coupon queens
The title of the piece is Coupon Queens, which itself addresses two major issues, opens this somewhat surreal imagery up for interpretation. The artists are seated in a kitchen clipping coupons, suggesting lack. At their feet are books intimating academia and ushering forth the revelation that these two creatures are indeed educated, but their educational pursuits in relation to student debt has taken them from the hoped for spaces where life could be relatively comfortable and where there is time for creative and intellectual pursuits to a place where money concerns ride the nerves as it does in the undereducated communities where one has to take what menial, low-scale, poorly paying job one can get. This is not meant to be seen as whining or arrogance, but rather to illustrate that the artists have to stand against the ugliness of an educational system that is ultimately biased in favor of the existing wealthy and is on the verge of becoming something unrecognizable and unconscionable. The artists are preparing and in the process of scissoring away at the coupons which are located in the elevated space. The 48”x48” image is ever present, the creative act that follows the selective destruction of clipping coupons.
. . . but there is more. Both artists are feminists and aware of the effects of effeminaphobia in their lives as the viewers see poorly cropped and unconventional beauty queens in the background. The only “queens” that are not irregularly cropped are the heterosexual white male and the child who are both on top of their respective sides. The effeminate must put others, husbands, the men/masculine and certainly children first. Patriarchy is in full view in the split center of the image as a light fixture, a man-made, mechanized structure morphs into a huge penis-esque image. It is portrayed as central, designed for dominance, and sacred, and yet the artists choose not to “turn it on” preferring the natural light from the window space. It is there but not activated – yet active in that it is in “drag” as are the artists. This idea pours through the piece. The artists are in costume, and the costumes represent layered meanings. They are in drag . . . covering, conforming and performing and revealing. Mary has chosen “cow drag,” a reference to the horrors of factory farming. The bright but peculiar palette of the piece creates a surreal environment that is designed to underscore the insanity of the horrific conditions of industrial farming that we routinely accept in our regular visits to the grocery store. Mary, dressed as a cow, mixes the horrific with the humorous: the horrific speaks to the conditions of industrial farms (where most cows live) whereas - the humorous elements engage viewers and encourage them to identify with these figures and recognize the implications of eating meat. Jesse has chosen “butterfly drag” inserting a queer identity into animal politics and consciously selecting a being that we as humans find pretty. Jesse chooses this creature to gain some protection under the favored being (but who is still delicate and in danger) and also to express his femininity and truth. Humans often use their intellectual capacity to place themselves at the top of a hierarchy of all animals. They use their language and perceptual skills (abstract intellectual skills) in a manner that allows them to become blind to the cruelty they are orchestrating. For example, these coupons the queens are clipping are for restaurants that advertise in clean, bright, pretty colors. Imagine what fun you will have when you eat this pepperoni pizza! This is as far as one can get from the factory farms that pepperoni came from.
In the last several decades, much research has been done on whether animals do possess feelings and thoughts similar to humans. There are also debates about whether or not using anthropomorphism is effective in creating empathy for animals or a lazy, narcissistic technique. In this debate of whether or not to anthropomorphize, the artists feel that their work engages more than it offends. Just as current research recognizes that animals can feel empathy for each other, we want our viewers to make similar connections: just like humans, non-human animals feel and experience things.
Both artists stare and meet the gaze of the viewer. It is a challenge and a request. Look. Engage with us. Come into our queer space. There is a doormat at the bottom as a welcoming symbol, but it is also a reminder - for it is the top of a stove. The artists are focused on the dangers outside of the space. The butterfly is cutting “pizza coupons” containing images of animal products. We are reminded again of the socioeconomic status of the poor and undereducated as these are the people who are forced to work within the factory farming industry. The artists are equating their status as gaining economic equality to - but not the same as the uneducated, poor working class – but equal in category and worth. The working conditions and expectations of people working as educators has declined without a fracas. The plight of adjunct instructors should have been addressed fifteen years ago at least, and the conditions and wages of the working poor should have been acknowledged and changed long before that, but instead have declined. This piece is in some ways a call to action. In its bizarrely bright colors and costuming and staging is also a recognition of beauty and not being afraid of Love and Loving in the face of finding oneself in a lower socioeconomic bracket than a higher level college degree usually promises. It is clearly designed to be colorful and funky and accessible to all people – an equalizer. It brings people together of varying resources, and life is embraced, but also examined. Hopefully, it will create a dialogue and encourage communication between opposing as well as harmonious forces. Artistically it is inviting, and much love was put into this piece . . . but it is also satire, art as the slingshot and stone of David, now a cow and a butterfly, who are sighting the giant.
. . . but there is more. Both artists are feminists and aware of the effects of effeminaphobia in their lives as the viewers see poorly cropped and unconventional beauty queens in the background. The only “queens” that are not irregularly cropped are the heterosexual white male and the child who are both on top of their respective sides. The effeminate must put others, husbands, the men/masculine and certainly children first. Patriarchy is in full view in the split center of the image as a light fixture, a man-made, mechanized structure morphs into a huge penis-esque image. It is portrayed as central, designed for dominance, and sacred, and yet the artists choose not to “turn it on” preferring the natural light from the window space. It is there but not activated – yet active in that it is in “drag” as are the artists. This idea pours through the piece. The artists are in costume, and the costumes represent layered meanings. They are in drag . . . covering, conforming and performing and revealing. Mary has chosen “cow drag,” a reference to the horrors of factory farming. The bright but peculiar palette of the piece creates a surreal environment that is designed to underscore the insanity of the horrific conditions of industrial farming that we routinely accept in our regular visits to the grocery store. Mary, dressed as a cow, mixes the horrific with the humorous: the horrific speaks to the conditions of industrial farms (where most cows live) whereas - the humorous elements engage viewers and encourage them to identify with these figures and recognize the implications of eating meat. Jesse has chosen “butterfly drag” inserting a queer identity into animal politics and consciously selecting a being that we as humans find pretty. Jesse chooses this creature to gain some protection under the favored being (but who is still delicate and in danger) and also to express his femininity and truth. Humans often use their intellectual capacity to place themselves at the top of a hierarchy of all animals. They use their language and perceptual skills (abstract intellectual skills) in a manner that allows them to become blind to the cruelty they are orchestrating. For example, these coupons the queens are clipping are for restaurants that advertise in clean, bright, pretty colors. Imagine what fun you will have when you eat this pepperoni pizza! This is as far as one can get from the factory farms that pepperoni came from.
In the last several decades, much research has been done on whether animals do possess feelings and thoughts similar to humans. There are also debates about whether or not using anthropomorphism is effective in creating empathy for animals or a lazy, narcissistic technique. In this debate of whether or not to anthropomorphize, the artists feel that their work engages more than it offends. Just as current research recognizes that animals can feel empathy for each other, we want our viewers to make similar connections: just like humans, non-human animals feel and experience things.
Both artists stare and meet the gaze of the viewer. It is a challenge and a request. Look. Engage with us. Come into our queer space. There is a doormat at the bottom as a welcoming symbol, but it is also a reminder - for it is the top of a stove. The artists are focused on the dangers outside of the space. The butterfly is cutting “pizza coupons” containing images of animal products. We are reminded again of the socioeconomic status of the poor and undereducated as these are the people who are forced to work within the factory farming industry. The artists are equating their status as gaining economic equality to - but not the same as the uneducated, poor working class – but equal in category and worth. The working conditions and expectations of people working as educators has declined without a fracas. The plight of adjunct instructors should have been addressed fifteen years ago at least, and the conditions and wages of the working poor should have been acknowledged and changed long before that, but instead have declined. This piece is in some ways a call to action. In its bizarrely bright colors and costuming and staging is also a recognition of beauty and not being afraid of Love and Loving in the face of finding oneself in a lower socioeconomic bracket than a higher level college degree usually promises. It is clearly designed to be colorful and funky and accessible to all people – an equalizer. It brings people together of varying resources, and life is embraced, but also examined. Hopefully, it will create a dialogue and encourage communication between opposing as well as harmonious forces. Artistically it is inviting, and much love was put into this piece . . . but it is also satire, art as the slingshot and stone of David, now a cow and a butterfly, who are sighting the giant.
