Ready Mix, 2011
In Ready Mix, Disorientalism’s preoccupation with junk culture translates into junk food. Using 3D lenticular prints and bobbleheads, the duo stirs up — or mixes up — the story of Aunt Jemima’s century-long makeover from “slave mammy” to “modern working mother.” The lenticulars restage back- and front-of-house scenes of working women from art history.
This project is a chapter in The Food Groups, a five-part series focusing on race and labor in American food production and promotion. The Disorientals encounter five historical food industry trade characters of different races. In “Chapter 1: Ready Mix” we meet Aunt Jemima; in “Chapter 2: Brown Bagging” we meet Wendy; in “Chapter 3: Maiden Voyage” we meet the Land O’Lakes Indian Maiden, in “Chapter 4: A New Face” we meet Sun-Maid; and in Chapter 5 (forthcoming) we will meet Chiquita Banana. These iconic identities are affective laborers whose job is giving a friendly face to factory food. In solidarity, the Disorientals work to erase distinctions between the depersonalized production and personalized promotion of industrial food.
Lenticular animations: “Just Add Water,” “Get Both Kinds,” “I’se in Town, Honey,” and “Nothing Could Be Finer”
Bobble head doll installation with sound: “Incorporated”
Before and After images (Click thumbnails to enlarge)
Partially supported by Arizona State University’s New College of Interdisciplinary Arts & Sciences and The Wassaic Project.
Exhibited: Feldman Gallery + Project Space, Pacific Northwest College of Art (PNCA), in conjuction with the PICA TBA festival, September 1-October 22, 2011.
Bobble Head Image: Teodora Dakova.