Issue

3.6 / Aliens vs. Venetians

December 8 2011

Introduction

December 8, 2011. On first glance, the alien-propagating slackers that are the subject of Mindglow bear little resemblance to the wealthy Venetian patrons depicted in the paintings of Masters of Venice: Renaissance Painters of Passion and Power, and the aesthetics governing each are far removed from Anna Halprin’s 1970 Blank Placard Dance. But as Carol Anne McChrystal, Larissa Archer, and Christina Linden respectively illuminate, self-representation, portraiture, and participation negotiate similar terrain. Absorbing the contemporaneous means and methods of representation can simultaneously foment broader recognition and exercise the desire for “palpable change.” Forms of power and forms for dissent collide and co-opt each other; those we adopt to identify ourselves also reveal the forces and ideologies with which we align and those we oppose. Enjoy–PM.

Features

Holding Up the Sign

Holding Up the Sign

By Christina Linden

The sign could read just about anything, and the sign might also just be left completely open to interpretation; we are living through cathartic theater and also we are living through a moment of real change, but in any case this is a new landscape.

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The Slacker, the Protestor, Cosmic Gestation, and Me

The Slacker, the Protestor, Cosmic Gestation, and Me

By Carol Anne McChrystal

Mindglow’s binary protagonists are archetypes—classic specimens of less-than-ambitious, sometimes good-hearted but possibly stupid partners-in-crime. Think Beavis and Butthead, Bill and Ted, Wayne and Garth, or those two fools from Dumb & Dumber

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