Ginger by Ginger

Ginger Networked feminism

Winter 2016

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MISSION

Ginger maps networks of creative people. In keeping with the logic of a network, all of the contributors to this issue were referred by an editor or contributor from a previous issue. As a feminist publication, we are committed to supporting the work of self-identified women and queer/trans/gender non-conforming individuals and strive to share the experiences and distinctive voices of those who identify as such. Our goal is to produce a zine with a diverse range of forms, content, and viewpoints.

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Issue NO 3 contributors Delilah Jones .... PAGE 06 Gracie Bialecki .... PAGE 11 Ivy Haldeman .... PAGE 15 Kaitlin McCarthy .... PAGE 20 Annik Hosmann .... PAGE 23 Haylee Ebersole .... PAGE 24 Jacqueline Melecio .... PAGE 30 Jess Willa Wheaton .... PAGE 34 Molly Rapp .... PAGE 39 Joey Behrens .... PAGE 42 Molly Hagan .... PAGE 47 Rachel Zaretsky .... PAGE 55 Laura Cooper .... PAGE 58

Co-founders E D I TOR

Markee Speyer D E SI G N E R

Jacqueline Cantu On the cover: Hotdog Lady, Nap, 2015, watercolor on paper, 22 x 15 inches. By Ivy Haldeman

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Delilah Jones

In it to win it, 2015, found photograph, vinyl sticker on metallic cardstock, 8.5 x 11 inches.

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Step into your power, 2015, found photograph, vinyl sticker on metallic cardstock, 8.5 x 11 inches.

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Eclipsed, 2015, found photograph, vinyl sticker on metallic cardstock, 8.5 x 11 inches.

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Truth magic, 2015, found photograph, vinyl sticker on metallic cardstock, 8.5 x 11 inches.

Delilah Jones is a gluey fingered paper healer from Brooklyn that dreams of a world drenched in the freedom of creative self expression in between bike rides, dog walks, donuts, and dancing wildly in dark church basements. She available for collaborations, commissions, and sandwiches. http://mymindisanisland.tumblr.com

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Gracie Bialecki

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Gracie Bialecki is a writer who lives in Brooklyn, NY. She works and reads at Brazenhead Books. You can read more of her poetry at www.graciebialecki.com.

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G r a c i e B i a l e c k i 13

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Ivy Haldeman Let Sleeping Hotdog Ladies Lie

Hotdog Lady, Summer, 2015, watercolor on paper, 22 x 15 inches.

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Hotdog Lady, Sleeping, 2015, watercolor on paper, 15 x 22 inches.

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Hotdog Lady, Nap, 2015, watercolor on paper, 22 x 15 inches

Ivy Haldeman (b.1985, Aurora CO) is a Brooklyn based artist. She earned a BFA from the Cooper Union in 2008 and has been active in the New York City art community ever since. thisivyhaldeman.com • thativyhaldeman.com • whichivyhaldeman.com • anotherivyhaldeman.com • ivyhaldeman.com

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I v y H a l d e m a n 19

Kaitlin McCarthy A Second Look at Abigail Williams

I first read Arthur Miller’s The Crucible in a high school lit class. As a teenager I was drawn to the character of Abigail Williams, the adolescent girl whose accusations of witchcraft lead to the execution of 19 people in fictional puritan New England. She was appealing in the way female villains so often are: filling the role of the “bad girl” trope. I at once hated her for being so evil and loved her power. I imagined her, vindictive and calculating, as the cure to the sentimental woman stereotype. Ten years later, I still find Abigail fascinating, but mostly because she’s a much more complex character than I originally gave her credit. Her actions are not the reflection of an evil nature, but of a precocious young woman in an oppressive situation. First, a bit of backstory. Before the play begins, Abigail has an affair with her employer, John Proctor, a married man twice her age. The power dynamics alone raise the question of whether Abigail has enough agency to call the relationship consensual; despite this, Abigail believes that she and John are in love. When John’s wife suspects, she fires Abigail. John ends the affair, but continues to send her creepy mixed signals, like hanging around her bedroom window at night. Somehow, despite his actions, John is the hero of this story— an admirable character tormented by his sins! Plagued by lust! The disservice is to his wife, to God, what is “right,” but never to Abigail. However heavy on John’s conscience, the repercussions of the affair are borne disproportionately by Abigail. Rumors (spread by John’s wife) blacken her name in the village, making her unemployable, and due to the high value placed on chastity, would likely have decreased her marriageability as well. In a play known to be an allegory for the blacklisting of the McCarthy era, we seem to skip over the blacklisting that Abigail experiences for being a girl who’s had sex. Heart-broken and devalued, Abigail is not a young woman with power, but a young woman with little to lose and a lot to be angry about. She is condescended to, repeatedly threatened with physical violence, slut-shamed, and held responsible for things beyond her control. Rather than accept this outside narrative, she is defiant, showing remarkable self-possession and clarity. When John shakes her and asks, “Do you look for a whippin’?” she replies, in tears, “I look for John Proctor that took me from my sleep and put knowledge in my heart! I never knew what pretense Salem was, I never knew the lying lessons I was taught by all the Christian women and their covenanted 20

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men! And now you bid me tear the light out of my eyes? I will not, I cannot!” Abigail is perceptive and understands the powers at play. When the Reverend Parris interrogates her, she realizes she is trapped in a system in which she has very few options: one is accepting her own forced devaluation, another is execution. When she starts to point fingers it isn’t because she’s a psychopath, but because it’s her only escape. The catalyzing event of the play is when Parris catches the village girls dancing and casting charms in the forest, and one of the girls takes sick. This night out is an expression of everything forbidden for the girls: wildness, creativity, defiance, femaleled community, sexual impulse, and unbridled embodiment. It would certainly be an act of catharsis in a society where girls are expected only to be obedient and productive. I imagine if this ritual continued uninterrupted, the tragic deaths of the play could have been avoided. A sick girl would have been a sick girl and not an afflicted spirit. The girls would have cast a few spells, and maybe felt for a moment that they had some control in their lives. Perhaps the girls’ wildness would have found release, and wouldn’t have sought outlet in the dramatic courtroom performances that made their testimony so convincing. Abigail wouldn’t have needed to shift blame. Abigail’s accusations are an act of rebellion, and a rather creative one at that—she pretends to serve the church’s authority in order to subvert it. Historically witch-hunts have been used to control rebellious, creative, and intellectual women, but Abigail inverts this narrative. She uses the witch-hunt to expose the town’s religious moral hypocrisy—the same hypocrisy that ensnared her in the first place. Old land feuds and neighborhood grudges quickly become ulterior motives that fuel the witch trials, revealing the pious villagers to be as despicable as anyone. The play concludes with the line, “To all intents and purposes, the power of theocracy in Massachusetts was broken.” When Abigail sees herself going down, she decides to let the world burn with her. Abigail’s acts are not justifiable, but to think of Abigail as the villain would be erasing her history. While she does commit evil, she does so out of desperation, and because the system is already set up for it. Along the way she inspires a group of girls to act with authority and claim power far beyond their normal social standing. It’s a shame, and telling, that she’s so often portrayed as a heartless manipulator. The motivations of her character are not extrapolations or additions to the play, but clearly crafted. Miller wrote her complexities into the text, we just have to stop admiring John long enough to see her. • Kaitlin McCarthy is a dance artist, writer, and teacher originally from Michigan, but living in Seattle, WA since 2010. She is a teaching artist at Velocity Dance Center and a staff writer for Seattle Dances, where she has published over 50 pieces of critical dance writing. Weaving kinesthetic empathy and cultural mythology , her work often addresses an underlying forbiddenness finding its way to the surface. More info at: kaitlinmccarthy.com + dancetaco.wordpress.com.

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Annik Hosmann Rear Window (1:22 minutes)

A twenty-something moving in Zurich and Bern (Switzerland) on her way to work, to meet friends, and always looking for inspiration and new ideas.

Annik Hosmann is a freelance journalist from Switzerland writing about culture and society. Sheâ&#x20AC;&#x2122;s always interested in new forms of storytelling. She gathers inspiration and ideas on her blog: http://esfindetdich.tumblr.com/

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Haylee Ebersole Interview by Katie Ford

Creep, 2015, kool足-aid on canvas, 20 x 16 inches.

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K: Let’s start with materials. The use of gelatin and crystallizing compounds are very prominent in both your objects and works on canvas. What initially drew you to these materials and what about them has held your conceptual or visual interest? Does it matter that the viewer is aware of the materials? H: In general, I am interested in engaging with materials in ways that reveal the inherent agency of everyday matter. I was initially drawn to gelatin for it’s bizarre qualities as a food substance but also for the ways that it relates to the body- as it is a material literally made up of body. I started experimenting and developed a method of casting and dehydrating the gelatin. The end results are these hardened, crystalline, bone-like sculptures. Another property of the gelatin that has captivated my interest is that it can be endlessly reconstituted. In this way, the sculptures do not remain fixed but are melted down and cast into a new form, moving through different ‘lifetimes’ in a cyclical manner. As a viewer, I do think my work is hard to pin down at first. The materials are not easily recognizable and call to mind many associations without being any one thing. For instance, in some ways the kool-aid drawings look like aerial views of a landscape or microscopic views of cells or bodily structures. I’m excited about that kind of push and pull with the work right now. However, I do think it’s important that the viewer is eventually aware of what the material is because it directs you towards a specific connection or context. K: Your work holds strong associations with both biology— through the use of gelatin—and geology—through the striated, rocky, and crystallized forms that the materials create. Is one of these realms more present in your mind during the creation of the work? Is there something about conflating animate and inanimate materials that drives your process? H: Getting started in the studio is always the hardest part and I definitely gain inspiration from looking at images of geological structures or by contemplating my personal experiences within a particular landscape. So yes, the realm of geology comes up first but what really drives my work is a focus on gelatin and its relation to the body. One of the most interesting aspects of the gelatin is that it holds a kind of molecular memory to the animal in which it was derived. If rehydrated and heated to the animal’s natural resting temperature, the gelatin will melt back into a liquid. I am interested in how this interaction lends a

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direct connection to a once living being that is then reanimated and recontextualized through my process. K: Because of the bio/geo associations and youâ&#x20AC;&#x2122;re lesstraditional style of gallery installation, your shows remind me of a presentation of artifacts. The objects and canvases seem to have been extracted from a specific realm or landscape. They recall chunks of rock, fungi, sheets of ice, even curved animal bones or shriveled hides. How do you see the pieces interrelating? How does this affect the presentation of your work in gallery? H: Oh thatâ&#x20AC;&#x2122;s great! I definitely view my work as a collection of residual objects. I think my work is stronger as a collection because it highlights the various stages or state changes the materials pass through. One of the things I love most when I find objects within a particular landscape is that their history and relationship with time is revealed on their surfaces. I try to evoke this relationship in my work. When I am mapping out how the work will be installed I often think about the experience of walking through a landscape and the pace and slow discovery of objects, which I ultimately hope shapes how one would view my work. I am also interested in the cryptic nature of the sculptures and paintings. Together they create a language that speaks to the momentary and permanent state of things.

Creep, installation view.

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Creep, 2015, kool-aid on canvas, 9 x 12 inches.

K: I know that you come from a print-making background, and your work has clearly moved away from the traditional sense of that media. How do you anticipate the trajectory of your practice in the near future? Are you interested in shifting scale or exploring any new projects in particular? H: Yes, I have a great love for print-making but have found myself influenced more by the notion of the multiple rather than any particular traditional technique or method. Often my sculptures are cast from the same mold and take on a very standardized form at first. But as the gelatin dehydrates over time, it inherently fluctuates, developing unruly edges and resulting in a series of self-transforming, renegade impressions. This highlights the rebellious agency of the material as well as evokes metaphors of the body containedâ&#x20AC;&#x201C;a body that conforms, resists, and expands beyond the boundaries in which it was originally confined.

H a y l e e E b e r s o l e â&#x20AC;˘ K a t i e F o r d 27

My last few projects have definitely been focused on a smaller scale. I’d love to expand and make some really big pieces that explore a heightened sense of immensity in relation to the viewer’s body. I have an upcoming solo show this spring in a very large space which will provide a great opportunity to investigate scale and experiment with a more intricate installation-based project. K: And finally, I’m always curious about how other artists situate themselves in relation to their artistic communities and the larger contemporary art world. It’s a wide-open question, but what do you find exciting and how do you navigate these wild waters? After graduate school, I moved to Pittsburgh and have lived here for about three years. I’ve found Pittsburgh to be a very affordable and stimulating place to live and work as an artist. I’ve been fortunate enough to be granted the time and space to really commit to my practice in addition to maintaining a full-time job. There are a handful of great museums and galleries and different opportunities for public art projects and grants. Through grant funding I have been able to attend residencies in the U.S. and abroad which really are important experiences for exposure to other artist’s work and practices as well as undistracted time in the studio. I currently live in a very close-knit community of artists/friends in Wilkinsburg that have started some really inspiring and creative endeavors. I do have a tendency to be a bit of a studio recluse but I think it’s important to get out and go to art events and openings. Sometimes it’s such a daunting and dismal task to think about where my work is situated within the larger contemporary art world. It’s important to ask for critical feedback and challenge yourself but you’ll drive yourself crazy trying to evaluate if your work is relevant or not without the grace of time. So I just put up those blinders and keep trying to scratch the surface. •

Haylee Ebersole is an interdisciplinary artist currently residing in Pittsburgh, Pennsylvania. Through an alchemical approach, she court’s interactions with materials such as gelatin, kool-aid, and other household substances in effort to produce objects that evade static form- that resist and push back. • hayleeebersole.com Katie Ford makes installations and objects that dig into how we build relationships with and within the spaces we inhabit. Using wood, textiles, and found materials, she asks questions about the dual nature of our physical and emotional landscapes. Ford currently lives and works in Pittsburgh, PA. • katie-ford.com

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H a y l e e E b e r s o l e • K a t i e F o r d 29

Jacqueline Melecio Power to the Pussies

I have to admit soemthing that has been bothering me for quite some time. Iâ&#x20AC;&#x2122;m fed up hearing friends, family, strangers, the media, pretty much everyone use the word pussy to insinuate weakness. When did such a powerful part of the female body become such a demeaning, vulgar thing? I mean we all know where babies come from right? Ok good, just making sure! The premise of my photo series is to capture women and their cats in their own environment. I hope to change the perception of the word, one pretty girl and her cute pussy at a time.

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Sara and Kitty, Hercules, Majesty What does the word pussy mean to you? “I am a woman Phenomenally. Phenomenal woman, That’s me” -Phenomenal Woman: Maya Angelou What word do you use when talking about your vagina? Ironically, “kitty.” What does being a woman mean to you? I love being a woman. It’s everything. Being a woman is sexy, it’s having confidence, it’s powerful. It’s telling yourself everyday THAT U ARE A QUEEN AND U DESERVE THE BEST. In your opinion, how do you feel about the way the media portray women? I think now the media is trying more than ever to show all that all kinds of women, of all ethnic backgrounds, all sizes and shapes are beautiful. For example: #PlusIsEqual I think it’s amazing! And those bitches are sexy as hell! If we all looked the same, this world would be a really boring place.

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Marielena and Tuppence, Silvio Dante Describe your cat(s) in one word Lovable and Silly! Those are two words, but I have two cats ;) How did you and your cat(s) meet? At a local cat adoption. They let us hold them and we fell in love What does the word pussy mean to you? It’s a funny, cheeky, dirty word that I love. I think it’s a powerful, difficult word. Are you comfortable talking about sex? What about your sexuality? Yes and no. It depends on who I’m talking to and why. i don’t like the idea of my personal stories and experiences being used against my will. I’m very concerned about my sexuality being exploited. If the word pussy didn’t have such a stigma to it would you use it more? I already use it a lot, but not in a pejorative way, like “don’t be such a pussy” when someone is scared. I think a pussy is strong, beautiful and resilient. What empowers you? I think I try very hard to empower myself. I try to talk to myself like a loved one: with forgiveness and empathy so I feel empowered a lot! I think living my life on my terms with authenticity and kindness is empowering. Also not giving a fuck what people think and making a lot of money in a field where the success rate is very low helps!

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Saryn Chorney an Ruki (Haruka Chrsenthal) How did you and your cat meet? I saw her picture on Petfinder. com. It was love at first site on my end, though she took a little bit of time to warm up to me. Ruki was a new mother when we met; she got knocked up at 9 months. All of her kittens had already been adopted, but I wanted Teen Mom Cat. What does the word pussy mean to you? Quick story: I was in a Halloween play in second grade in front of the whole school where I was Old Mother Hubbard. And my line when I entered the stage was, “Here kitty kitty kitty! Here pussy pussy pussy!” I had older brothers, so I knew what that word meant beyond just a synonym for cat. The whole auditorium burst into laughter when I said it, including me. Nowadays, I really have no problem with the word, but I prefer it as part of sexy talk vs. kitty talk. Also, one of the funniest quotes (by Nurse Nancy) in my favorite movie Wet Hot American Summer is, “I need some lube … for my PUSSY.” Classic! Do you have a certain demeanor you TRY to project in your everyday life? I play it cool, but I’ve got a decent amount of worrying going on if you scratch the surface. What do you think is the demeanor you DO project in your everyday life? Warm and sincere? Goofy and young at heart? I hope.

I’m an outspoken, DIY/Cat Enthusiast. Taking pictures of my friends, family, strangers, places, or just about anything that catches my eye is a passion of mine. Traveling, fashion, interior decorating are other things I am keen on. Born and raised a New Jersey Native, I never felt like I belonged until I arrived in the Big Apple in 2011.

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Jess Willa Wheaton Six Screenshots

Each night I take a long, liminal walk through my Instagram feed. I follow approximately 250 accounts, all belonging to friends I know from real life plus a few art galleries. However, I rarely pause to look at each photo for itself. I’m most interested by what sometimes happens between. Digital content would seem infinitely scalable, malleable, and moveable, but once a copy of a photo lands in an Instagram feed, the site it occupies in relation to the images that land before and beyond it is set in stone. I can usually see parts of two images on my laptop screen at once, coming from different places and people though posted nearby in time. The exceptions would be posts under which a lot of description, comments, or hashtags have piled up—this text slides the next photo down and off screen. Yet when I can see parts of two views, and when I’m also very lucky, together they become like stones that can spark. Serendipity flares and I take a screenshot of whatever meaningful coincidence I think I’ve found- also tacitly accepting that all discoveries, by definition, are just products of a human mind. Six favorite screenshots are shown here, though I have over a hundred as of this writing. I’ll keep collecting until lavish publication of all of them in a book becomes possible. This activity mostly finds me gathering string, so to speak, though sometimes also walking on the moon. “But working is like traveling along a spiral, as you’re passing you can lean down and pick something up from the past and then carry on round.” -Fiona Rae All screenshots were captured in 2015 on a late 2008 Macbook, with Instagram displayed in a window of minimum width and maximum length as the screen allowed. In all cases two different people posted the two photos within each screenshot.

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J e s s W i l l a W h e a t o n 35

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Jess Willa Wheaton is a NYC-based visual artist working mainly in painting and collage. Recently she has exhibited in New York, Germany, Canada, and California, and takes everything that happens to her as resource. â&#x20AC;˘ jesswillawheaton.com

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Molly Rapp

Untitled, 2014, Rust Dye on Handmade Paper, 18 x 22 inches.

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Untitled, 2014, Rust Dye on Handmade Paper, 18 x 22 inches.

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Untitled, 2014, Rust Dye on Handmade Paper, 18 x 22 inches.

Molly Rapp is an artist living and working in Brooklyn, NY. She graduated with a BFA from the School of Visual Arts in 2014. registry.bricartsmedia.org/profile.php?aid=7360 â&#x20AC;˘ Instagram: @mollsmachine

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Joey Behrens movement gesture intention = (Mark) / observation x impressions memories = ephemeral trails Lines drawn transgressed traced dissolved resolved.

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Joey has recently returned home to the Rustbelt after first following the call to â&#x20AC;&#x153;Head West young Man Woman!â&#x20AC;? then a three-year stint in Graduate School. You can see more of her work at www.joeybehrens.com.

Wi n t e r 2 0 1 6

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J o e y B e h r e n s 45

Wi n t e r 2 0 1 6

Molly Hagan Pioneers

Dinah and Michael sit on two plain chairs on an empty stage. There are no other props. This play is called Pioneers. But we’re not actual pioneers.

DINAH MICHAEL

DINAH It doesn’t matter. Anyway, this play is called Pioneers and this is a room that’s made for waiting. MICHAEL It’s in a hospital. I’m in a hospital. We’re in a hospital. DINAH There are magazines on all the little tables. But the magazines are like, Reader’s Digest and – Like – Southern Living. Yeah. And we’re not even in the South.

MICHAEL DINAH MICHAEL

DINAH It doesn’t matter. Anyway, we’re in a waiting room. MICHAEL This story takes place in a waiting room. And – we’re waiting.

DINAH They wait. Six beats or longer.

Magazine? No thanks.

MICHAEL DINAH They wait. Finally:

M o l l y H a g a n 47

DINAH leaning forward And the weird thing is there isn’t even any music or anything. Not even like – elevator music.

MICHAEL

DINAH Yeah, it’s just like this one television. MICHAEL It’s the news. The TV is playing the news. DINAH And I realize – because we have been waiting for so long. That it’s just the same newscast over and over again. No! I don’t remember that!

MICHAEL

DINAH Yeah! It is. Like we wouldn’t even notice. But we DO notice.

MICHAEL Beat.

DINAH Because we notice everything. We notice everything so we don’t have to talk about what we’re waiting for. They look at each other. They look away. They wait. Did you take care of the – Yeah.

MICHAEL DINAH

MICHAEL If I – listen: If something happens to me. Will you be sure to look into – Do you hear that? What?

DINAH MICHAEL

2 Wi n t e r 2 0 1 6

That. That – noise.

DINAH They listen.

I don’t hear anything. It’s like – like music? Like singing?

MICHAEL DINAH

MICHAEL There isn’t any music and no one is singing. Right.

DINAH They wait.

DINAH We showed up to the emergency room like anybody else – MICHAEL – anybody else, it could have been anybody else – – and all of a sudden – – Boom –

DINAH MICHAEL

DINAH They tell us it’s more than we thought. More than we thought. When do doctors even say that?

MICHAEL

DINAH And they say, “We need to run some tests but it could be – – you could HAVE –

MICHAEL

DINAH – he could have: 10 minutes. 10 hours. 10 days.”

They didn’t say the number ten.

It doesn’t matter.

The point is they didn’t know.

MICHAEL DINAH MICHAEL

M o l l y H a g a n 49

DINAH

They didn’t say the number ten. It doesn’t matter. The point is they didn’t know. We just didn’t know – – until we did.

MICHAEL DINAH MICHAEL DINAH MICHAEL Pause.

DINAH Do you ever get the feeling like – you’re having an out of body experience? ?

MICHAEL

DINAH Like, this is all happening. But we’re actually somewhere else. Doing something else?

MICHAEL

DINAH Yeah, and we’re just watching THIS happen. Or we’re telling it like a story after it’s already happened? (Beat.) Do you ever feel that way? No. Yeah. Me either.

MICHAEL DINAH They wait.

I mean if I were – . If you were what?

MICHAEL DINAH

MICHAEL If I was – if we were somewhere else. Where would it be?

Well. You don’t know. 50

No, I know. We -

DINAH MICHAEL DINAH Wi n t e r 2 0 1 6

MICHAEL If I was – if we were somewhere else. Where would it be? DINAH

Well.

MICHAEL

You don’t know.

DINAH

No, I know. We -

MICHAEL

Nevermind.

Beat. MICHAEL

I felt like – .

Beat. DINAH We felt like – well, there was just a long time where we didn’t say anything at all. Pause. DINAH

You really don’t hear that?

MICHAEL I don’t hear anything. All I hear is – I hear the voice on the news telling me: good morning, good morning, good morning – DINAH – And it’s not even the morning anymore – MICHAEL And I hear the woman behind the desk scratching her pen on paper and leaning in to her shoulder saying – DINAH – You don’t say, you don’t say, you don’t say – MICHAEL While she tries to pretend she’s not talking on her cell phone. And the hollow clicking of machines –

– like an egg timer under a blanket –

DINAH

5 MICHAEL And padded feet in the hallway. And sirens through the window. And a shower curtain sliding back and forth. And –

And what else? Nothing. It doesn’t matter.

DINAH MICHAEL M o l l y H a g a n 51

Pause.

– like an egg timer under a blanket –

DINAH

MICHAEL And padded feet in the hallway. And sirens through the window. And a shower curtain sliding back and forth. And – And what else? Nothing. It doesn’t matter.

DINAH MICHAEL Pause.

DINAH We wouldn’t leave the hospital for one week. He would have fifteen different nurses. One of them would be a Shakespearean actor. Another would have such a terrible toothache, that you could see the tears in her eyes when she walked into the room. The shower curtain would be gone but the sound of carolers would drift up from the street and through the one window that let all the air in. And when it was time to come home, we would both come home. But everything would be new.

MICHAEL Pause.

A buggy. What?

DINAH MICHAEL

DINAH A buggy. If we weren’t here we would be riding a buggy. Ok.

MICHAEL

DINAH Or a – what do you call it? – a wooden cart. The kind where they put hay in the back to sit on. Like a hayride? We’re on a hayride.

MICHAEL

DINAH Yeah. (Beat.) Yeah, we are. And it’s not now – like now like This Year now, This Day now. It’s like – 150 year ago or something. 6 MICHAEL Before we’re even born. DINAH Before we’re even born. But – we’re there, obviously. So we’re different. Better. 52

MICHAEL

DINAH Wi n t e r 2 0 1 6 Sure – better. And someone else is driving the cart –

Before we’re even born.

MICHAEL

DINAH Before we’re even born. But – we’re there, obviously. So we’re different. Better.

MICHAEL

DINAH Sure – better. And someone else is driving the cart – – or the buggy –

MICHAEL

DINAH Or the buggy. And we’re laying in the back, looking up at the stars. Because it’s nighttime.

MICHAEL

DINAH Obviously. Because everything is different. It’s not day, it’s night. And the sky is clear because there are no cities, but farms. And when we sit up – MICHAEL – there’s hay in our hair and stuck to our clothes because we’re wearing clothes, not gowns – DINAH – we sit up and we can see the lamplights go dim, one by one, as we pass the houses all along the dirt road. And the dry leaves float down around the animals standing – sleeping – in the pastures and the knotted grass. MICHAEL And lie back down and we just fall asleep. DINAH And then we wake up. And we fall asleep, and we wake up, and we fall asleep and we wake up and we fall asleep and we wake up. And every single thing in the world is quiet but we both agree - bumping along in the night - that we hear a tune with one voice singing, but neither of us can figure out which song it is. And the buggy – or the cart, or whatever – keeps on going like that forever.

But where is it going? It doesn’t matter.

MICHAEL DINAH She takes his hand.

End.

Molly Hagan’s play, The Swing of the Sea, was produced at Arcadia University in Philadelphia in December 2011, and was the recipient of the Harold and Mimi Steinberg National Student Playwriting Award through the Kennedy Center in 2012. Molly was a playwriting fellow at the Eugene O’Neill theater conference in 2012. Her short play, Spaceships and things that look like them, was published by the Northwest Playwrights Alliance in 2010. Other plays have been produced at the Source Festival in Washington, DC, Northern Michigan University and Albright College. She earned her BFA at Ohio University.

M o l l y H a g a n 53

Wi n t e r 2 0 1 6

Rachel Zaretsky Rothstein’s Hardware Store

I’ve been photographing Rothstein’s Hardware Store since I moved to New York five years ago, up until the business’s closure last summer. The hardware store was my great grandfather’s business decades ago when settling in the United States and since moving to New York I’ve always tried to live in an apartment in proximity to it. This was some attempt to understand my relationship to this storefront as I never knew my great grandfather or had any direct connection to this place. When I found out that the building was sold and slated to be demolished to make way for a luxury condo building— I felt so anxious. How would I recognize this loss? I borrowed a ladder and cut down the 6 foot banner that hung in front of the business for years. I would share this with anyone that would listen- I’d show handful of photographs until I came to realize that this fixation on monumentalizing my loss with the store’s closure was not about a good photograph, but rather –every photograph- I had taken. From this realization, I created a block of around 80 photographs that I took in a single day as I walked through the store, after I found out the building would be demolished. I began to photograph as I entered the store, then walked the aisles, down through the basement, taking photos from the ceiling to the floor in representation of this expired location. I printed this bombardment of images on newsprint as a poster. With this newsprint poster I was interested in the material as one aligned with newspapers, which presents information shaped by an assumption of factuality and immediacy. I plan to publicly offer this artifact, presented as an out of date newspaper, on Clinton street throughout the building’s demolition process. I have assumed this role and plan to continue to until I run out of the 1,000 posters I printed.

Zaretsky removing the store’s banner.

R a c h e l Z a r e t s k y 55

Rothsteins Hardware when I found out it would be demolished 56

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Zaretsky giving out newsprint poster documenting Rothsteinâ&#x20AC;&#x2122;s Hardware in front of the store before it was demolished.

Recently completed a Visual and Critical Studies BFA from The School of Visual Arts (SVA) New York City. A Miami, Florida baby. Visit her website.

R a c h e l Z a r e t s k y 57

Laura Cooper Nomadic Glow, Color Poem (For Hyesou’s Herd)

Nomadic Glow is the name of a shade of domestic wall paint. This blueish-white paint, when compared with Mongolian nomadic naming system for horse’s coat colors, was found to be called ‘Tsenhker’ in Mongolian. The project Nomadic Glow attempts to record—in a deliberately limited, schematic fashion—the elaborate naming system that nomadic herdsman use to identify each individual horse in their herd, which is based on their nuanced perception of horse coat colors. When visiting the Mongolian Steppe, I brought with me a range of industrial paint color chips and invited Hyesou—a local nomadic herdsman—to match the horses in his herd through this limited selection of paint colors. There are over 200 terms in Mongolian language specific to horses’ coat color; the language has fragmented and evolved so that each member of a large herd of horses can be identified primarily by color and markings. This precision and the herders’ nuanced perception of color, are the result of the intimacy between man and animal and their bond within this specific landscape and way of life. The color of any particular horse in Hyseou’s herd is differentially defined in relation to those of its cohort, and so the naming system has evolved to create ever more precise gradations of color to distinguish each horse from its companions. To add to the complexity, the colors of this particular herd can also only be understood in relation to shifting perceptions of color and light in Mongolia’s Orkhan Valley. Color Poem For Hyesou’s Herd is a video and printed color poem that is the result of Hyesou’s selections of color paints chips to match the colors of his herd of horses. The voice in the video has been auto-tuned and restricted to a color scale where color tone corresponds to musical tone.

Wi n t e r 2 0 1 6

Nomadic Glow Video Still, 2015

L a u r a C o o p e r 59

Color Poem (for Hyesouâ&#x20AC;&#x2122;s herd) 2015, Installation at CentroADM Mexico city.

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Color Chart brochure, digital print on paper, 8.5 x 17 inches.

Laura Cooper (b. 1983) is a British artist living and working between the UK and New York City, US. Group exhibitions include Play, Game, Place, State, Collyer Bristow Gallery London UK, Voice and The Lens, IKON Gallery Birmingham [2012] touring to Rich Mix Cinema London [2014]. VideoGud program Stockholm Sweden [2015]. Solo exhibitions include Nomadic Glow, Centro ADM Mexico City Soft Revolutions, Space In Between Gallery London [2013]. Residencies include Shrewsbury International School Bangkok with the British Arts Council Thailand [2008-9], SAP Seoksu Market International residency in Anyang City, South Korea [2010], IPark in CT, USA [2012]. She was awarded the Franklin Furnace Fund for Performance [2012/13] and an International Artist Development Fund by the Arts Council England for her project at LAN 360 Degrees Biennale, Mongolia [2014]. In 2015 she was resident artist at Centro ADM Mexico City. She received her MFA in Fine Art Media at The Slade School of Fine Art London [2012] and BFA from Glasgow School of Art [2006].

L a u r a C o o p e r 61