Many of you might have seen Jim Shaw’s recent multi-floor show, “The End is Near” at the New Museum, but what I’m hoping you had the chance to check out was queer feminist artist Wynne Greenwood’s smaller exhibit, “Kelly” which was open simultaneously on the fifth floor. Greenwood is an inspiring and unique creative talent who works with performance, video, object-making and music to practice what she calls “culture-healing.” From what I gathered at the exhibition, the idea of “culture healing” has to do with disrupting/debunking harmful, commonly held cultural beliefs that divide or misrepresent people, with the goal of healing relationships between different types of people.
Specifically, “Kelly” (which was also a 6 month artist residency for Greenwood at the New Museum) comprised Greenwood’s works from 1999 to 2015, during which time she concepted and acted out a variety of distinct characters for live performances and video recordings. To execute this, Greenwood would create partially improvised/partially scripted dialogues for these characters, generating profound conversations that questioned common beliefs and behaviors related to identity, gender and sexuality, and were frequently set to original music.
Greenwood’s main three works included in “Kelly” were Tracy and the Plastics (1999-2006), Strap-On TVs (2010), and her most recent project, More Heads, which she is still working on. For the purposes of this post, I’m going to shine the spotlight on the fascinating Tracy and the Plastics.
Tracy and the Plastics is a three-member punk girl band, created by Greenwood in her basement in 1999 in Olympia, Washington (birthplace of the Riot Grrrl movement). The Tracy and the Plastics project was presented at the New Museum in the form of a series of music videos displayed across about 20 individual TV screens. In terms of the band members, Greenwood would play all three of them herself (she would pre-record two of the band members and display them to either side of her on television screens – or project them onto the walls next to her – during performances). You can check out some official Tracy and the Plastics videos here and below to get a real idea of some of the interesting themes Greenwood brings up in the project and see it in action.
To note, Tracy and the Plastics went on tour in 2000, was featured at the 2004 Whitney Biennial, and joined forces with other bands and artists including Le Tigre, Bangs, and Fawn Krieger for a variety of shows, before it later “broke up” in 2006.
One of my personal favorite things about Tracy and the Plastics is that Greenwood developed complex relationships between each of the band members, Tracy (vocals), Nikki (keyboard), and Cola (drums), which resulted in potent conversations brought about in often subtle and unexpected ways regarding identity, perception, sexuality, and more. In addition, the dynamic between Tracy, Nikki, and Cola was never boring: like any rock band, the three members often had disagreements or misunderstandings, and would sometimes hurt each other’s feelings. For example, per written materials authored by New Museum curators Johanna Burton, Stephanie Snyder and Sara O’Keefe:
…while setting up for a show, Cola spray-paints the name of the band on a wall and then asks, “Hey Tracy, does that look straight?” When Tracy confirms that it does, Cola, concerned rather than reassured, spray-paints two women’s symbols beside it, in an attempt to make it look “less straight” after all.
In 2013, seven years after Tracy and the Plastics’ 2006 dissolution, Greenwood realized that she’d wished she’d documented all of their performances, so both privately and over the course of an artist residency, she completed recreating and documenting the majority of all of the Tracy and the Plastics performances so that they could be shown as they are in exhibits like “Kelly.”
A final point that I found interesting was that at the New Museum, “Kelly” was situated within the context of a larger exhibit called “Histories of Sexuality.” This was an interesting and enriching curatorial choice because the museum placed Greenwood’s work among that of other artists in the past who had worked with similar ideas about sexuality and gender, ultimately providing viewers with the possibility of a more full-circle experience of Greenwood’s work.
The two former New Museum programs that “Histories of Sexuality” focused on included: “Homo Video: Where Are We Now” (1986-87) curated by William Olander, and New Museum Founder Marcia Tucker’s “Bad Girls” exhibition (1994) curated by Cheryl Dunye. According to the New Museum’s archives, these programs:
…attempted to redress the reductive representation of homosexuality and gendered subjects that their curators perceived in art as well as in culture at large. Both were characterized by works concerned with the texture of individual subjects and communities rather than celebrating some uniform, idealized fantasy of either gay or female liberation.
In other words, with works like those featured in “Kelly,” Greenwood carries on the conversation about these critical ideas that Olander, Tucker and Dunye focused on in the ‘80s and ‘90s. Greenwood’s additions amplify and electrify the full conversation when compiled in one unified exhibit with the other artists’ works.