Connecting Different Worlds: Response to Althea Thauberger

Duke brought up several interesting points in her text, “Althea Thauberger: Experimentalism is Dead. Long Live The Internet.” What resonated with me the most about Duke’s analysis of Thauberger’s work is best articulated at the end of the article:

In all the works I’ve described here, the viewer gains access through identification with Thauberger’s characters or subjects. But these girls and women are not fearsomely glamorous or talented. They do not intimidate. They are ordinary…if we can be moved, we must acknowledge that we, too, have the power to move. (Duke 4).

Duke investigates this idea of Thauberger using unconventional ways of making art by discussing her use of narrative and by using unconventional, or “untrained” women in her work. By using these “ordinary” women, the audience can better connect or empathize with the narratives that are being told, and, potentially, identify with these performers in some way.
I am very interested in the idea having an “untrained” or “ordinary” subject in my work. I want to use this blog as an opportunity to connect my own projects and ideas for future projects with Thauberger’s work that joins different or detached worlds (such as the art community and military families that had common ground in Thauberger’s piece Murphy Canyon Choir).
I recently performed at the Milwaukee Art Museum in an attempt to “build a resume” to send to the New York based choreographer (see above photo). Tere O’Connor. My character performed at the museum to prove that she is a dancer who is worthy enough to even perform at a prestigious art institution like the MAM. Although an illusion of glamour and talent was indicated, it was far from a glamorous or talented dance performance. In fact, it was quite the opposite: my untrained “dancer” body and ordinary self dressed up in sequins and dancing at the MAM is not intimidating. While I didn’t quite connect two different worlds in the same way Thauberger made connections, I did connect myself to a world that I am not necessarily a part of.
The performance at the MAM has inspired me to make more performance pieces where my “untrained” self performs at various, inappropriate venues. Part of the Tere O’Connor piece was focused on the disillusionment of the character thinking she can dance in his dance company and become as “famous” as he is. I want to further investigate this kind of disillusionment. I want to start interacting with other artist’s artwork in museums and galleries. By documenting, or “legitimizing” my performances at the various art venues, I will continue to fulfill this disillusionment of becoming famous by “getting my foot in the door,” connecting myself to a world that I am not a part of.