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The opening reception for “Something In Particular” (which took place on April 27) was a blast and I have photographic proof.

ABOUT  THE  EXHIBIT

This exhibition was curated by Cubby West and Melonie Tharpe as part of an overarching documentary project by the same name that they filmed along with James Martin in 2012 and are in the process of editing now. (Checkout their adorable Kickstarter video.) The hypothesis they are pursuing is that there is something in particular about the South (see how they came up with that name? Eh? Ehh?) that produces the unique art made here. They don’t know what that something is, or even how to characterize Southern art exactly, but they went looking for answers all over the Southeast last year. (A highlight of my trip to Atlanta was sitting with the girls in Cubby’s parents’ garden and drinking too much wine while listening to travel stories. I’m telling you guys, this film has all the fodder to be amazing.)

The “Something In Particular” (SIP) exhibition is a result of the experiences and connections they made on the road, and is the first in what will be a series of exhibitions of Southern art. Housed in the former cafeteria of an Atlanta telephone factory (painstakingly transformed into a gallery by the SIPers, Danielle Bernstein, and Jason Maris), SIP is a group show of ten artists from all over: Memphis, Charleston, Asheville, Durham, and Raleigh. The show is up through May 26 and open to the public Wednesday-Sunday 1-4pm. There will be a closing reception on May 26 from 4-8pm with most of the artists in attendance. See you there!

Atlanta here I come!

flanders-install-02

I’m in the process of packing my volvo  wagon (named Spanky) full of obeast for the “Something In Particular” exhibit opening this coming Saturday 4/27 @7pm at the Telephone Factory Lofts in Atlanta. To create a little buzz for the show I did an interview for Burnaway magazine (my new favorite site) about the project and about the Triangle art scene in general. Check it out!

Anyone have tips of places to eat or art to see in Atlanta while I’m there?

four-leaf gene

I have very few memories of my biological father from my early childhood. In fact, I have four: the first (and favorite) is walking in the woods together and him showing me a wintergreen plant and giving me a leaf to bite. The second is standing next to my mother in the driveway as he backed his green truck out to leave for work; he paused with the window down to wink at me and hand Mom some cash with instructions to buy my brothers and me Happy Meals for lunch (a big deal for a farm kid). Another memory is just a glimpse: him standing in his green work clothes and cap at his work bench in the shed, working quietly on something I couldn’t see. The last memory I have is a man with rough hands singing “You are My Sunshine” as I fell asleep.

He disappeared for some complicated (and unsatisfactory) reasons when I was three or four. I reconnected with him at age 16 when he  reached out upon being diagnosed with terminal brain cancer. I visited him in the nursing home about two weeks before he died. He was restrained to the bed to keep him from trying to chase the cows he could see had gotten loose, or the deer that were bothering his orchard. I can’t remember if I was brave enough to hug or touch him in any way. In the moments of lucidity, he knew who I was and was very happy I was there. He said repeatedly that I looked like him, and although I didn’t see that myself I was shocked to observe how many mannerisms and expressions we shared. Mostly little things like scrunching up our noses when speaking.

Another trait that I get from him, so my mom tells me, is a knack for finding four-leaf clovers. Apparently he used to walk through fields and come back with handfuls of them; I can do the same. Usually I find them without looking for them specifically–just catching flashes of them out of the corner of my eye. However, the process of intentionally searching has its pleasures too. I inevitably think about my father whenever I find one; it makes him feel like a part of my life. In a way this ability is his most tangible legacy to me.

Recently I decided that I wouldn’t pick the four-leaf clovers I found anymore, but instead let them go on to pass the gene that produced them on to another generation of clover. This spring I decided to start photographing the clovers I find (when I have a camera handy). So far I have taken 38 photographs, but some of these have multiple four-leaf clovers in them. I also found two five-leaf clovers.

Not sure if there’s an art project in here beyond the clover documentation. For now it’s just for fun. More on this as (if ) thoughts develop.

Obeast Books on NPR

npr-me3

I’m heading back to NPR’s The State of Things this Wednesday, April 10, at noon– but this time I’m going with a posse! My husband, book contributor, and smartie extraordinaire, Carl Dyke is coming to speak about his wonderful piece on meta-activism! (And other contributors may chime in remotely if technology allows.) If you are in North Carolina tune into WUNC to catch it live! If you’re not, you can stream it live online HERE.

Hooray! The obeast book set is available for purchase online through Publication Studio HERE. They are also available at the Institute for Contemporary Art (ICA) in Portland, Maine.

Here’s the publisher’s blurb:

A Guide to the North American Obeast by Rachel Herrick

This two-book set explores artist Rachel Herrick’s cuttingly humorous obeast project from the inside out.

Obeast: A Natural & Unnatural History, the first book in the set, is a collection of (fictional) scholarly articles about the biology, history, and conservation of the endangered North American Obeast, a genus of bipedal ungulates performed by Herrick to satirize the everyday dehumanization of fat bodies in our culture’s current  frenzy over the “obesity epidemic.” Further, by placing obeasts within a scientific context (via both these pseudo scholarly articles and her elaborate Museum for Obeast Conservation Studies (MOCS) installations) Herrick explores the power dynamics inherent in information dispersal, fact creation, identity formation and stigma.

Obeast: A Broader View, the second book in the set, locates the obeast project in a wider cultural context through a collection of (real) scholarly articles by seven contributors writing from the places where their current research and interests intersect with Herrick’s work. The obeast project incorporates many academic fields (including science, cultural identity, satire/hoax/comedy, fat activism, and feminism), and appropriately this academic range is reflected in the backgrounds and topics of this book’s contributors, which include fat activist Marilyn Wann, art historian Stefanie Snider, philosopher Chuck Dyke, comedian Jenny Hagel, political scientist Jennifer Denbow, historian Carl Dyke, and curator Rebecca Duclos.

$35 soft cover; $17.50 DRM-free ebook
Set of two books, book one 75 pages, book two 91 pages pp.
7.5″ x 8″
View sample pages: 1, 2, 3, 4
ISBN: 9781624620159
hashtag: #twshsPubStud

Only one more week till the show @ Flanders Gallery in Raleigh comes down! Then it’s on to “Something in Particular: A Review of Today’s Southern Artist” at the Telephone Factory in Atlanta GA, opening April 27!

First a note of thanks to talented poet Shannon Ward for tagging me to participate in this cool project. (“The Next Big Thing” book interview project has been circulating around the world for some time now and asks writers to answer a series of questions about their recent or forthcoming book, post it on their blog/web-space, and tag others for the next week.)

What is the title of the book?

The book set’s title is A Guide to the North American Obeast. Book one is titled Obeast: A Natural and Unnatural History. Book two is Obeast: A Broader View.

Where did the idea come from for the book?

This book set was inspired by my ongoing conceptual art project, Museum for Obeast Conservation Studies (MOCS), which functions as a psuedo-scientific organization devoted to the study and conservation of the North American Obeast–a genus of bipedal mammals performed by me while wearing a muumuu. MOCS installations incorporate many different media in order to simulate an authentic museum experience: sculpture, painting, ceramics, video, animation, graphic and website design, music, and writing. Given the importance of didactics to this work, it was a natural move that it be translated into book form. (Read about and see pictures of the work on my website.)

What genre does your book fall under?

That’s complicated given that the first book is a collection of fictional scholarly articles about obeasts (and therefore part of the MOCS art project as a whole) and the second book is a collection of real interdisciplinary scholarly articles about my project in a wider cultural context. All that said, I’d most expect to see it in the art section.

What actors would you choose to play the part of your characters in a movie rendition?

Umm… My project already involves people playing parts, but if this work were being made into a movie, I’d want Christopher Guest to direct it with his usual cast of actors. (Also, Melissa McCarthy would make a damn adorable obeast. Just saying.)

What is the one sentence synopsis of your book?

A Guide to the North American Obeast is a two-book set that satirizes fat stigma and the legitimizing tropes of scholarly research through a collection of fictional scientific and historical articles about obeasts, and then considers my conceptual art project in a wider cultural context through a collection of real interdisciplinary scholarly articles.

How long did it take you to write the first draft of the manuscript?

The obeast project began in 2010, so parts of the first book were written three years ago. However, the majority of the writing occurred after Daniel Fuller with the ICA Portland (Other) approached me with this publishing opportunity in the summer of 2012.

What inspired you to write this book?

The obeast project, and therefore the books, were inspired by my feelings of frustration/amusement at the dehumanization of fat people in the media. My own experience of fatness just didn’t match with the media’s depictions of fatties as lazy, unhappy, ignorant, or unhealthy– and my guess was that it didn’t match others’ experiences as well. Because I am a little obsessed with nature documentaries and science in general, I found myself one day mentally reconfiguring Jane Goodall’s Gorillas in the Mist into Fatties in the Mist. Everything else kind of fell into place from there.

What else about your book might pique the reader’s interest?

This book set includes an ensemble cast of fabulous contributors like fat activist Marilyn Wann, activist and art historian Stefanie Snider, Temple University professor Chuck Dyke, University of New England professor Jennifer Denbow, NYC comedian and writer Jenny Hagel, Methodist University professor Carl Dyke, curator and Chicago Art Institute dean Rebecca Duclos, librarian Lindsay Anderberg, Methodist University professor J.R. Hustwit, and artists Michelle Lyon and Derek Toomes. These folks are brilliant and have contributed brilliant and/or hilarious pieces to the books. You should check them out.

Is your book out in print, upcoming from a publisher and/or represented by an agency?

A Guide to the North American Obeast has just been published by Publication Studio and will soon be available through their website.

***

TAG! Jennifer Denbow is finishing an amazing book and I have tagged her to participate in this self interview project.

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