Stitch n Glitch

“Literally, a glitch is a spike or change in voltage in an electrical circuit which takes place when the circuit suddenly has a new load put on it.” ==> – John Glenn, //Into Orbit// =><= [[Event Overview]]

In October 2018, Fashioning Circuits, Studio for Mediating Play, SPaCE Media, and the Feminist MakerSpace conducted a “Stitch n’ Glitch.” The event was held for Ada Lovelace Day and in honor of Lynn Hershman Leeson as the inaugural Artist-in-Residence at the School of Arts, Technology, and Emerging Communication at The University of Texas at Dallas. The Stitch n’ Glitch was a performative embroidery event that moved between two staging areas, the kitchen table and the studio. Participants were invited to contribute stitches to a monstrous embroidery project that reflected on the ways in which feminist media artists glitch dominant systems. <style>img { max-width:100%; max-height:100%; } </style> <img src="images/wu-fig-collageonprinter.jpg" alt="A long shot of a 12-foot long tapestry still attached to the priner."> ##### //The 12-foot collage of images of feminist media artworks, printed on canvas in the Fashioning Circuits studio space. Photo by Kim Brillante Knight. // =><= [[Visit the kitchen|the kitchen]] [[Visit the studio|the studio]] [[Glitch the system|Glitch the System]]

<style>img { max-width:100%; max-height:100%; } </style> <img src="images/wu-fig1-kitchen.jpg" alt="A homey-looking staging of a kitchen table, covered in books, pan dulce, half-completed homework, and other markers of home. Behind the table is a shelf with an old-fashioned radio, books, and crockery. A blanket stand holds a crocheted blanket."> #####//The “kitchen table,” as staged in the lobby of the Edith O’Donnell Arts and Technology building at UT Dallas. Photo by Kim Brillante Knight. // The kitchen table has a place in the public imagination as a site of nourishment, family gathering, and care, but it also has served as an important hub of political organizing and movement-building. As a space of gathering both domestic and social, the kitchen table stands at the intersection of the personal and the political. It fosters the creation of intimate connection and affinity that enables collectives to prepare to engage in more public-facing work. The importance of the kitchen table in the feminist public imagination is signaled in projects like Kitchen Table: Women of Color Press, a groundbreaking late 20th-century press for works by and for women of color. We invited participants to join us at ATEC's (re-)envisioning of the kitchen table: to commune in fellowship, to learn to stitch, and to prepare to move into the studio. =><= [[Visit the studio|the studio]] [[Glitch the system |Glitch the System]]

<style>img { max-width:100%; max-height:100%; } </style> <img src="images/wu-fig-studio.jpg" alt="The 12-foot tapestry, mounted to an embroidery stretcher. Industrial lamps are clamped to the table. A rack of lab coats and aprons in the background."> #####//The "studio," as staged in the lobby of the Edith O'Donnell Arts and Technology building at UT Dallas. Photo by Kim Brillante Knight.// In contrast to the cultural imaginary of the kitchen table, the studio is already imagined as a creative space through its connection to the professional practices of artists and designers. In this imaginary, the studio is the location in which acts of creativity, often arising from the vision of the individual creator, facilitate entry into the public spheres of the art world. =><= [[Visit the kitchen |the kitchen]] [[Glitch the system|Glitch the System]]

<style>img { max-width:100%; max-height:100%; } </style> <img src="images/wu-fig-tableabove.jpg" alt="A view from above of people stitching at the kitchen table."> #####//Photo by Philip Martin.// <img src="images/wu-fig-peopleatkitchen.jpg" alt="A group of people of various ages, races, and genders sitting at the kitchen table."> #####//Photo by Kim Brillante Knight.// <img src="images/wu-fig-lovedtable.jpg" alt="A basket of colorful conchas and other pan dulce."> #####//Homework, books, food & drink, projects...the table is a mashup of many of our homes. Photo by Rebecca Krusekopf.// <img src="images/wu-fig-pandulce.jpg" alt="A basket of colorful conchas and other pan dulce."> #####//Photo by Kim Brillante Knight.// <img src="images/wu-fig-snacks.jpg" alt="A basket of colorful conchas and other pan dulce."> #####//The pan was for eating. Photo by Rebecca Krusekopf.// <img src="images/wu-fig-stitchers2.jpg" alt="A group of people of various ages, races, and genders stitch on the tapestry."> #####//Photo by Jouette Amelia Travis// <img src="images/wu-fig-fingers.jpg" alt="A view from under the canvas. Two pair of hands manipulate thread."> #####//Photo by Rebecca Krusekopf.// <img src="images/wu-fig-stitchers4.jpg" alt="Many stitchers crowded around the tapestry; one arm in a yellow sweater reaches across the frame, pointing at something on the canvas."> #####//Photo by Rebecca Krusekopf.// <img src="images/wu-fig-stitchers.jpg" alt="Two women crouch down to see underneath as they stitch on the tapestry. A third woman looks on in the background."> #####//Photo by Juan Llamas-Rodriguez.// <img src="images/wu-fig-longtapestry.jpg" alt="A long shot of the embellished tapestry."> #####//Photo by Rebecca Krusekopf and Brandon Yates.// <img src="images/wu-fig-backside.jpg" alt="The backside of the canvas, colorful stitches on blank white."> #####//The backside of the canvas. Photo by Rebecca Krusekopf and Brandon Yates.// <img src="images/wu-fig-workscited.jpg" alt="The backside of the canvas, with a list of the media artists from the collage and a small black and white fabric pocket; a small black notebook peeks up out of the pocket."> #####//The list of media artists whose work is represented in the collage and a small guestbook that participants were invited to sign, both affixed to the back of the canvas. Photo by Rebecca Krusekopf and Brandon Yates.// <img src="images/wu-fig-presentation.jpg" alt="A group of people of various ages, races, and genders wearing lab coats, standing in two lines, holding the tapestry. Two women are looking directly at the camera and smiling."> #####//The production team waiting to present the embroidered tapestry to Lynn Hershman Leeson. Photo by Kim Brillante Knight. // =><= [[Embroidery detail]] [[List of media artworks|media artworks]] [[Beginning|Title Page]]

#Stitch n’ Glitch ###A monstrous embroidery project ==> Hong-An Wu Wendy Sung Juan Llamas-Rodriguez Kim Brillante Knight =><= [[Begin |Glenn quote]]

<style>img { max-width:100%; max-height:100%; } </style> <img src="images/wu-fig-stitchers3.jpg" alt="A collaged canvas extends out of frame into the foreground and recedes out of frame into the background. In the foreground, a silver industrial lamp shines a light onto the canvas. Arms of stitchers are crowded around, embroidering the canvas."> #####//Photo by Rebecca Krusekopf.// Feminist media art often troubles the binary between the private sphere of the kitchen table and the more publicly aligned space of the studio. Rather than separating these spaces, feminist media art configures them as co-constitutive. We invited participants to join our ATEC feminist media studio, stitching together themes of power, embodiment, and identity; engaging in collectivity and collaboration; nourishing creative and communal impulses; all in order to glitch the dominant systems of the art market, gallery systems, and the social contexts in which they are situated. =><= [[Event gallery|gallery]] [[Embroidery detail]] [[List of media artworks|media artworks]]

<style>img { max-width:100%; max-height:100%; } </style> <img src="images/wu-fig-printedcredits.jpg" alt="A works cited page, printed on fabric."> #####//The list of media artworks depicted in the collage, printed on fabric. The fabric was affixed to the back of the tapestry. Photo by Kim Brillante Knight. // Amel, VJ Um. “Data Bodies,” 2017. <a href="http://vjumamel.com/portfolio/data-bodies/">http://vjumamel.com/portfolio/data-bodies/</a> Amel, VJ Um. “Street Activism and Graffiti Glitched,” 2017. <a href="http://vjumamel.com/portfolio/street-activism-and-graffiti-glitched/">http://vjumamel.com/portfolio/street-activism-and-graffiti-glitched/</a> Art Workers Coalition. Untitled Sign. 1969. Cárdenas, Micha. “Becoming Dragon.” Performance, 2018. <a href="http://www.thing.net/~rdom/ucsd/cave/Becoming%20Dragon.pdf">http://www.thing.net/~rdom/ucsd/cave/Becoming%20Dragon.pdf</a> Chen, I-Chun, “Candy Candy,” Video Installation, 2015. <a href="http://www.lianggallery.com/en/?p=15902#!">http://www.lianggallery.com/en/?p=15902#!</a> Friedan, Betty. The Feminine Mystique. Book Cover. 1963. Fusco, Coco and Guillermo Gómez-Peña. Photo Still of Performance. 1992-1993. Hershman Leeson, Lynn. Conceiving Ada. Film Still, 1997. Hershman Leeson, Lynn. CybeRoberta. Custom-made Doll, 1996. Hershman Leeson, Lynn. “Genetically Modified Cat from The Infinity Engine.” Digital Print, 2014. Hershman Leeson, Lynn. “Identity Cyborg.” Digital Print, 1996. Hershman Leeson, Lynn. Lorna. Video Still, 1984. Hershman Leeson, Lynn. ¡Women Art Revolution. Film Still, 2010. Hershman Leeson, Lynn and Spain Rodriguez. “Women Art Revolution” Graphic Novel Cover, 2010. Holzer, Jenny. “Untitled (Abuse of Power comes as No Surprise Text displayed in NY Times Square).” Photograph, 1982. Kelly, Deborah. “Tota Pulchra Es,” Mixed Media. 2015. <a href="http://dayfineart.com/artists/deborah-kelly/7/">http://dayfineart.com/artists/deborah-kelly/7/</a> Khokhlov, Alexander and Valeriya Kutsan, “Art of Face,” photograph. <a href="https://hufmagazine.com/art-face-photography-alexander-khokhlov-makeup-artist-valeriya-kutsan/">https://hufmagazine.com/art-face-photography-alexander-khokhlov-makeup-artist-valeriya-kutsan/</a> Kim, Laura Hyunjhee. “AutoPower Off,” Video, 2017. <a href="http://www.lauraonsale.com/">http://www.lauraonsale.com/</a> Kruger, Barbara. “You are Not Yourself,” 1982. Marsili, Denis. “Look at Me Conceptual Art.: Collage.” Murthy, Prema. “e.rase,” 2004. <a href="http://premamurthy.com/erase/">http://premamurthy.com/erase/</a> Ono, Yoko. “Cut Piece.” Photo Still of Performance. 1964. Piper, Adrian. “Catalysis III,” Photograph. 1971. Piper, Adrian. “Catalysis IV,” Photograph. 1971. Piper, Adrian. “My Calling Card #1,” 1986-1990. Syracuse Cultural Workers Press. “Women of Every Land.” Poster, 2000. Unknown. Untitled Photograph of Anne Balsamo, Lynn Hershman Leeson, and B. Ruby Rich. Photograph, n.d. Walker, Kara. “Slaughter of the Innocents (They Might Be Guilty of Something),” 2016. <a href="https://www.mfah.org/art/detail/137056?returnUrl=%2Fart%2Fsearch">https://www.mfah.org/art/detail/137056?returnUrl=%2Fart%2Fsearch</a> Weems, Carrie Mae. You Became a Scientific Profile/ An Anthropological Debate/ A Negroid Type/ & A Photographic Subject (from From Here I Saw What Happened and I Cried series), 1995-1996. =><= [[Event gallery |gallery]] [[Embroidery detail]] [[Beginning|Title Page]]

<style>img { max-width:100%; max-height:100%; } </style> <img src="images/wu-fig-stitchdetail5.jpg" alt="Detail of the canvas showing a freehand embroidered flowers and embellishments embroidered on a woman's face."> #####//Embroidery detail. Photo by Rebecca Krusekopf and Brandon Yates.// <img src="images/wu-fig-tapestrycloseup.jpg" alt="Detail of the tapestry showing a transgender symbol stitched in red thread."> #####//Embroidery detail. Photo by Kim Brillante Knight. // <img src="images/wu-fig-stitchdetail2.jpg" alt="Detail of the canvas showing a embroidery of the word white on an image of suffragettes holding a sign that asks Mr. President What Will you Do for Women's Suffrage."> #####//Embroidery detail. Photo by Rebecca Krusekopf and Brandon Yates.// <img src="images/wu-fig-stitchdetail3.jpg" alt="Detail of the canvas showing a freehand embroidered cat face and embroidery embellishments on an image of Kara Walker's sihlouettes."> #####//Embroidery detail. Photo by Rebecca Krusekopf and Brandon Yates.// <img src="images/wu-fig-stitchdetail4.jpg" alt="Detail of the canvas showing a embellishments on an image of a protest sign, including an emroidered spider and web."> #####//Embroidery detail. Photo by Rebecca Krusekopf and Brandon Yates.// <img src="images/wu-fig-detail7.jpg" alt="Detail of the canvas showing lines embroidered, in a criss-crossing pattern, on a map."> #####//Embroidery detail. Photo by Rebecca Krusekopf and Brandon Yates.// <img src="images/wu-fig-detail8.jpg" alt="Detail of the canvas showing embellishments embroidered on multiple images."> #####//Embroidery detail. Photo by Rebecca Krusekopf and Brandon Yates.// <img src="images/wu-fig-detail9.jpg" alt="Detail of the canvas showing a large red ball of thread embroidered on an image of a Barbara Kruger work."> #####//Embroidery detail. Photo by Rebecca Krusekopf and Brandon Yates.// <img src="images/wu-fig-detail10.jpg" alt="Detail of the canvas showing embroidered embellishments on an photo of a member of Pussy riot scaling a fence to escape a police officer. Her mask is emroidered and a yo-yo has been embroidered into his hand."> #####//Embroidery detail. Photo by Rebecca Krusekopf and Brandon Yates.// <img src="images/wu-fig-detail11.jpg" alt="Detail of the canvas showing embellishments embroidered on multiple images."> #####//Embroidery detail. Photo by Rebecca Krusekopf and Brandon Yates.// <img src="images/wu-fig-detail12.jpg" alt="Detail of the canvas showing embellishments embroidered on multiple images."> #####//Embroidery detail. Photo by Rebecca Krusekopf and Brandon Yates.// <img src="images/wu-fig-detail13.jpg" alt="Detail of the canvas showing embroidered embellishments on a black and white photo fo two women on a metro train."> #####//Embroidery detail. Photo by Rebecca Krusekopf and Brandon Yates.// <img src="images/wu-fig-detail14.jpg" alt="Detail of the canvas embroidered embellishment on an image of Leeson's cat."> #####//Embroidery detail. Photo by Rebecca Krusekopf and Brandon Yates.// <img src="images/wu-fig-detail6.jpg" alt="Detail of the canvas showing embroidery and fabric appliques of marxist feminist symbol and feminist solidarity symbol."> #####//Detail of fabric appliqués and embroidery. Photo by Rebecca Krusekopf and Brandon Yates.// =><= [[List of media artworks|media artworks]] [[Beginning|Title Page]]