'Bat and Dove', Mel Chin 2007
pigment, ink, egg yolk on paper
10 1/2 x 13 inches
Airborne Holy symbols embrace/battle in an inky sky.
https://melchin.org/
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The Wayward Flight of an Auspicious Sign
Mel Chin
2003
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Primary Information has published a facsimile of the exhibition/auction catalogue for In The Name of The Place, a surreptitious, 2-year project by the GALA Committee, organized by Mel Chin and Helen Nagge, to insert artwork as props into Melrose Place. The project culminated in a real-world museum exhibition which itself was worked into the show, and the whole thing was only announced after it was all over. I'm sure Aaron Spelling was amused, and now we can finally get to enjoy the slim volume in facsimile edition. Highly recommended as a book.
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There’s an unsettling tension in the room that houses Mel Chin’s installation Spirit (1994), at the Columbus Museum of Art. Is the rope strong enough to support the barrel? What will be its breaking point?
Some details from the museum about the work-
The rope that seems to carry the weight of Spirit’s enormous cask is made from tallgrass. This native plant was once central to a vast prairie ecosystem spanning over 170 million acres of North America. By 1930, most all of this was decimated as a result of agricultural and industrial settlement, and what remains is protected habitat (Chin received special permission to harvest a portion for this sculpture).
Wooden barrels are traditionally used to measure and transport dry goods like grain, beans, as well as beer, oil and wine, and were central to the process of European settlement and trade in North America. Here, the image of this rope bearing such a massive weight suggests the precarious status of nature in a world of outsized human development. Even the gallery walls, which curve inwards on all sides, seem to respond to the strain.
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spirit by mel chin saved my good for nothing life
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in the amelia pond au, amelia’s aunt does still send her to therapy between doctor adventures, but since amelia is now secure in the fact that he’s Definitely Real since both rory and mels have also met him and because she lost a tooth last week from tripping on the stairs of the tardis, she doesn’t bite any therapists this time around. and besides, her therapist is a very funny lady. she reminds amelia of her doctor, with how her voice will flip and jump in volume and accent and tone on a whim, with how she’ll talk to amelia like they’re conspiring together. she keeps the pictures amelia draws of the doctor and their adventures for her, even hangs one or two on the walls. she listens very intently to every detail, which no adults in amelia’s life do save the doctor himself and river song, whenever she’s around. and best of all, whenever she tells amelia’s aunt that amelia is doing just fine, don’t you worry, she’ll grow out of this, she winks at amelia so that amelia will know her therapist is only playing along to wave away her aunt’s suspicion.
it is a little odd, though, that she insists on only being called Missy. but amelia is quite used to odd by now.
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Haiiii so I've started a collage journal to try and teach myself to enjoy art more and be less perfectionistic about what I make and this is my first entry ^^
Inspirations include Mel Chin's "Revival Field" (of which the diorama piece is featured), the color brown, and the song "Wholeness and the Implicate Order" by The Last Dinosaur :3
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Lace replicas of my childhood furniture, accompanied by writings based off of Sara Ahmed’s Queer Phenomenology, the history of the furniture itself, (considering it’s relationship to colonialism is what comes to my mind), and mostly just considering how objects touch us back, as Ahmed puts it.
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