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Alien She
Photos and Video by Mario Gallucci
Alien She
Sep 3, 2015 – Jan 9, 2016
Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.
Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and ‘70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the ‘90s, with many new chapters forming in recent years. Riot Grrrl’s influence on contemporary global culture is increasingly evident – from the Russian collective Pussy Riot’s protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.
Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance – a reflection of the movement’s artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.
Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.
Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.
Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more
Women’s Studies Professors Have Class Privilege / I’m With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.
Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.
Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh
Alien She is presented in two parts:
Museum of Contemporary Craft
724 NW Davis
Portland, OR 97209
511 Gallery @ PNCA
511 NW Broadway
Portland, OR 97209
Both venues are open Tuesday through Saturday from 11am to 6pm.
This alien face sculpture is original and sculpted by me, Jane. He has many colors of swirling strands of cosmic energy on his face.These strands are made of twisted polymer clay. They undulate and seem to vibrate with energy. As I understand it, the colors and shapes convey his feelings and thoughts.
His eyes are made from clear glass cabochons. I hand painted the back of the glass to get the effect I wanted. His eyes primarily are a glistening violet and blue..This alien's face changes with the light and angle that you view him with! He does look a little scarey, but he is really a pretty nice alien.
This could be a wonderful conversation piece for your wall. And he could watch over you and make sure you are safe.
This wall hanging sculpture is 8 inches tall. A wire is on the back for easy hanging.
Alien Skin Kodak Plus-X on left
VSCO Ilford FP4 with tweaks to look like the Plus-X - again a little more contrast.
I dunno what is it, but it looks like a freaky face or an alien! it reminds me of the creepy, weird creatures and "macho" we see in anime!
We are all aliens to each other...
and so we all have a lot in common...
(Choose One:...)
A. So what's the problem?
B. But that doesn't mean we can't eat each other!
Best Viewed here:
Title: [Illus. for article "an alien anti-dumping bill" in The Literary Digest, May 7, 1921, p. 13, reprinting a cartoon by Hallahan for Providence Evening Bulletin, showing funnel bridging Atlantic with top at Europe crammed with emigrants and bottom at U.S. with Uncle Sam permitting immigrants to trickle through]
Other Title: The only way to handle it
Date Created/Published: [New York] : [Funk & Wagnalls], 1921.
Medium: 1 print : offset photomechanical.
Reproduction Number: LC-USZ62-44049 (b&w film copy neg.)
Rights Advisory: No known restrictions on publication.
Call Number: Illus. in AP2.L58 [item] [General Collections]
Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA
Notes:
Title devised by Library staff.
Alternate title as published in Providence Evening Bulletin.
Reference copy available in LOT 7010.
This record contains unverified, old data from caption card, with subsequent revisions.
Subjects:
Emigration & immigration--United States--1920-1930.
Funnels--1920-1930.
Social policy--United States--1920-1930.
Uncle Sam (Symbolic character)--1920-1930.
Format:
Offset photomechanical prints--1920-1930.
Periodical illustrations--1920-1930.
Political cartoons--1920-1930.
Collections:
Miscellaneous Items in High Demand
Bookmark This Record:
www.loc.gov/pictures/item/2007680185/
View the MARC Record for this item.
Rights assessment is your responsibility.
Unidentified character.
Last posting in series.
Supanova Expo, Sydney Olympic Park, Sydney, Australia (Saturday 20 Jun 2015)
Taken 11-27-07 in front of my garage in San Antonio, Texas.
A face of an alien, is what I see in the sky. Truly amazing!
Canon 40D- 10-22mm super wide angle lens.
An Alien Queen landed on Earth, but people are only able to speculate on her intentions...
Alien Invasion, episode 7:
The Alien Queen started scouring the land and never paid any attention to the human forces that tried to attack her, as she was being protected by an invisible force field. No man-made weapon was able to get through... But her behavior puzzled everyone even more, she wasn't attacking anyone, she looked like she was searching for something... Some thought that she was looking for this planet's leaders to parlay, but when a few of them tried to intercept her and make their existence known, she just ignored them too!
Then everything became clear. Alas, her plans were even more sinister than we had originally thought! She chose a suitable location and started ovipositing! Yes, she was laying hundreds of eggs in a huge ootheca (egg-case) that was made of a foam that came out of her abdomen along the eggs and, when hardened, it formed a rock-solid casing, apparently impenetrable, that would protect her spawn until hatched. We humans are only meant to serve as the primary food source for the new alien breed, we'll be the substance that will help them grow and wreck havoc on this planet and then on other worlds, too. We're doomed...
Or aren't we? Scientists came together to discuss the matter. The alien's egg-laying is apparently a long process as the queen seems to be taking her time, after all she has all the time in the world, as no-one can't bother her. This gives us time to think about the matter and make plans, but first and foremost we need all the information we can get about this egg-case we're up against, in order to try and destroy it before the eggs hatch! Scientists need to analyze photos of the making of this egg-case, to better understand how it's structure, find potential weaknesses... But who is brave enough to approach the queen, while she's still ovipositing, and shoot close-ups of the ootheca on the making?
To be continued...
Cast:
Mediterranean mantis (Iris oratoria) female, as the alien queen.
Best viewed Large, On Black.
Title - "Alien Chomping Bird"
Artist - Harry Fladd
Mixed Media Door Art - Pencil and notebook paper on paper plate with ribbon
Date - 23 July, 2009
Artist's Notes - "He's flying and he's in the rain. And then it's going to be sunny. And then the trees are going to grow."
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maps.secondlife.com/secondlife/Forest%20Delight/137/152/1340
Drop Ship miniature for re-entry sequence in front of Motion Control Rig. I think this is a smaller model for wider shots, there was a larger one which had opening wings etc.. We are looking up, it is hanging upside down so that the wires are on the blind side of the lens. Apparently Derek Meddings sometimes used to shoot upside down in the Gerry Anderson days because the audience wouldn't be looking for the wires underneath. (Obviously Derek himself wasn't actually upside down)
Alien Abduction - "Alien X"
Adventure in Space from SPLAT
Watch animation short - youtu.be/97iNJE7AAY8
Sigourney Weaver's character evolution through the Alien movie franchise.
An iconic look into Ellen Ripley's costume and weaponry:
- Alien (1979)
- Aliens (1986)
- Alien 3 (1992)
- Alien Resurrection (1997)
SOCIETY6
Prints: society6.com/omarrr/ALIENS-Ellen-Ripley-Icons_Print
T-Shirt: society6.com/omarrr/ALIENS-Ellen-Ripley-Icons_T-shirt
The second of two semi-static posed figures is complete. This version depicts the creature as it appears in the deleted "crab-walker" scene from the 1979 film as Lambert and Parker make a desperate attempt to escape the Nostromo. This deleted scene however was thought comical by many, not well executed on film and revealed too much of the creature...reducing it to nothing more than a man in a rubber suit...something Ridley Scott was avoiding by using smoke and shadow.
Hand sculpted, hand painted. 1:18 scale. I borrowed resin cast parts from the original Alien figure I created a year earlier, made modifications to the torso, neck, shoulders
and legs.
When crouched or "crab walking", the figure is approx. 3" high from highest point on head to the feet. When standing, the figure is approx. 5.25" high, still not fully erect as the leg and hip joints limit the full motion (again, this was originally meant to be a static posed figure). Fortunately I was able to add several articulation points to the figure: Ball jointed neck, shoulders, elbows, wrists, hips, knees and ankles. Vacuum formed PETG dome is removable. The tail is static but is attached using a revoltech joint and can be switched out with a longer tail option.
Original was sculpted using Aves FIXIT sculpt, a two part epoxy. Parts were cast in resin and assembled to build this version. Used Model Masters Polly Scale and Tamiya acrylics.
#ALIEN #nostromo #alien79project #avesfixit #avesstudio #20thcenturyfox #hrgiger #miniature #sculpting #art #painting #monsters #deletedscene #crabwalker #lambertandparker #inspacenoonecanhearyouscream
A gadget I got Dave for Xmas: you can record a ten-second message, and it then plays it back when the motion-detector senses something.