-can be anything

3)    Noun- something that contains something

4)    Noun- collective group

5)    Noun- Powerful entity

6)    Noun-personal ideal

7)    Noun-Personal ideal

Once the words are in place, she asks the crowd to place their right hand over their hearts, and repeat after her:

I pledge allegiance to the –1—of the United –2—of America. And to the –3—

for which it stands, indivisible,one –4—under –5—with –6—and –7—for all.

How does this character relate to Loss is Expected?Simply. She is who she is. She was built with one common goal and reminder of optimism, ideals and growth. Layered with waste and reflection, her reason for being is still proud and clear. When she doesn't make sense, or seems odd, it adds a cautionary tale to those who observe, which an observer can accept or reject. She is both a reflection and a nurturing entity, always seeking, always persevering.

The evolution of this character stems directly from my childhood. The only art contest I've ever entered(it was unbeknownst to me-a school project) was in 5th grade. It was a poster contest for the Kent Junior Women's League(oh, god, the field day I could have with that title, alone). The contest was to create a poster under the theme of "I Love America" and go from there. I drew the Statue of Liberty with little comic book thought bubbles surrounding it containing what I had been brought up to believe as the benefits of living in America: Food, Wealth, Clothing, Happiness, etc, etc, etc. The poster wasn't good, by any means, but it won 2nd place out of 100, and I got a free pizza and $10!!! Apparently, the poster was submitted to a state-wide competition. I never saw it again.

I probably wouldn't remember any of this, had not one one of my teachers laminated a newspaper article that had been published in The Record Courier and given it to my mother(she was the school psychologist for the Kent City schools-and is now a fantastic watercolorist in Cape Elizabeth), who then kept it until she and my stepfather moved to Maine, and it ended up in a package sent to me, just before I started grad school in 2007. In 2007, I found it absurd, hilarious and sweet, and gave this carefully laminated photo of me in a pinafore dress and a mullett at age 10 a permanent place on my refrigerator, as well as a reminder of the icons and signs that are both driven into you in youth, and chosen as you grow older, wiser, and wanting to remember those familiar things and events that you can't quite place, but form your identity.

Cross that(much like the initial cross in the tarot readings given) with the recitation of the Pledge of Allegiance that we were trained to recite with a loudspeaker and a principal when I was a kid, and the manner in which we'd play with the word "indivisible." In my experience, we were trained and rewarded for learning our patriotic renditions. But the fact of the matter is, we all live our lives, and  recognize where we are, where we are going, and the place we personally land is not built of what we have been told, but of how we choose to play the games presented, and interpret the rules. Even(especially) as kids, we tried to play with the rules given to us.

I chose to work with the Statue of Liberty because she is beautiful, specific, stoic and a common thread between my process of growing up, ideals, and hopes for the future. I can't dismiss that she is an island(much like my own personal musing that "Joan of Arc Island" in NYC is a median on Riverside Drive),  a myth, and an aspiration. So, I humanized her. I gave her a home and a dowdy outfit, carefully and lovingly constructed, and a personality that is hilarious, concerned, welcoming and out of time.

On May 18th,after the performance, I returned to NYC to visit friends. As I clumsily tried to explain this particular character to Brandon, who is a video artist(an amazing one, in fact)in Brooklyn, he rather incredulously asked, "Karen, do you know where the Statue of Liberty's gaze falls?"He then told me of the statue of Minerva in Green Wood Cemetery, in Brooklyn, at the site built to commemorate the Battle of Long Island, August, 27, 1776. I did know this, given my past Statue of Liberty research... but I had forgotten. Visiting this monument of Minerva raising her hand in an acknowledging wave to the monument of the Statue of Liberty, torch high and resolute,  accentuated the inclusion that I sought to extend. Liberty may be an island, but she is seeking connection. That's her point. that is why she embodies the American dream. 

Memory is amazing to me. As are facts, and the games we play in which to join the jumble  that has been spread out like a carpet of reminders and cautionary tales. Loss is Expected is my first public foray into playing with my personal past and the history that built the history that will continue to define the past. It's playful, stark, layered and constantly influenced, easily overlooked, and equally enigmatic. I approached this installation as I have done with characters as an actor. It's intensely personal, and shamelessly overt.

None of this was expected. It makes total sense.

xo,

K

Thursday, May 14, 2009

5/11/09


Title:What of today?
Game:
I brought into the space four newspapers-A New York Times, A Red Eye, Chicago Tribune, and a Chicago Sun Times. I spread them out underneath the tree(as the Christmas tree it once was), and began to page through, ripping or cutting out headlines or items that caught my attention on a quick flip-through. This was an attention-grab game. I found that photos or articles I found immediately disturbing or beautiful, and both, were impulsively cut with care. Things I found personally repulsive were ripped,yet still added, and headlines or advertisements that enhanced a sense of absurdity were carelessly cut. In the midst of this, much was going on- photo documentation was being taken for the department, my wonderful and always-inspiring advisor and I had a meeting, earlier than scheduled, but that was fine, and fit into the attention pull and skew of this task that was not announced, familiar and pedestrian, all fitting into the theme of this piece.
Once the newspaper pieces were dissected, I placed them where I felt they belonged in the space. This was my game  for this day. Pulling from places that influence and exist, yet being completely separated as an observer to catch and cut, pull, and extort the meaning that contains meaning for me at a first visceral glance. What catches our attention in the familiarity of following rituals, like reading a newspaper, which is a solid thing to do, while being concerned by the outside world, but how quickly is our attention, direction and impulse pulled? 
 I love newspapers as they are tangible, directed, edited, a chore, and a privilege. I chose to use newspapers that were both opposed in audience, and available at the nearest gas station. A little bit of choice, and a little bit of circumstance. We glean information based on the information available to us. Newspapers are directed to a specific audience, in journalistic objectivity and aspirations of integrity, and that is compelling to me in the scope of Loss is Expected. 

So I flipped, cut, tore, held meetings, listened to the activity around me, and then placed my findings where I felt they belonged within the space.


Friday, May 8, 2009

Pandora-May 4th, 2009-Loss is Expected

In Memory of the Kent State Shootings, May 4th, 1970.
Additions to the space:
Individual flowers(13 total) placed in holes that had previously been empty on the stage flats(nod to the photo of Allison Krause placing a flower in the barrel of a National Guardsman's gun)
A string of flowers draped on the tree
Text taken from Wikipedia:

"They're worse than the brown shirts and the communist element and also the night riders and the vigilantes," Rhodes said. "They're the worst type of people that we harbor in America. I think that we're up against the strongest, well-trained, militant, revolutionary group that has ever assembled in America."


Unknown speaker 1:"Suddenly, they turned around, got underneath, as if they were ordered to, they did it all together, aimed. And personally, I was standing there saying, they're not going to shoot, they can't do that. If they are going to shoot, it's going to be blank."

 

Unknown speaker 2: "The shots were definitely coming my way, because when a bullet passes your head, it makes a crack. I hit the ground behind the curve, looking over. I saw a student hit, he stumbled and failed, to where he was running towards the car. Another student tried to pull him behind the car, bullets were coming through the windows of the car.

"As this student fell behind the car, I saw another student go down, next to the curb, on the far side of the automobile, maybe 25 or 30 yards from where I was lying. It was maybe 25, 30, 35 seconds of sporadic firing.

"The firing stopped. I lay there maybe 10 or 15 seconds. I got up, I saw four or five students lying around the lot. By this time, it was like mass hysteria. Students were crying, they were screaming for ambulances. I heard some girl screaming, 'They didn't have blank, they didn't have blank,' no, they didn't."[19]

 

0.Jeffrey Glen Miller 265 ft (81 m) shot through the mouth - killed instantly

0.Allison Krause 343 ft (105 m) fatal left chest wound

0.William Knox Schroeder 382 ft (116 m) fatal chest wound

Sandra Lee Scheuer 390 ft (120 m) fatal neck wound

 

0.Joseph Lewis Jr. 71 ft (22 m); hit twice in the right abdomen and left lower leg

0.John R. Cleary 110 ft (34 m); upper left chest wound

0.Thomas Mark Grace 225 ft (69 m); struck in left ankle

0.Alan Canfora 225 ft (69 m); hit in his right wrist

0.Dean Kahler 300 ft (91 m); back wound fracturing the vertebrae - permanently paralyzed from the chest down

0.Douglas A. Wrentmore 329 ft (100 m); hit in his right knee

0.James Dennis Russell 375 ft (114 m); hit in his right thigh from a bullet and in the right forehead by birdshot - both wounds minor {died 2007}

0.Robert F. Stamps 495 ft (151 m); hit in his right buttock {died June 11, 2008}

Donald Scott MacKenzie 750 ft (230 m); neck wound


 "I think that the guardsmen were provoked beyond reason. I believe that we used every conceivable effort to get the people to disperse and to move, long before the formation moved up to the hill. And we regret this as much as anyone, that people were killed and wounded. We even regret the fact that it was necessary to be here."[24]


Friday, May 1, 2009

Text for Constance: Key to a state of emergency-as performed May 2nd, 2009


 

Lately I feel as though we are in a constant state of emergency. Travel, finances, trust, safety, history.  It’ as though we’re on a constant quest to find that one particular key in the jumble that has been collected and set aside for a later date or time.  And the time is now, so we fumble to find our keys, only to find them unmarked, uncertain, or lost

 

Keys: The last bastion of  safety in a carved form that is still as common as communication. A key allows entrance into protected spaces. It is used to add human protection for places of concern. We twist them and turn them, to know that we are safe and have created safety for the space we have left. Keys are carried on belts, chains, in purses, pockets, and forgotten until needed. In a state of emergency, they can be positioned between the fingers as brass knuckles that you hope to never use. Keys represent security. They are as multi-faceted as the dips, grooves and divets that define them.

 

Keys also represent trust and responsibility. No matter where or how I’ve wandered, I realized that I accrued a collection of keys. How do you dispose of them when they are done? Businesses once worked for, friends emergency keys who later moved, exes, school restrooms-they all add up. They all add definition, and can’t be tossed away without some sense of discomfort. They deserve suspension.

 

There are keys to getting to know someone.

Keys to getting to know yourself

The first key is as simple and unmistakable as your first home.

 

My first home, we were taught in school of captain Brady

And his brave leap across a great gorge

In a state of emergency

To escape those who knew the land, having lived there for years.

Native Americans who pursued him along the river

Captain Brady hid in this river, and breathed through a reed

That I’ve never seen growing

But it’s history, right?

It’s  what we were taught

We took field trips to visit burial mounds

In Towners Woods

Above Lake Pippen

Where the Hopewells laid their bodies to rest.

There were mysteries in those woods

And talks of hauntings

rituals

Pranks

At the site where our senior and prom pictures were taken

Grins frozen in time

And a Baptist church at the base of the hills

Where they sent their kids to abstinence camp

And consequently learned about sex

And none of it made any sense

How it all worked together.

It just did. It just was.

We joked about the river that ran through our town

The same in which Captain Brady hid

And the Hopewell’s fished, hunted, traveled and rested

And the industrial waste from another place that caused it to famously burn.

All of this pales in the history in May

39 years ago today.

When a state of emergency was declared

And Rhodes, a governor, called in the National guard

To silence the response to a war that had raged for far too long

Too far away

It seemed so unfamiliar then

To protect a town from its own.

A week ago from today

The SWAT team was called into my hometown

What Ive heard is that is was to end a party in the streets

And the panic that ensued

With burning couches and drunken angry mobs

throwing stones and empty bottles

Receiving pepper spray and battalian rounds.

Seems so unfamiliar?

An absurd re-enactment

To make national news and national play.

Because this place was once

a site of protest and confusion.

On the fourth day in May, just before noon

Escalating frustration

That was disregarded until it  became a mistake

Friendly fire

Victims in transition

An example turned answer

A new definition for a known space

Divets, painfully carved curves.

Recognized as an identity

To deciding the next course

Of protection and safety.

39 years ago today, a state of emergency was declared.

Two days later, lives were lost.

And a town became notorious.

It was given a new key.

A new tone.

One that continually dangles and unlocks

Pursuit, anger, comfort and tragedy

Hauntings

Rituals

pranks

 

Those of us who grew up in this city

Take our keys seriously

And remember them well

With protection and responsibility

As guardians to the next step

Unlocking the next new thing

That keeps us in the game.

 

I’ll be here on Monday, just before noon

Searching for the key to  quell the state of emergency that colors

Our constant orange alert

And to honor those who have carved the dips, grooves and divets

That unlock the next twist we choose to turn.

Saturday, April 25, 2009

Loss is Expected-games and playing

Last night was the thesis exhibition opening. It was fine and awkward. I had made the decision not to perform for this event because, with this piece, my performance is not necessary yet.This night was a setting of the space, and the space is the performance, and the performers are those who enter it. The space is textured with the elements of theatre performance-a stage, a curtain, direction, blocking directions, entrances and exits, clarity, ambiguity and the freedom to play and break rules. the framing of it is skewed, but it is all there.

I tried not to stalk my piece, which was rather impossible,because I am primarily a performer, and I want to make things easy for an audience. But that is not this piece. This piece is a challenge. I eventually gave in and watched from the periphery. I wanted to see how people interacted with it, or if they did.

Observations on opening:

1)Everyone recognizes a pinball machine and bright colors. This inspires grins, nods and moving by to get to the more "serious" work waiting around the literal corner, in this case. It also inspires return for closer inspection and raised eyebrows. When I began this process, I did so with creating definitions of these elements to which I was attracted. The initial idea was to play with a photobooth, which is still integrated in the piece, but it's limitations were in the breadth of the theme that I hadn't gotten to yet. Photobooths were my gateway drug, and the definite personal place with which I identified at the beginning of this process.

Photobooth: A formulated private space with a plastic, uncomfortable seat, an awkward curtain, and a money-feed which may, or may not, accept your crumpled dollar bills. Once the money is fed and accepted, the subjects have no control over when the photos are taken. There are four, and expressions can change with each frame. I see it as a confessional of moments. It is an isolation chamber, with no background other than a white wall, but the image is disposable,In WWII, soldiers would send home photos of themselves to their loved ones. Now, photobooths are found in bars, arcades, them businesses and amusement parks. There is nothing to these pictures other than the pose that you try to to catch, with limited control over when or how the photo is taken, in succession. The fun is in the waiting, then the result is a grainy, streaked, distorted and imperfect, working more with shadows, rather than definition. Subjects are caught in categories.

As I played with the idea of photobooths, I continued into the sense of immediate recognition,distortion and temporary expression posed and frozen in time in a form that can go anywhere-tossed away, sent to a loved one, ripped into pieces to be shared, discarded, shoved in a wallet, or forgotten, until surprisingly discovered once again, and that isolated moment which occurred in this sterile space is suddenly alive again, despite(or because of) it's crass, grainy and distorted features.

Clearly, I still want to do a piece based on photobooths. But not while I'm in grad school. I want to use a real photobooth, and they are just expensive. Need funding!

Again-the photobooth was a gateway drug to explore recognition, amusement and my own journey thus far in the qualities of the definition I had created. Pinball was a clear choice. It's my favorite game. So I created a definition:

Pinball: A game of controlling chaos, using both skill and chance. A ball is propelled into an obstacle course. The player, once the ball is activated, can only control the flippers to bounce the ball back into a game of snaps, isolation, bounces and over-stimulating triggers-lights, sounds, catch-phrases and illogical point building. The most important strategy is to keep focus and position the bumper flipper soas to catch and propel the ball back into the game, staying alive. No one wins the game. Points are registered, but the ball always slides in between the flippers. Satisfaction comes from endurance. Loss is expected.

The frame(and title) of this piece quickly became clear, and I am happy with it. It is clearly recognizable, quickly passed up, and returned to for inspection...Yep.I saw that. Good.

2)Thank goodness for children, and their ability to seek amusement, and create it where they want it to be. They want it to be everywhere, but are in constant conflict of being pulled back and encouraged, not unlike that whole quest for identity thatis a lifelong mission. There were a couple of kids who came with their parents to the opening. They clearly were aware and respectful that they were at an art opening with their parents, and were very careful about being on good behavior. Kids are awesome. As their parents explored, the kids kept coming back to L.I.E. unsure of what to do. It's clearly a playground, but were they allowed to play? As I stalked my own piece, I watched them stalk it, too. One of the kids was the child of a professor of mine, and this professor knows my work, and that I want it to be played, so she encouraged her child to do so, which was great. Once she had free reign, her child started making up rules, and reacting to the given rules, which were ambiguous. And it all worked perfectly. This kid played the games, respecting the rules given and making new ones at the same time, striving to win, and working an optimism that is often forgotten or cast aside. This kid then became a leader to another child who had been watching, waiting and wanting to play.As the games were being played, other elements of the piece started gaining weight. The sound piece, which constantly runs, started infiltrating into the game, as well. I nearly jumped for joy when this child turned to her parent and said, "Hey, the lady on the radio knows what I'm doing and what I'm thinking!" I think that's an awesome success.

3) At the end of the night, I got a rainbow!!! What luck, great coincidence, and subtle agreement to my insistence of building this piece around a window. I could, and have, gone into all of the reasons of extension, meditation and the easy association that having this window overlooking Michigan Avenue and Grant Park offers, and weather conditions are a big factor, too, but a rainbow? I don't think I've noticed one in years. how lucky!

As i head into the next phase in this work, I am excited. Thank goodness I don't feel like it's done.

K

Thursday, April 23, 2009

Loss is Expected-the depart-mental walk through

I'm guessing that these sort of things are always awkward. L.I.E. is 99.98 percent installed, and I had been hovered over my computer, trying to upload photos and send out a Facebook invite during the 11th hour, with the department, some who know my work, some who don't, walking through. I didn't get a whole lot of feedback, aside from Doug Stapleton and Jenny Magnus, who took the time to explore the piece, for which I am incredibly grateful. Other than that, there was a lot of nodding and smiling, which is expected. There are seven large installations in one space, all in various states of preparation, what else is anyone to do, but "walk through"? The whole show gets darker and darker as you go through. It begins with "This is a Play(by joseph riley)" with is a clean and composed piece- a literal box of a stage with very distinct and meticulous multiple backgrounds painted on window blinds that flip and change with the flick of a wrist and an idea. Landscapes and backgrounds appear and disappear in an instant, and he has written a performance that is as quick and as fragmented as the sound and actions of his shifting set. It's really fantastic. 
Then it moves on to my piece, which is brightly colored, intentionally messy, spinny, sloppy and both personal and impersonal. Prior to the walk through-I was given two unsolicited observations: The first was from a stranger who said, "Oh, hey!It's a big pinball machine!" and the next from my friend Jasmine who said, "Oh, hey!It's a crappy carnival!"
 
Next is Robert's piece, which is a mystery to us all. He has spent much time concealing his space with heavy black curtains, and I suspect the minimalist sense that he harbors well will prove to engage what I know will arrive-a space of calm and beauty. A chance to breathe. He does gorgeous and sophisticated work. My friend, Heather Khan, has always said that she wished museums had rooms in between exhibits in order to regroup, breathe and process before moving on. I think Robert channels this sentiment, and his work is in the beauty, sanctity and history involved, although I've never discussed it with him. He fights for calm, and I respect this. I'm glad that he is next to me(although I know my piece makes his fight more difficult-oops-I dig the contrast, but I'm selfish and playful-look at my work!)

It then moves on to Katie Haviland's "Familiar Strangers," which is a meticulously unsettling and gorgeous piece. I won't say too much about it, but it is beautiful and stark.

Moving along into stark absurdity and getting back to playfulness-Erin Cramer's "Funeral Procession" is a Grimm's Fairy tale personified. It is dark, wacky and full of life-sized puppets and musical instruments and amazement.

It continues into Amy Jacob's piece(how do I not know the name of it?) which builds on the stark tone with shear number of paper dresses, burned precisely and accordingly...just keeps getting darker and darker and more unsettling and sweet.

This leads to Jasmine Greer's piece, which I didn't check out today, so I can't give a real rundown of it, except for the fact that she embraces physical darkness in a fantastic way. Last I checked, the room was entirely black, draped in fabric, with small lights shining through. I can't wait to see her piece...

If anything, we're a dark crew, and this show just gets darker as you travel through. I can't wait to do so!

But, back to Loss is Expected...The piece is contingent on these physical games that have been set up with moveable pieces and veiled overt instructions. Jenny, who I always listen to as I would a director-with intensity, respect and  welcome intimidation- asked if I'd be present to return the space to it's original order, once the games had been played. This is a question for the whole piece, but specifically for the "Hat toss" and the "Ball roll." I'm sure I hemmed and hawed, but the answer is no. The absence or displacement of of these things that have been instructed to be tossed, rolled, or thrown is part of the central theme. The instructions are there, and they may be understood, but when it comes down to it, the object may not be there, and the interpretation of the instruction may be muddy. As a participant, you  expect it to be there, and when it is not, a few things can happen. Perhaps you feel cheated. Perhaps you feel disappointed. Perhaps you feel concerned. Perhaps you feel amused. Perhaps you feel bored. No matter what, something is evoked on an emotional level. That is the real point.

Really, the question is-what are you looking for? In my experience as an avid art enthusiast, a  theatre artist, a teacher, and an interdisciplinary artist, as well as someone who approaches art as I do life, things don't always work out as instructions may lead you to believe. How you assess and adapt makes you remember where and who you are. In this piece, there are clear guidelines. It really is a pinball game. You know that going in. You've seen the bumpers(I know-flippers)Her point is incredibly valid-who is going to be there to put it back together? Who will reset? That is exactly the question-who knows? This is where it becomes a little bit of a social experiment. Maybe no one does(until the night is over, and my reset list is in order with the gallery manager), maybe someone does, maybe someone else witnesses this, maybe nothing ever gets touched, lifted, thrown or rolled. All of these "maybes" send a message.
1) The sanctity of "art"-is it really so sacred? I understand that masterpieces are the works that have withstood years and centuries, and are highly protected by guards and vaults and museums and social etiquette. I've built a piece that is meant to shift at human hands and traffic. I have a real concern that the idea of "art" may mean that this work will lie under-explored and cautiously played. When I was in college, and just after, I had a boyfriend who was always disappointed that when he would come to visit me in NYC that his huge white minivan never got tagged with graffiti. He always got a ticket, but he wanted to have the credibility of having been in a notoriously urban atmosphere with a clearly huge canvas, just waiting. He only got tickets. 
2) L.I.E. is obnoxious. Intentionally so. It's also playful and designed much like a fifth grade play. There is a light innocence to it, as well as a weighted hell to it, and it bleeds into everything. The balls will roll down off of the piece, and into other areas.Objects may be propelled elsewhere. It is clear where these objects came from. The return of these objects may be a reason for someone to enter the piece, that's cool, too. It's cool if it infiltrates other pieces. That's a bit of the point. If objects are lost...well...look to the title.
3) To get to the human point, this is also a test(experiment, whatever). Who resets? who fucks things up? Who lets things lie?Who supervises? What does it matter. The fact is, if you choose something that is either full or empty, you still have made a choice. If you survey the atmosphere, you still make your assessments.

It's all part of the city and human identity. It is what it is. It's all beautiful, and flawed at every point. 

Wednesday, April 22, 2009

Loss is Expected...a working rundown






Karen Louis's physically interactive installation Loss is Expected maps the artists personal journey of discovery as told through stories of turbulence and transience in a city sphere. Both playful and melancholic; arcade games, text, sculpture and performance spin, swing, block and dictate movement through a landscape that shifts between an urban playground and solitary confinement.
This is the culmination of my graduate study work at Columbia College in Chicago. The exhibition opens on Friday, April 24th and will run until May 21st, 2009. The space is designed as a performative arena, nodding clearly to my theatre background with borrowed stage flats, specifically crass lighting, and the hope that everything shifts at some point. The goal is imperfection in a carefully constructed area. The flats are painted lightly, with the hope that traffic will change the landscape. I've used pink insulation on some of the more handled aspects of the piece(bumpers, street signs, etc) because they will chip and respond to use, and that is much of the point to this piece. Loss is Expected is equally about the activation the space as well as watching the space either hold up or deteriorate with activation. It's become a durational piece.
As a performance artist, this is an interesting journey. I've created a space that places the observer as the actor, and I'm joining in, as well. This is a durational performance for me. I, too, will enter the space as specific characters who will leave their mark in the same way every character does, and it will be as subtle and as important. I love that. I'm so used to performing on a stage, yet informing those performances with my own experience and life(Strasberg, baby!), so the performance does not merely begin with entering the space. It begins with getting up. It continues with going out. It's a selfish playground, and it's one that we all charter every day. I'm really excited about that aspect, and will update as it goes, and I don't know how they will go...because I haven't gotten there yet...
This is where I have gotten. I've built a space and colored it with text:

The simplicity of building begins with getting up

Some time

We get up and begin

an afterthought

an alarm

the impetus of movement to stay alive

discover what is waiting

Weighted in discovery

get up

go

move

fulfill tasks

set goals

move

contort

shift

hope

transcribe

transpire

grow

settle

assess

hope

wake up

sleep

dream

hope

this is going to get better at some point

Isn’t that the point?

progress

grow

adapt

hope

anchor our roots

spin and swing and laugh off

That which ties us to the ground

Leaded boots

Cement overshoes

Steel toes and wounded woes

Keeping frivolous fantasies firm

And weighted circumstance learned

Reminding us what of we know

About anchoring roots in pavement

They just don’t stick

------------------------------------------------------------------------------------------


The end begins with this:

A wink

A nudge

A promise

A lark

A deeply rooted identity

Unaware that the roots reach

The areas they touch.

A moment of wonder overwhelms

Gripping hands and tightened thighs

That build themselves into a grasp beneath a chin

And movement moves into applause and awe.

Then comes the digestion

Shortness of breath

A separation til part do us death

Staring at the happening

Of a somber cool

Confidence and collection

And the power of the promises made

To follow through to this end

That begins with this :

A wink

A nudge

A lark

A promise to grow old before growing wise

A nudge of building identity

A wink to know that it is time

To greet this end

That begins with this

--------------------------------------

V/O to city soundscore


Welcome.

Please take a seat.

Relax.

Close your eyes.

Breathe.

Breathe.

Breathe.

Relax.

Congratulations.

You’ve made it here.

Open the curtain,

See how far you’ve come.

It’s okay if you are not alone.

It’s better that way.

It’s okay if you are alone.

It’s better that way.

See how far you’ve come.

Breathe.

Breathe.

Relax.

It’s okay if you are confused.

It’s better that way.

It’s okay if you are careful.

It’s better that way.

there is no need

to look up

Like a tourist

In the land that you chartered and swung through

With ease

    There is no need to look down

    For fear of missing the next big thing

    While watching your feet walk.

    That would be silly.(breathe)

There is no need

to look back

And hold yourself to the

Last blasts,

Heavy hands,

Anchors,

Grasps,

(breathe)

That hold you fast

(breathe)

to the ground

(breathe)

(breathe)

(breathe)

(breathe)

It’s better that way

Saturday, January 31, 2009

Down and dirty...

My goal for this year is to workshop the crap I lay by the wayside. This is my start. A bad poem that I hope will translate into something better...

It's as simple as sitting
Simple as a pose
as quiet as grinning
while a world implodes.
I imagine you waving
as if you'd always known
that I'd end up swimming
and overgrown
from your world of anger
and the slight circumstance
that you noticed me timing
your next second chance.
I've got this dock of memory
with you tied to it's side
as I serve up chowders and soups and stories and loops
in my New England pride.
I am the problem here.
I am the one cast aside.
I am the one who fought
to tie the knots that kept up with this tide.
It's all a loosely frayed metaphor
to honor the one I most loved
as I set him off to the sea-
It's not him, it was me-
and it all worked perfectly.
He built what I wanted.
and what I saw in him.
and I didn't stop him,
or cause him to hesitate
as my silly, impassioned ties that bound
never built a knot that couldn't break. 
So, here's to you.
I cheer from my bedroom floor
that is scattered with marks and memories
and the hope for something more
simple than sitting
and posing the past
in the form of grinning
and tying off one more last

Thursday, January 15, 2009

Baby, it's cold outside...




So...my thesis semester is about to begin at Columbia, and I've spent much of the holiday season working with the dynamics of my thesis proposal, which goes a little like this...

Abstract:
Loss is Expected is an installation manipulated by direction, chance and discovery designed to examine public and personal atmospheres charged by motion, triggers, patterns and anchors.

This project is inspired by  the impetus of motion, the ideals that anchor both the cities and the individuals who exist within them, and the quest for discovering a personal world in a public sphere. 

I looked to my own life, and the cities in which I have lived-Kent, Ohio, NYC, Memphis, TN, and Chicago, Il. What struck me is that all of these cities have a significant common thread; each city has had an event, or series of events, that significantly changed the direction of the city. One city completely changed, another froze in time, one stopped to consider, and another constantly reaches for the spotlight. I applied these directional shifts to my own journey, and the movement I see to all sides of the path I have have been building. I've been revisiting the things I've kept with me-the photos,  journals, letters, trinkets, and common objects infused with memories, moments and revelry, to see where those lead now, in this time and place, only to understand that all of these things actually led here. It's a common journey, colored with experience, one that is directed by shifts and choices. Atmosphere is everything. 


Thursday, January 8, 2009

And then...





Apparently, I got a little too wrapped up in political agenda and forgot how to properly upload photos of recent work...so here it is(I hope)
Okay, OKAY...I've been hiding a little(lot)! I've been overwhelmed!At first, I was overwhelmed with relief and a new sense of national pride by Obama's election...I still am. I didn't go to Grant Park, much to my family's chagrin. I went to my friend's house, so I could watch the returns, the speeches, and the responses, and quickly make an escape plan, if necessary(I have been through 2 Bush elections, haven't we all?). I did cry when Pennsylvania went to Obama. I didn't know how else to react, except with pride and fruition. Obama was going to win. The US was going to elect the right candidate, hands down. Like many, I had respected McCain for his service to our country, and his constant push. He was the Republican I liked. He seemed invested in his country and his experience. I was glad he was the Republican candidate...until he chose Palin as shock treatment and a really flimsy attempt to garner the support of the Hillary camp. Guess what...I'm a Hillary camp lady. I voted her into the NY senate, and I voted for her in the primary. I've followed her career for a very long time. Granted, when I voted for her in the primary, I was in Illinois, and it could be seen as a gesture but It wasn't. Obama was going to sweep Illinois, and I was proud of that. I was also proud to vote for Hillary. I guess I wasn't voting to win-I was actually voting from my heart and, were I not in Illinois, I may have paused longer.As I told my friends later, "Hey, I get to vote for Hillary now, and Obama in November," and then would give a quick recap of Hillary as what we have already known from her political career, when questioned. What a real freedom!FINALLY!To discuss candidates. Either way, we would win.I've never felt that way in an election. Anyway, the biggest offenseof McCain was choosing Palin as his running mate in a gender grab. It still is, as she now has national spotlight and is calling on the media for having more scrutiny on her than Caroline Kennedy. I actually feel sympathy for her, now that she is not at the healm of the second hand. She's not going quietly, and I don't fault her for that. However, blaming the media for not being as tough on Caroline Kennedy, who is vying for a senate seat, as opposed to the vice presidency of the nation, seems petty and grasping.Again, I don't blame Palin. I think it's telling of who she is and what she wants, which is simple. Something bigger than what she has. I'm reminded how relieved that she didn't win the election.Because the world is fucked right now, and I'm so relieved to have both Obama and Clinton to make the decisions that need to be made. I hope I keep agreeing with them.

None of this has anything to do with art.

I've been making some.

I've been working on the CD art for the upcoming Striding Lion album...The first is the wingspan for the interior of the CD case

Next is the cover-collage is clearly the deal here

And my thesis is still coming along. The title is "Loss is Expected" and focuses on that uncomfortable/euphoric time of transition that leads all of us to our next step, no matter how ambiguous or succinct it may be. My inspiration spans a few years and a couple cities. I've designed it as a walk-in pinball machine/photo booth/journal of experiences. It's an extremely personal piece, but much of that personal exploration has been found in a public aesthetic, so it makes sense in an awkward, weird and accessible vein...at least that's the plan. We will see how it goes