Noon for a Midnight Snack, 2018
Noon for a Midnight Snack, 2018
Dawn of Ethan for Nicky, a performance collaboration.
The two tables are in the same room, and the mirrors aren’t perfect, but I wanted to see “Harrison Ford” the performer go on a date with himself.
I was thinking about the officiallity of this kind of story telling, how it relates to the moving image, moving readability, and a craning stage.
The very important fly was alive in the bathroom of the house I stayed at in Atholl, Scotland and when I found it dead on the tiling I put it inside a cigarette box to take home.
Dawn of Ethan for Nicky, a performance collaboration.
The two tables are in the same room, and the mirrors aren’t perfect, but I wanted to see “Harrison Ford” the performer go on a date with himself.
I was thinking about the officiallity of this kind of story telling, how it relates to the moving image, moving readability, and a craning stage.
The very important fly was alive in the bathroom of the house I stayed at in Atholl, Scotland and when I found it dead on the tiling I put it inside a cigarette box to take home.
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Manufacturing
I'm a paragraph. Click here to add your own text and edit me. It’s easy. Just click “Edit Text” or double click me to add your own content and make changes to the font. I’m a great place for you to tell a story and let your users know a little more about you.
Manufacturing
Bio
Christine McDonald (Brooklyn, NY) is a research-based open format artist who considers the fates of everyday ultra-specific materials and locations. Working across a wide variety of sculptural and digital mediums, Christine interprets collective histories and her own temporality by investigating human, industrial, and environmental systems. Artworks are installed or digitally published as individual project vignettes that sometimes self-destruct. Her website acts as an archive and further reading. The vinyl cast of her vehicle is an exercise in decay-endurence; the cast-material is designed to remain as a protective skin, much like a car can be a protective shell for a human. However, Christine collaborates with the material’s instability by meticulously removing the car, leaving only a skin-like shell that is inflated until it ruptures and caves in.
Previously a 2025 Artist-in-Residence at Stove Works [Chattanooga, TN] and 2021 recipient of the John Hartell Award for Art, Christine’s work has been exhibited by: Ortega y Gasset Projects [Brooklyn, NY], Atlantic Gallery [New York, NY], AUTOMAT Collective [Philadelphia, PA], The Herbert F. Johnson Museum of Art & Olive Tjaden Gallery [Cornell University; Ithaca, NY], Moore College of Art and Design [Philadelphia, PA], Stella Elkins Tyler Gallery [Philadelphia, PA].
The Boneyarders are a multimedia ensemble based in Baltimore, MD, Boston, MA, and Brooklyn, NY. They take their name from the colloquial term “boneyard” used to describe scrap yards and grounded aerospace mothball fleets around the United States. Consisting of three artists, two with extensive professional backgrounds in improvised music and performance and one professional fine art maker, The Boneyarders embrace an experimental artistic instrumentation. Compositions and projects range from film, film-scores, and avant-garde music making that is determined and translated from both organic and man-made environments. [Their work has been exhibited at Automat Gallery [Philadelphia, PA], Museum of Science [Boston, MA], MG Space [Beijing, China], Olive Tjaden Gallery [Cornell University; Ithaca, NY] and Taubman Museum of Art [Roanoke, VA].]
Members: Denver Nuckolls, Zachary McDonald, Christine McDonald
Contact
crusteeny (at) gmail (dot) com
