brennaquinn.com

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<channel>
	<title>brennaquinn.com</title>
	<link>https://brennaquinn.com</link>
	<description>brennaquinn.com</description>
	<pubDate>Wed, 27 Jul 2022 02:25:59 +0000</pubDate>
	<generator>https://brennaquinn.com</generator>
	<language>en</language>
	
		
	<item>
		<title>01 - Heartbeat and Candle. </title>
				
		<link>https://brennaquinn.com/01-Heartbeat-and-Candle</link>

		<pubDate>Mon, 25 Jul 2022 22:49:52 +0000</pubDate>

		<dc:creator>brennaquinn.com</dc:creator>

		<guid isPermaLink="true">https://brennaquinn.com/01-Heartbeat-and-Candle</guid>

		<description>


&#60;img width="4160" height="1200" width_o="4160" height_o="1200" data-src="https://freight.cargo.site/t/original/i/49588949157170e52d6267e9e725f16faeb94a9e29afb5979362bf60a77874c6/00_candle-and-hearbeat_video-still_-for-web.jpg" data-mid="148761508" border="0" data-scale="11" data-icon-mode alt="1/1 &#38;mdash; CANDLE AND HEARTBEAT.This work combines a video recording captured on Hi8 footage in St. Stephens Cathedral in Vienna, Austria, along with a sound recording made by the artist of her heartbeat at home in Chicago. Both media elements, executed in single takes, possess a slight unsteadiness, reminding us of her body's presence. The imagery of a solitary burning candle references a common religious practice of remembering those who have passed. As the minimal and soft flame flickers with the low decibel of her heartbeat pulses, Quinn intends to evoke contemplation of our bodies, the present, and our mortality.Video still (Full video 00:01:58), shot on Hi8 and digitized, 2022." data-caption="1/1 — CANDLE AND HEARTBEAT.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;This work combines a video recording captured on Hi8 footage in St. Stephens Cathedral in Vienna, Austria, along with a sound recording made by the artist of her heartbeat at home in Chicago. Both media elements, executed in single takes, possess a slight unsteadiness, reminding us of her body's presence. The imagery of a solitary burning candle references a common religious practice of remembering those who have passed. As the minimal and soft flame flickers with the low decibel of her heartbeat pulses, Quinn intends to evoke contemplation of our bodies, the present, and our mortality.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Video still (Full video 00:01:58), shot on Hi8 and digitized, 2022." src="https://freight.cargo.site/w/1000/i/49588949157170e52d6267e9e725f16faeb94a9e29afb5979362bf60a77874c6/00_candle-and-hearbeat_video-still_-for-web.jpg" /&#62;

	
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		<title>02 - So I Ran Faster (Precious Things.) </title>
				
		<link>https://brennaquinn.com/02-So-I-Ran-Faster-Precious-Things</link>

		<pubDate>Mon, 25 Jul 2022 22:46:29 +0000</pubDate>

		<dc:creator>brennaquinn.com</dc:creator>

		<guid isPermaLink="true">https://brennaquinn.com/02-So-I-Ran-Faster-Precious-Things</guid>

		<description>


&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/529527eb8d80e701c879e800faf617e8bfe20e091b572415d89158b8b0d1d867/00_for-web_So-I-Ran-Faster-Prescious-Things.jpg" data-mid="148868117" border="0" data-scale="30" data-icon-mode alt="1/1 &#38;mdash; SO I RAN FASTER (PRECIOUS THINGS.)Study for series of the same name. Donated to AIR Gallery for &#38;quot;My Body, My Choice,&#38;quot; annual mail-art fundraising exhibition.Charcoal, enamel on canvas, 5&#38;quot; x 7&#38;quot;,  2022." data-caption="1/1 — SO I RAN FASTER (PRECIOUS THINGS.)&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;Study for series of the same name. Donated to AIR Gallery for &#38;quot;My Body, My Choice,&#38;quot; annual mail-art fundraising exhibition.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Charcoal, enamel on canvas, 5&#38;quot; x 7&#38;quot;,  2022." src="https://freight.cargo.site/w/900/i/529527eb8d80e701c879e800faf617e8bfe20e091b572415d89158b8b0d1d867/00_for-web_So-I-Ran-Faster-Prescious-Things.jpg" /&#62;

	
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		<title>03 - Eight Word Collages</title>
				
		<link>https://brennaquinn.com/03-Eight-Word-Collages</link>

		<pubDate>Wed, 27 Jul 2022 02:25:59 +0000</pubDate>

		<dc:creator>brennaquinn.com</dc:creator>

		<guid isPermaLink="true">https://brennaquinn.com/03-Eight-Word-Collages</guid>

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&#60;img width="835" height="1200" width_o="835" height_o="1200" data-src="https://freight.cargo.site/t/original/i/2237a723794707eab9d7774b9d3d4ab3f277a3d4b69ced97f5fee08fa43c0bad/01_colllage-for-web_1_collage.jpg" data-mid="148870158" border="0" data-scale="35" data-icon-mode alt="1/8 &#38;mdash; EIGHT WORD COLLAGES.Akin to a Fluxus-type exercise, eight words or sections of text were pulled at random from a collection of cut-out text from print publications and then organized to create each piece.Found text on bristol A5 paper 5.8&#38;quot; x 8.3&#38;quot;." data-caption="1/8 — EIGHT WORD COLLAGES.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Akin to a Fluxus-type exercise, eight words or sections of text were pulled at random from a collection of cut-out text from print publications and then organized to create each piece.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;Found text on bristol A5 paper 5.8&#38;quot; x 8.3&#38;quot;." src="https://freight.cargo.site/w/835/i/2237a723794707eab9d7774b9d3d4ab3f277a3d4b69ced97f5fee08fa43c0bad/01_colllage-for-web_1_collage.jpg" /&#62;
&#60;img width="835" height="1200" width_o="835" height_o="1200" data-src="https://freight.cargo.site/t/original/i/59a840498485b5e7a0e2744b0c2d44ed96b04de51b5a48774f010f22886ae3be/02_collage-for-web_02_collage.jpg" data-mid="148870159" border="0" data-scale="35" data-icon-mode alt="2/8 &#38;mdash; EIGHT WORD COLLAGES.Akin to a Fluxus-type exercise, eight words or sections of text were pulled at random from a collection of cut-out text from print publications and then organized to create each piece.Found text on bristol A5 paper 5.8&#38;quot; x 8.3&#38;quot;." data-caption="2/8 — EIGHT WORD COLLAGES.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Akin to a Fluxus-type exercise, eight words or sections of text were pulled at random from a collection of cut-out text from print publications and then organized to create each piece.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;Found text on bristol A5 paper 5.8&#38;quot; x 8.3&#38;quot;." src="https://freight.cargo.site/w/835/i/59a840498485b5e7a0e2744b0c2d44ed96b04de51b5a48774f010f22886ae3be/02_collage-for-web_02_collage.jpg" /&#62;
&#60;img width="833" height="1198" width_o="833" height_o="1198" data-src="https://freight.cargo.site/t/original/i/d32e29294365607d40940f533bb7d0ff957f3ae952f443750e248c2a59f66fff/03_collage-for-web_03_collage.jpg" data-mid="148870161" border="0" data-scale="35" data-icon-mode alt="3/8 &#38;mdash; EIGHT WORD COLLAGES.Akin to a Fluxus-type exercise, eight words or sections of text were pulled at random from a collection of cut-out text from print publications and then organized to create each piece.Found text on bristol A5 paper 5.8&#38;quot; x 8.3&#38;quot;." data-caption="3/8 — EIGHT WORD COLLAGES.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Akin to a Fluxus-type exercise, eight words or sections of text were pulled at random from a collection of cut-out text from print publications and then organized to create each piece.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;Found text on bristol A5 paper 5.8&#38;quot; x 8.3&#38;quot;." src="https://freight.cargo.site/w/833/i/d32e29294365607d40940f533bb7d0ff957f3ae952f443750e248c2a59f66fff/03_collage-for-web_03_collage.jpg" /&#62;
&#60;img width="835" height="1200" width_o="835" height_o="1200" data-src="https://freight.cargo.site/t/original/i/5cd6af4a09238f40bb3b2d28a3f25eb86bc9abd7e5541a0ad0980f597e1f8969/04_collage-for-web_04_collage.jpg" data-mid="148870162" border="0" data-scale="35" data-icon-mode alt="4/8 &#38;mdash; EIGHT WORD COLLAGES.Akin to a Fluxus-type exercise, eight words or sections of text were pulled at random from a collection of cut-out text from print publications and then organized to create each piece.Found text on bristol A5 paper 5.8&#38;quot; x 8.3&#38;quot;." data-caption="4/8 — EIGHT WORD COLLAGES.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Akin to a Fluxus-type exercise, eight words or sections of text were pulled at random from a collection of cut-out text from print publications and then organized to create each piece.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;Found text on bristol A5 paper 5.8&#38;quot; x 8.3&#38;quot;." src="https://freight.cargo.site/w/835/i/5cd6af4a09238f40bb3b2d28a3f25eb86bc9abd7e5541a0ad0980f597e1f8969/04_collage-for-web_04_collage.jpg" /&#62;
&#60;img width="835" height="1200" width_o="835" height_o="1200" data-src="https://freight.cargo.site/t/original/i/2cbf76ea5bc49b9575900d40070b09eae99d5496ac3cca99dc1d3320d1bb8d3a/05_collage-for-web_05_collage.jpg" data-mid="148870163" border="0" data-scale="35" data-icon-mode alt="5/8 &#38;mdash; EIGHT WORD COLLAGES.Akin to a Fluxus-type exercise, eight words or sections of text were pulled at random from a collection of cut-out text from print publications and then organized to create each piece.Found text on bristol A5 paper 5.8&#38;quot; x 8.3&#38;quot;." data-caption="5/8 — EIGHT WORD COLLAGES.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Akin to a Fluxus-type exercise, eight words or sections of text were pulled at random from a collection of cut-out text from print publications and then organized to create each piece.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;Found text on bristol A5 paper 5.8&#38;quot; x 8.3&#38;quot;." src="https://freight.cargo.site/w/835/i/2cbf76ea5bc49b9575900d40070b09eae99d5496ac3cca99dc1d3320d1bb8d3a/05_collage-for-web_05_collage.jpg" /&#62;
&#60;img width="835" height="1200" width_o="835" height_o="1200" data-src="https://freight.cargo.site/t/original/i/b956fa1d1427dfddbe928e896f0c35a979e800601aff99cf11c2af6f4c169fd4/06_collage-for-web_06_collage.jpg" data-mid="148870164" border="0" data-scale="35" data-icon-mode alt="6/8 &#38;mdash; EIGHT WORD COLLAGES.Akin to a Fluxus-type exercise, eight words or sections of text were pulled at random from a collection of cut-out text from print publications and then organized to create each piece.Found text on bristol A5 paper 5.8&#38;quot; x 8.3&#38;quot;." data-caption="6/8 — EIGHT WORD COLLAGES.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Akin to a Fluxus-type exercise, eight words or sections of text were pulled at random from a collection of cut-out text from print publications and then organized to create each piece.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;Found text on bristol A5 paper 5.8&#38;quot; x 8.3&#38;quot;." src="https://freight.cargo.site/w/835/i/b956fa1d1427dfddbe928e896f0c35a979e800601aff99cf11c2af6f4c169fd4/06_collage-for-web_06_collage.jpg" /&#62;
&#60;img width="835" height="1200" width_o="835" height_o="1200" data-src="https://freight.cargo.site/t/original/i/30603d9eaec0079a72bd2f7eba0204c5290fd3be6e80b2def813e8be432811de/07_collage-for-web_07_collage.jpg" data-mid="148870165" border="0" data-scale="35" data-icon-mode alt="7/8 &#38;mdash; EIGHT WORD COLLAGES.Akin to a Fluxus-type exercise, eight words or sections of text were pulled at random from a collection of cut-out text from print publications and then organized to create each piece.Found text on bristol A5 paper 5.8&#38;quot; x 8.3&#38;quot;." data-caption="7/8 — EIGHT WORD COLLAGES.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Akin to a Fluxus-type exercise, eight words or sections of text were pulled at random from a collection of cut-out text from print publications and then organized to create each piece.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;Found text on bristol A5 paper 5.8&#38;quot; x 8.3&#38;quot;." src="https://freight.cargo.site/w/835/i/30603d9eaec0079a72bd2f7eba0204c5290fd3be6e80b2def813e8be432811de/07_collage-for-web_07_collage.jpg" /&#62;
&#60;img width="835" height="1200" width_o="835" height_o="1200" data-src="https://freight.cargo.site/t/original/i/e9caccdf035cbab0744670d0d0c06042d8f9b585ea1cf12ef50cc2a8de6e66cf/08_coolage-for-web_08_collage.jpg" data-mid="148870166" border="0" data-scale="35" data-icon-mode alt="8/8 &#38;mdash; EIGHT WORD COLLAGES.Akin to a Fluxus-type exercise, eight words or sections of text were pulled at random from a collection of cut-out text from print publications and then organized to create each piece.Found text on bristol A5 paper 5.8&#38;quot; x 8.3&#38;quot;." data-caption="8/8 — EIGHT WORD COLLAGES.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Akin to a Fluxus-type exercise, eight words or sections of text were pulled at random from a collection of cut-out text from print publications and then organized to create each piece.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;Found text on bristol A5 paper 5.8&#38;quot; x 8.3&#38;quot;." src="https://freight.cargo.site/w/835/i/e9caccdf035cbab0744670d0d0c06042d8f9b585ea1cf12ef50cc2a8de6e66cf/08_coolage-for-web_08_collage.jpg" /&#62;

	
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		<title>04 - Five twenty-four a.m. </title>
				
		<link>https://brennaquinn.com/04-Five-twenty-four-a-m</link>

		<pubDate>Wed, 27 Jul 2022 00:57:21 +0000</pubDate>

		<dc:creator>brennaquinn.com</dc:creator>

		<guid isPermaLink="true">https://brennaquinn.com/04-Five-twenty-four-a-m</guid>

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&#60;img width="1200" height="1200" width_o="1200" height_o="1200" data-src="https://freight.cargo.site/t/original/i/990ab103003d98c99f795b8e7f9a6982835aa2d388ee42498b854affac6a5272/00_Fiive-twenty-four-a.m._for-web_Overnight-Stay.jpg" data-mid="148866475" border="0" data-scale="28" data-icon-mode alt="1/1 &#38;mdash; FIVE TWENTY-FOUR AM.Video still, 2022." data-caption="1/1 — FIVE TWENTY-FOUR AM.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;Video still, 2022." src="https://freight.cargo.site/w/1000/i/990ab103003d98c99f795b8e7f9a6982835aa2d388ee42498b854affac6a5272/00_Fiive-twenty-four-a.m._for-web_Overnight-Stay.jpg" /&#62;

	
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		<title>05 - Scissors.</title>
				
		<link>https://brennaquinn.com/05-Scissors</link>

		<pubDate>Wed, 27 Jul 2022 01:03:16 +0000</pubDate>

		<dc:creator>brennaquinn.com</dc:creator>

		<guid isPermaLink="true">https://brennaquinn.com/05-Scissors</guid>

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&#60;img width="1730" height="1200" width_o="1730" height_o="1200" data-src="https://freight.cargo.site/t/original/i/bd4cae23ebc8f184ca529a5fe47338401ab66b9d3b294cde7e5a046d1702532f/00_scissors-MQ-studio-for-web.jpg" data-mid="148866671" border="0" data-scale="25" data-icon-mode alt="1/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="1/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/1000/i/bd4cae23ebc8f184ca529a5fe47338401ab66b9d3b294cde7e5a046d1702532f/00_scissors-MQ-studio-for-web.jpg" /&#62;
&#60;img width="874" height="1200" width_o="874" height_o="1200" data-src="https://freight.cargo.site/t/original/i/6aee41416d7dcc8b0fbf5105b8666370b97003cf3b33e1d3700444e5089dbc35/01_scissors-web-export_82.jpg" data-mid="148866672" border="0" data-scale="25" data-icon-mode alt="2/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="2/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/874/i/6aee41416d7dcc8b0fbf5105b8666370b97003cf3b33e1d3700444e5089dbc35/01_scissors-web-export_82.jpg" /&#62;
&#60;img width="997" height="1200" width_o="997" height_o="1200" data-src="https://freight.cargo.site/t/original/i/f9c5414284137737d36235cfae784860dd0cdb9b8c39946db1a5788bee5d8762/02_scissors-export-for-web_55_scissors.jpg" data-mid="148866673" border="0" data-scale="25" data-icon-mode alt="3/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="3/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/997/i/f9c5414284137737d36235cfae784860dd0cdb9b8c39946db1a5788bee5d8762/02_scissors-export-for-web_55_scissors.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/f30c7c4a4bc0e3ccde495211c1d9a9f6422a65ff65982bcf18d37169854719a7/03_scissors-for-web_75_scissors_for-web.jpg" data-mid="148866674" border="0" data-scale="25" data-icon-mode alt="4/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="4/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/900/i/f30c7c4a4bc0e3ccde495211c1d9a9f6422a65ff65982bcf18d37169854719a7/03_scissors-for-web_75_scissors_for-web.jpg" /&#62;
&#60;img width="870" height="1200" width_o="870" height_o="1200" data-src="https://freight.cargo.site/t/original/i/41bf7d2c2b6449648e8f743b547ed7315f685cb2db9ef0a37b5112c4365bd3fb/04_scissors-for-web_58_scissors.jpg" data-mid="148866675" border="0" data-scale="25" data-icon-mode alt="5/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="5/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/870/i/41bf7d2c2b6449648e8f743b547ed7315f685cb2db9ef0a37b5112c4365bd3fb/04_scissors-for-web_58_scissors.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/a1105904f049bdf25ea81173a7d9cf8554efeef5a175d98aba3ee0c214b3e5b2/05_detail-scissors-for-wb_80_scissors.jpg" data-mid="148866677" border="0" data-scale="25" data-icon-mode alt="6/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="6/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/900/i/a1105904f049bdf25ea81173a7d9cf8554efeef5a175d98aba3ee0c214b3e5b2/05_detail-scissors-for-wb_80_scissors.jpg" /&#62;
&#60;img width="2286" height="3049" width_o="2286" height_o="3049" data-src="https://freight.cargo.site/t/original/i/2ac23a655221fc70fd67ab385c23afbf4668fd849851d403e28716c4745d0070/05_scissors-for-web_73_scissors.jpg" data-mid="148866678" border="0" data-scale="25" data-icon-mode alt="7/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="7/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/1000/i/2ac23a655221fc70fd67ab385c23afbf4668fd849851d403e28716c4745d0070/05_scissors-for-web_73_scissors.jpg" /&#62;
&#60;img width="931" height="1200" width_o="931" height_o="1200" data-src="https://freight.cargo.site/t/original/i/580258402d9b0fb37e7f0730706fc5d8c16b2c4b11ce663747d4219d4f815994/06_scissors-for-web_56_scissors.jpg" data-mid="148866679" border="0" data-scale="25" data-icon-mode alt="8/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="8/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/931/i/580258402d9b0fb37e7f0730706fc5d8c16b2c4b11ce663747d4219d4f815994/06_scissors-for-web_56_scissors.jpg" /&#62;
&#60;img width="887" height="1200" width_o="887" height_o="1200" data-src="https://freight.cargo.site/t/original/i/d9a4bd829d3ce2bc42210b0519b5142d0648972389b849fba7a176bf20952aeb/07_scissors-for-web_69_scissors.jpg" data-mid="148866680" border="0" data-scale="25" data-icon-mode alt="9/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="9/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/887/i/d9a4bd829d3ce2bc42210b0519b5142d0648972389b849fba7a176bf20952aeb/07_scissors-for-web_69_scissors.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/1e7ce4b955291e6d861800f5a117beec298cf832e413a9a038b07b2e44532391/08_scissors-for-web_70_scissors.jpg" data-mid="148866681" border="0" data-scale="25" data-icon-mode alt="10/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="10/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/900/i/1e7ce4b955291e6d861800f5a117beec298cf832e413a9a038b07b2e44532391/08_scissors-for-web_70_scissors.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/92b916d233d1273a242f2d54f4f25271e6b11cded6825465111dbf8f5cd7f4b2/08_siccsors-group-for-web__scissors-MQ-studio-three.jpg" data-mid="148866682" border="0" data-scale="25" data-icon-mode alt="11/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="11/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/900/i/92b916d233d1273a242f2d54f4f25271e6b11cded6825465111dbf8f5cd7f4b2/08_siccsors-group-for-web__scissors-MQ-studio-three.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/3a5c3bebaabb0750d87d2895e22bcc4d7a4568cfc9ccde06b20ca98b6709772f/09_scissors_scissors-52.jpg" data-mid="148866683" border="0" data-scale="25" data-icon-mode alt="12/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="12/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/900/i/3a5c3bebaabb0750d87d2895e22bcc4d7a4568cfc9ccde06b20ca98b6709772f/09_scissors_scissors-52.jpg" /&#62;
&#60;img width="908" height="1200" width_o="908" height_o="1200" data-src="https://freight.cargo.site/t/original/i/e37c04511c9c3a995d1203fdae94bed7412cef7d9e8bb8908a4f88fbd9059cb2/10_scissors_for-web_10-scissors-for-web.jpg" data-mid="148866684" border="0" data-scale="25" data-icon-mode alt="13/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="13/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/908/i/e37c04511c9c3a995d1203fdae94bed7412cef7d9e8bb8908a4f88fbd9059cb2/10_scissors_for-web_10-scissors-for-web.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/f54ede4ac22d87270c57194fa562fff1d6159d765adce721bed1eabf7fc9f042/10_scissors-for-web_29_scissors.jpg" data-mid="148866686" border="0" data-scale="25" data-icon-mode alt="14/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="14/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/900/i/f54ede4ac22d87270c57194fa562fff1d6159d765adce721bed1eabf7fc9f042/10_scissors-for-web_29_scissors.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/9f0a45a01d8e05944ea25894c8c97182d515adefad50f60e9d41d1ae81e59d9b/11_scissors_web.jpg" data-mid="148866687" border="0" data-scale="25" data-icon-mode alt="15/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="15/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/900/i/9f0a45a01d8e05944ea25894c8c97182d515adefad50f60e9d41d1ae81e59d9b/11_scissors_web.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/598649ee868a3ae20f73aaadd799cd7da75d08ff05434a5828366249cf46459c/11_scissors-for-web_31_scissors.jpg" data-mid="148866688" border="0" data-scale="25" data-icon-mode alt="16/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="16/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/900/i/598649ee868a3ae20f73aaadd799cd7da75d08ff05434a5828366249cf46459c/11_scissors-for-web_31_scissors.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/d15f2b9f2ecb3d031b6eb3b1339db003ad976f571e2321c06fb467034ed71e33/11_scissors-for-web_38_scissors.jpg" data-mid="148866689" border="0" data-scale="25" data-icon-mode alt="17/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="17/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/900/i/d15f2b9f2ecb3d031b6eb3b1339db003ad976f571e2321c06fb467034ed71e33/11_scissors-for-web_38_scissors.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/c6daa12097b8ea244aa71a1691729911db6125430cdf824877cf33207e2bb980/12_scissors-for-web_25_scissors.jpg" data-mid="148866690" border="0" data-scale="25" data-icon-mode alt="18/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="18/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/900/i/c6daa12097b8ea244aa71a1691729911db6125430cdf824877cf33207e2bb980/12_scissors-for-web_25_scissors.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/cd738112fca7847c5715def0ba7983866768cad03927071e79fdb2369c68d4b5/13_scissors-for-web_39_scissors.jpg" data-mid="148866691" border="0" data-scale="25" data-icon-mode alt="19/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="19/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/900/i/cd738112fca7847c5715def0ba7983866768cad03927071e79fdb2369c68d4b5/13_scissors-for-web_39_scissors.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/63e71e86da2f67223f379b66f09a35919ab99a64026d464e6e0c11b89687c1f8/14_scissors-for-web_48_scissors.jpg" data-mid="148866692" border="0" data-scale="25" data-icon-mode alt="20/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="20/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/900/i/63e71e86da2f67223f379b66f09a35919ab99a64026d464e6e0c11b89687c1f8/14_scissors-for-web_48_scissors.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/57f69eb68c2996303dc4153d3b719b5cce5b2a7d6a36133ab4be73b4b2a9a844/15_scissors-for-web_48_scissors.jpg" data-mid="148866693" border="0" data-scale="25" data-icon-mode alt="21/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="21/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/900/i/57f69eb68c2996303dc4153d3b719b5cce5b2a7d6a36133ab4be73b4b2a9a844/15_scissors-for-web_48_scissors.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/92d4baeac892fe377ff9bda108ff4bd02c2563a472074141b7757baa3af8a124/16_scissors-for-web_72_scissors.jpg" data-mid="148866694" border="0" data-scale="25" data-icon-mode alt="22/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="22/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/900/i/92d4baeac892fe377ff9bda108ff4bd02c2563a472074141b7757baa3af8a124/16_scissors-for-web_72_scissors.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/3a4f24596d745fb1c638a2c7e16d702c6363ba23871a01be668c973243330efd/17_scissors-for-web_24_scissors.jpg" data-mid="148866695" border="0" data-scale="25" data-icon-mode alt="23/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="23/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/900/i/3a4f24596d745fb1c638a2c7e16d702c6363ba23871a01be668c973243330efd/17_scissors-for-web_24_scissors.jpg" /&#62;
&#60;img width="1416" height="1200" width_o="1416" height_o="1200" data-src="https://freight.cargo.site/t/original/i/4bf7a35deb2d0b3c28123b3280abacd7d093a53645eaf1f9ce5b67812d6e7d01/18_scissors-for-web_12_scissors.jpg" data-mid="148866696" border="0" data-scale="25" data-icon-mode alt="24/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="24/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/1000/i/4bf7a35deb2d0b3c28123b3280abacd7d093a53645eaf1f9ce5b67812d6e7d01/18_scissors-for-web_12_scissors.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/d98998d4015bf5066c07117250890302a28483188927140420a34e71469c2d46/19_scissors-web_11_scissors_web.jpg" data-mid="148866697" border="0" data-scale="25" data-icon-mode alt="25/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="25/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/900/i/d98998d4015bf5066c07117250890302a28483188927140420a34e71469c2d46/19_scissors-web_11_scissors_web.jpg" /&#62;
&#60;img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/4d7d3b111fbd47d9e774761780b051a875405ccb4acd1ad9438c3dddc8a89479/20_scissors-for-web_05_scissors.jpg" data-mid="148866698" border="0" data-scale="25" data-icon-mode alt="26/26 &#38;mdash; SCISSORS.During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to The Haircut while conducting new research on women's representation in media.  Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." data-caption="26/26 — SCISSORS.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;During her residency at the MQ21 in Vienna, Austria, as part of her Fulbright Independent Scholar appointment, Quinn began working on a companion drawing project to &#38;lt;i&#38;gt;The Haircut&#38;lt;/i&#38;gt; while conducting new research on women's representation in media. &#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt; Charcoal, drawing pens and markers, oil pastel, paint, and pencil, the group of seventy-some drawings ranges in size from A5 to A2 on various papers; 2021-ongoing." src="https://freight.cargo.site/w/900/i/4d7d3b111fbd47d9e774761780b051a875405ccb4acd1ad9438c3dddc8a89479/20_scissors-for-web_05_scissors.jpg" /&#62;

	
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		<title>06 - Darkness Spoken.</title>
				
		<link>https://brennaquinn.com/06-Darkness-Spoken</link>

		<pubDate>Wed, 27 Jul 2022 01:18:35 +0000</pubDate>

		<dc:creator>brennaquinn.com</dc:creator>

		<guid isPermaLink="true">https://brennaquinn.com/06-Darkness-Spoken</guid>

		<description>


&#60;img width="2135" height="1200" width_o="2135" height_o="1200" data-src="https://freight.cargo.site/t/original/i/154aa3a4f87798eec7421cb2fdfec962d137313bbb4bb92b73fff62c0dfb4246/01_DS_still_web.jpg" data-mid="148867120" border="0" data-scale="14" data-icon-mode alt="1/1 &#38;mdash; DARKNESS SPOKEN.While in residency at the Museum Quarter in Vienna, Austria, in the spring of 2021, Darkness Spoken began as a research project focused on female Austrian fiction writers and poets such as Ingeborg Bachmann, Elfriede Jelinek, and Friederike Mayr&#38;ouml;cker. Reading, writing, and drawing in the studio and taking walks each day while much of the city was still closed encouraged, if not necessitated, isolation and reflection on the banality of everyday activities and routine.Taking its name from an Ingeborg Bachmann poem (and collection of poetry of the same name), this exploration considers autobiography and performance, drawing upon trauma, memory, and repetition, as well as the landscape of Vienna. Quinn shot the video footage on a Hi8 camcorder in her studio living space and across the city, selecting the media as one that connects to ideas of accessibility and personal memory. Here, there is a tension between her desire to dematerialize the art object and its opposition&#38;mdash;which instead attempts to memorialize fleeting gestures toward some type of permanence.Video still; shot on Hi8 and digitized, 2021-2022." data-caption="1/1 — DARKNESS SPOKEN.&#38;lt;BR&#38;gt;&#38;lt;BR&#38;gt;While in residency at the Museum Quarter in Vienna, Austria, in the spring of 2021, &#38;lt;i&#38;gt;Darkness Spoken&#38;lt;/i&#38;gt; began as a research project focused on female Austrian fiction writers and poets such as Ingeborg Bachmann, Elfriede Jelinek, and Friederike Mayröcker. Reading, writing, and drawing in the studio and taking walks each day while much of the city was still closed encouraged, if not necessitated, isolation and reflection on the banality of everyday activities and routine.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Taking its name from an Ingeborg Bachmann poem (and collection of poetry of the same name), this exploration considers autobiography and performance, drawing upon trauma, memory, and repetition, as well as the landscape of Vienna. Quinn shot the video footage on a Hi8 camcorder in her studio living space and across the city, selecting the media as one that connects to ideas of accessibility and personal memory. Here, there is a tension between her desire to dematerialize the art object and its opposition—which instead attempts to memorialize fleeting gestures toward some type of permanence.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Video still; shot on Hi8 and digitized, 2021-2022." src="https://freight.cargo.site/w/1000/i/154aa3a4f87798eec7421cb2fdfec962d137313bbb4bb92b73fff62c0dfb4246/01_DS_still_web.jpg" /&#62;

	
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		<title>07 - Orodogseker (Devil's Chariot)</title>
				
		<link>https://brennaquinn.com/07-Orodogseker-Devil-s-Chariot</link>

		<pubDate>Mon, 07 Dec 2020 19:09:33 +0000</pubDate>

		<dc:creator>brennaquinn.com</dc:creator>

		<guid isPermaLink="true">https://brennaquinn.com/07-Orodogseker-Devil-s-Chariot</guid>

		<description>


&#60;img width="1236" height="1742" width_o="1236" height_o="1742" data-src="https://freight.cargo.site/t/original/i/15dba103e13d4c160310694def744a30bda49459f4e61a136653135eb076bd47/ordogszeker.jpg" data-mid="91336693" border="0" data-scale="27" data-icon-mode alt="1/1 &#38;mdash; &#38;Ouml;RD&#38;Ouml;GSZEK&#38;Eacute;R (DEVIL'S CHARIOT). &#38;Ouml;rd&#38;ouml;gszek&#38;eacute;r (Devil's Chariot) focuses on women's anger and representing female violence through storytelling and installation-based artwork. The project takes its inspiration from the 1927 Hungarian novel of the same name and the B&#38;aacute;thory family's aristocratic women whose story it tells. Cousins Anna and Erzs&#38;eacute;bet B&#38;aacute;thory were accused of witchcraft, and Erzs&#38;eacute;bet is regarded as the first known female serial killer, targeting young women. The project's activities will include translating the original Hungarian novel into English to create an artist's book, multichannel video installation, and sculptural explorations." data-caption="1/1 — ÖRDÖGSZEKÉR (DEVIL'S CHARIOT).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt; &#38;lt;i&#38;gt;Ördögszekér (Devil's Chariot)&#38;lt;/i&#38;gt; focuses on women's anger and representing female violence through storytelling and installation-based artwork. The project takes its inspiration from the 1927 Hungarian novel of the same name and the Báthory family's aristocratic women whose story it tells. Cousins Anna and Erzsébet Báthory were accused of witchcraft, and Erzsébet is regarded as the first known female serial killer, targeting young women. The project's activities will include translating the original Hungarian novel into English to create an artist's book, multichannel video installation, and sculptural explorations." src="https://freight.cargo.site/w/1000/i/15dba103e13d4c160310694def744a30bda49459f4e61a136653135eb076bd47/ordogszeker.jpg" /&#62;

	
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		<title>08 - Banal Deja Vu</title>
				
		<link>https://brennaquinn.com/08-Banal-Deja-Vu</link>

		<pubDate>Thu, 10 Dec 2020 21:13:52 +0000</pubDate>

		<dc:creator>brennaquinn.com</dc:creator>

		<guid isPermaLink="true">https://brennaquinn.com/08-Banal-Deja-Vu</guid>

		<description>


&#60;img width="1191" height="1591" width_o="1191" height_o="1591" data-src="https://freight.cargo.site/t/original/i/04b1dd8731e108d9d824f9907d3b18640df1e8ca9b9c2ecc48df4700c70c74ac/01-B.Quinn_12.2-compressed-for-web_smaller.jpg" data-mid="91740553" border="0" data-scale="35" data-icon-mode alt="1/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="1/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/04b1dd8731e108d9d824f9907d3b18640df1e8ca9b9c2ecc48df4700c70c74ac/01-B.Quinn_12.2-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1584" width_o="1200" height_o="1584" data-src="https://freight.cargo.site/t/original/i/7fec8d0e56ad6813a3b587ad2e39d9e776cadb6cb5cadb752ff272693a8be53d/02-B.Quinn_11.24.2020-compressed-for-web_smaller.jpg" data-mid="91740577" border="0" data-scale="35" data-icon-mode alt="2/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="2/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/7fec8d0e56ad6813a3b587ad2e39d9e776cadb6cb5cadb752ff272693a8be53d/02-B.Quinn_11.24.2020-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1591" width_o="1200" height_o="1591" data-src="https://freight.cargo.site/t/original/i/55498ae19b8de099e71964309600db7144862a31e57881d559a3b9dcbd681e46/03-B.Quinn_11.22_compreseed-for-web_smaller.jpg" data-mid="91740578" border="0" data-scale="35" data-icon-mode alt="3/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="3/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/55498ae19b8de099e71964309600db7144862a31e57881d559a3b9dcbd681e46/03-B.Quinn_11.22_compreseed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1594" width_o="1200" height_o="1594" data-src="https://freight.cargo.site/t/original/i/c12e5408eb08c493c85ae1f0dc0b73f0ebea32347f6e2fddad12ddd30d495a98/04-B.Quinn_11.14_compressed-for-web_smaller.jpg" data-mid="91740579" border="0" data-scale="35" data-icon-mode alt="4/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="4/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/c12e5408eb08c493c85ae1f0dc0b73f0ebea32347f6e2fddad12ddd30d495a98/04-B.Quinn_11.14_compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1591" width_o="1200" height_o="1591" data-src="https://freight.cargo.site/t/original/i/d668e22965c85143ef27cc3366af4bc96f51228ab2879df70190d0ee11ce73a0/05-B.Quinn_11.11_compressed-for-web_smaller.jpg" data-mid="91740580" border="0" data-scale="35" data-icon-mode alt="5/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="5/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/d668e22965c85143ef27cc3366af4bc96f51228ab2879df70190d0ee11ce73a0/05-B.Quinn_11.11_compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1603" width_o="1200" height_o="1603" data-src="https://freight.cargo.site/t/original/i/accc3a759d7c2afe9befb307ba9e6a8a200e945da89c8b8bbfb58d9fdeb7b15b/06-B.Quinn_11.7_compressed-for-web_smaller.jpg" data-mid="91740581" border="0" data-scale="35" data-icon-mode alt="6/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="6/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/accc3a759d7c2afe9befb307ba9e6a8a200e945da89c8b8bbfb58d9fdeb7b15b/06-B.Quinn_11.7_compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1592" width_o="1200" height_o="1592" data-src="https://freight.cargo.site/t/original/i/f8f1e853317e47e30d7e252d23ae873326517a11f002e4300fba9c3f5ae2e5c6/07-B.Quinn_8.7_compressed-for-web_smaller.jpg" data-mid="91740582" border="0" data-scale="35" data-icon-mode alt="7/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="7/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/f8f1e853317e47e30d7e252d23ae873326517a11f002e4300fba9c3f5ae2e5c6/07-B.Quinn_8.7_compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1606" width_o="1200" height_o="1606" data-src="https://freight.cargo.site/t/original/i/819b4eb1401bc0a0e99942ef0b25a105a9d300752b6ef276925b67e49063d16e/08-B.Quinn_8.3_-compressed-for-web_smaller.jpg" data-mid="91740585" border="0" data-scale="35" data-icon-mode alt="8/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="8/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/819b4eb1401bc0a0e99942ef0b25a105a9d300752b6ef276925b67e49063d16e/08-B.Quinn_8.3_-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1623" width_o="1200" height_o="1623" data-src="https://freight.cargo.site/t/original/i/e6a51727d65db7341885ac637bb56de39082309eef0736e41d294f8ba87adcb1/09-B.Quinn_8.2_compressed-for-web_smaller.jpg" data-mid="91740589" border="0" data-scale="35" data-icon-mode alt="9/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="9/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/e6a51727d65db7341885ac637bb56de39082309eef0736e41d294f8ba87adcb1/09-B.Quinn_8.2_compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1592" width_o="1200" height_o="1592" data-src="https://freight.cargo.site/t/original/i/764577b3090193dd2ca829d3c4f04d958c4c7e222dea6bd42bc75321c29443e7/10-B.Quinn_6.19-compressed-for-web_smaller.jpg" data-mid="91740593" border="0" data-scale="35" data-icon-mode alt="10/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="10/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/764577b3090193dd2ca829d3c4f04d958c4c7e222dea6bd42bc75321c29443e7/10-B.Quinn_6.19-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1575" width_o="1200" height_o="1575" data-src="https://freight.cargo.site/t/original/i/5733f22ce2553f383368eec823c7011ed25da28fc5bb47f2df828fe88a2ba8be/11-B.Quinn_6.18-compressed-for-web_smaller.jpg" data-mid="91740594" border="0" data-scale="35" data-icon-mode alt="11/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="11/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/5733f22ce2553f383368eec823c7011ed25da28fc5bb47f2df828fe88a2ba8be/11-B.Quinn_6.18-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1594" width_o="1200" height_o="1594" data-src="https://freight.cargo.site/t/original/i/8c7503de653704473926e88e44c44c0fc381b9de116a2139f7b65833d5b33493/12-B.Quinn_6.15-compressed-for-web_smaller.jpg" data-mid="91740598" border="0" data-scale="35" data-icon-mode alt="12/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="12/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/8c7503de653704473926e88e44c44c0fc381b9de116a2139f7b65833d5b33493/12-B.Quinn_6.15-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1588" width_o="1200" height_o="1588" data-src="https://freight.cargo.site/t/original/i/2b5fafc1d00e65d1be529f0d000cee44ff0a241137144610e344ee1315aeee29/13-B.Quinn_6.10-compressed-for-web_smaller.jpg" data-mid="91740604" border="0" data-scale="35" data-icon-mode alt="13/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="13/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/2b5fafc1d00e65d1be529f0d000cee44ff0a241137144610e344ee1315aeee29/13-B.Quinn_6.10-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1601" width_o="1200" height_o="1601" data-src="https://freight.cargo.site/t/original/i/5f08ed7492e0dd430150ce4b3b5feb72353c377831d78cb7b324787f1bc8ee41/14-B.Quinn_6.9-compressed-for-web_smaller.jpg" data-mid="91740608" border="0" data-scale="35" data-icon-mode alt="14/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="14/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/5f08ed7492e0dd430150ce4b3b5feb72353c377831d78cb7b324787f1bc8ee41/14-B.Quinn_6.9-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1614" width_o="1200" height_o="1614" data-src="https://freight.cargo.site/t/original/i/7de18e6a187a61d979024b9dd4bebd402095f67ed341eb5690982d683072f347/15-B.Quinn_6.8-compressed-for-web_smaller.jpg" data-mid="91740609" border="0" data-scale="35" data-icon-mode alt="15/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="15/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/7de18e6a187a61d979024b9dd4bebd402095f67ed341eb5690982d683072f347/15-B.Quinn_6.8-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1588" width_o="1200" height_o="1588" data-src="https://freight.cargo.site/t/original/i/93f5f6512d98c8d9a72129f47e27b55b3622f29dcf88cc5671144c6251cae0c2/16-B.Quinn_6.6-compressed-for-web_smaller.jpg" data-mid="91740614" border="0" data-scale="35" data-icon-mode alt="16/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="16/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/93f5f6512d98c8d9a72129f47e27b55b3622f29dcf88cc5671144c6251cae0c2/16-B.Quinn_6.6-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1611" width_o="1200" height_o="1611" data-src="https://freight.cargo.site/t/original/i/f30a087f134f84ff67f5ba41ddd66fbdc48ccfc645f7e6ec65cdf9416ec5cb4e/17-B.Quinn_6.3-compressed-for-web_smaller.jpg" data-mid="91740618" border="0" data-scale="35" data-icon-mode alt="17/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="17/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/f30a087f134f84ff67f5ba41ddd66fbdc48ccfc645f7e6ec65cdf9416ec5cb4e/17-B.Quinn_6.3-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1595" width_o="1200" height_o="1595" data-src="https://freight.cargo.site/t/original/i/df9d13cc822b66c6f83cf804b73efae586dd43686867225c7a4f91a76364989c/18-B.Quinn_6.2_compressed-for-web_smaller.jpg" data-mid="91740623" border="0" data-scale="35" data-icon-mode alt="18/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="18/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/df9d13cc822b66c6f83cf804b73efae586dd43686867225c7a4f91a76364989c/18-B.Quinn_6.2_compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1624" width_o="1200" height_o="1624" data-src="https://freight.cargo.site/t/original/i/7fe825df4fdbeb4151a3520158c04bdb7b476a98483398c0d007318c9f543f72/19-B.Quinn_6.1-compressed-for-web_smaller.jpg" data-mid="91740624" border="0" data-scale="35" data-icon-mode alt="19/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="19/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/7fe825df4fdbeb4151a3520158c04bdb7b476a98483398c0d007318c9f543f72/19-B.Quinn_6.1-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1595" width_o="1200" height_o="1595" data-src="https://freight.cargo.site/t/original/i/d56934714452901422c4d64f9218fc73ddfb42e66dd4919705ec9b5fdfa084f8/20-B.Quinn_5.31-compressed-for-web_smaller.jpg" data-mid="91740625" border="0" data-scale="35" data-icon-mode alt="20/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="20/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/d56934714452901422c4d64f9218fc73ddfb42e66dd4919705ec9b5fdfa084f8/20-B.Quinn_5.31-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1626" width_o="1200" height_o="1626" data-src="https://freight.cargo.site/t/original/i/99c7df4a217bc86b6e0419810b2610b149b1934fdd35465fd1d41107aefc6fdc/21-B.Quinn_5.30-compressed-for-web_smaller.jpg" data-mid="91740631" border="0" data-scale="35" data-icon-mode alt="21/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="21/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/99c7df4a217bc86b6e0419810b2610b149b1934fdd35465fd1d41107aefc6fdc/21-B.Quinn_5.30-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1618" width_o="1200" height_o="1618" data-src="https://freight.cargo.site/t/original/i/7ffacd08807718ff78edc55a4a5e4a13d396a96241bdba9b8b349ad36bc3fdca/22-B.Quinn_5.29-compressed-for-web_smaller.jpg" data-mid="91740633" border="0" data-scale="35" data-icon-mode alt="22/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="22/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/7ffacd08807718ff78edc55a4a5e4a13d396a96241bdba9b8b349ad36bc3fdca/22-B.Quinn_5.29-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1598" width_o="1200" height_o="1598" data-src="https://freight.cargo.site/t/original/i/f860d7c595e001892cfb98f8146f2e5bea5245f49bf2c9573f94194c2db9bbfd/23-B.Quinn_5.28-compressed-for-web_smaller.jpg" data-mid="91740634" border="0" data-scale="35" data-icon-mode alt="23/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="23/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/f860d7c595e001892cfb98f8146f2e5bea5245f49bf2c9573f94194c2db9bbfd/23-B.Quinn_5.28-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1601" width_o="1200" height_o="1601" data-src="https://freight.cargo.site/t/original/i/d189be2f0c0033e2ccac4eb033a6ba0b6420d13f905414716f5a40d4dea04712/24-B.Quinn_5.27-compressed-for-web_smaller.jpg" data-mid="91740635" border="0" data-scale="35" data-icon-mode alt="24/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="24/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/d189be2f0c0033e2ccac4eb033a6ba0b6420d13f905414716f5a40d4dea04712/24-B.Quinn_5.27-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1628" width_o="1200" height_o="1628" data-src="https://freight.cargo.site/t/original/i/682c4c9fd065ccb577fb527e87837145153835deafc36cd6d19bf4f7a1d711f6/25-B.Quinn_5.26-compressed-for-web_smaller.jpg" data-mid="91740636" border="0" data-scale="35" data-icon-mode alt="25/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="25/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/682c4c9fd065ccb577fb527e87837145153835deafc36cd6d19bf4f7a1d711f6/25-B.Quinn_5.26-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1616" width_o="1200" height_o="1616" data-src="https://freight.cargo.site/t/original/i/c1dd447ec851fc4886f312b79c96ae4ba67f78b869ee3386a1e6497c7833fd1d/26-B.Quinn_5.25-compressed-for-web_smaller.jpg" data-mid="91740637" border="0" data-scale="35" data-icon-mode alt="26/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="26/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/c1dd447ec851fc4886f312b79c96ae4ba67f78b869ee3386a1e6497c7833fd1d/26-B.Quinn_5.25-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1587" width_o="1200" height_o="1587" data-src="https://freight.cargo.site/t/original/i/18f28629f70525c59956632c714b9857c54593c34d94fe38e26859c528afc61d/27-B.Quinn_5.24-compressed-for-web_smaller.jpg" data-mid="91740638" border="0" data-scale="35" data-icon-mode alt="27/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="27/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/18f28629f70525c59956632c714b9857c54593c34d94fe38e26859c528afc61d/27-B.Quinn_5.24-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1596" width_o="1200" height_o="1596" data-src="https://freight.cargo.site/t/original/i/eede3ecde938fb2fe0c26f9c44e4b1e7c9f3ed046b11f09e1c76dac5d68be051/28-B.Quinn_5.23-compressed-for-web_smaller.jpg" data-mid="91740639" border="0" data-scale="35" data-icon-mode alt="28/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="28/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/eede3ecde938fb2fe0c26f9c44e4b1e7c9f3ed046b11f09e1c76dac5d68be051/28-B.Quinn_5.23-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1592" width_o="1200" height_o="1592" data-src="https://freight.cargo.site/t/original/i/ac1e6372b16a4c5a83fb423906123d81b093fe6d6412b86155611b4cc49c96bf/29-B.Quinn_5.22-compressed-for-web_smaller.jpg" data-mid="91740640" border="0" data-scale="35" data-icon-mode alt="29/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="29/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/ac1e6372b16a4c5a83fb423906123d81b093fe6d6412b86155611b4cc49c96bf/29-B.Quinn_5.22-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1594" width_o="1200" height_o="1594" data-src="https://freight.cargo.site/t/original/i/02cc85ddedcd0e02652f8824a0e93bad04930eebbc659716157762430bbb44b0/30-B.Quinn_5.21-compressed-for-web_smaller.jpg" data-mid="91740641" border="0" data-scale="35" data-icon-mode alt="30/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="30/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/02cc85ddedcd0e02652f8824a0e93bad04930eebbc659716157762430bbb44b0/30-B.Quinn_5.21-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1601" width_o="1200" height_o="1601" data-src="https://freight.cargo.site/t/original/i/04f8535bd609f440fcffbd28ad6e9a34ff659d6f01bcc84afa488ee24cc91507/31-B.Quinn_5.20-compressed-for-web_smaller.jpg" data-mid="91740642" border="0" data-scale="35" data-icon-mode alt="31/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="31/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/04f8535bd609f440fcffbd28ad6e9a34ff659d6f01bcc84afa488ee24cc91507/31-B.Quinn_5.20-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1595" width_o="1200" height_o="1595" data-src="https://freight.cargo.site/t/original/i/b36b5a409c0e322a1b0a479157737efddcfe8fd70f1e23a2efc1d74e966ba807/32-B.Quinn_5.19-compressed-for-web_smaller.jpg" data-mid="91740643" border="0" data-scale="35" data-icon-mode alt="32/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="32/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/b36b5a409c0e322a1b0a479157737efddcfe8fd70f1e23a2efc1d74e966ba807/32-B.Quinn_5.19-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1587" width_o="1200" height_o="1587" data-src="https://freight.cargo.site/t/original/i/ef79d6215740ae1a7f0965367b3bd454a9ab5ba7515bfce0d1f2d49729ce269d/33-B.Quinn_5.18-compressed-for-web_samller-file.jpg" data-mid="91740644" border="0" data-scale="35" data-icon-mode alt="33/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="33/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/ef79d6215740ae1a7f0965367b3bd454a9ab5ba7515bfce0d1f2d49729ce269d/33-B.Quinn_5.18-compressed-for-web_samller-file.jpg" /&#62;
&#60;img width="1200" height="1598" width_o="1200" height_o="1598" data-src="https://freight.cargo.site/t/original/i/c828cc5e879753669a98ec2d7f711d9a2f2348421b4b6cc0f8bcc0fa6bae33cc/34-B.Quinn_5.17-compressed-for-web_smaller.jpg" data-mid="91740645" border="0" data-scale="35" data-icon-mode alt="34/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="34/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/c828cc5e879753669a98ec2d7f711d9a2f2348421b4b6cc0f8bcc0fa6bae33cc/34-B.Quinn_5.17-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1589" width_o="1200" height_o="1589" data-src="https://freight.cargo.site/t/original/i/31b6a520871f00495fe92830b5a238d5cef5d039fdbc1d4f30044418ae3bb316/35-B.Quinn_5.16-compressed-for-web_smaller.jpg" data-mid="91740646" border="0" data-scale="35" data-icon-mode alt="35/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="35/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/31b6a520871f00495fe92830b5a238d5cef5d039fdbc1d4f30044418ae3bb316/35-B.Quinn_5.16-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1596" width_o="1200" height_o="1596" data-src="https://freight.cargo.site/t/original/i/8a7b841a657980b563309a0478d52444a3db856b9e064d9142555299a62c8e61/36-B.Quinn_5.15-compressed-for-web_smaller.jpg" data-mid="91740647" border="0" data-scale="35" data-icon-mode alt="36/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="36/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/8a7b841a657980b563309a0478d52444a3db856b9e064d9142555299a62c8e61/36-B.Quinn_5.15-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1598" width_o="1200" height_o="1598" data-src="https://freight.cargo.site/t/original/i/170ff88772c790172d6b556c74536148a4a2909292f24eb257ae57bcd3f7dc7a/37-B.Quinn_5.14-compressed-for-web_smaller.jpg" data-mid="91740648" border="0" data-scale="35" data-icon-mode alt="37/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="37/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/170ff88772c790172d6b556c74536148a4a2909292f24eb257ae57bcd3f7dc7a/37-B.Quinn_5.14-compressed-for-web_smaller.jpg" /&#62;
&#60;img width="1200" height="1598" width_o="1200" height_o="1598" data-src="https://freight.cargo.site/t/original/i/170ff88772c790172d6b556c74536148a4a2909292f24eb257ae57bcd3f7dc7a/37-B.Quinn_5.14-compressed-for-web_smaller.jpg" data-mid="91740648" border="0" data-scale="35" data-icon-mode alt="38/38 &#38;mdash; BANAL DEJA VU  Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).2010-ongoing." data-caption="38/38 — BANAL DEJA VU &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Archival ink on Bristol, 9&#38;quot; x 12&#38;quot; (2020 works).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;2010-ongoing." src="https://freight.cargo.site/w/1000/i/170ff88772c790172d6b556c74536148a4a2909292f24eb257ae57bcd3f7dc7a/37-B.Quinn_5.14-compressed-for-web_smaller.jpg" /&#62;

	
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</description>
		
	</item>
		
		
	<item>
		<title>09 - The Haircut</title>
				
		<link>https://brennaquinn.com/09-The-Haircut</link>

		<pubDate>Thu, 07 Jul 2022 01:31:47 +0000</pubDate>

		<dc:creator>brennaquinn.com</dc:creator>

		<guid isPermaLink="true">https://brennaquinn.com/09-The-Haircut</guid>

		<description>


&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/42e60e09c8f6aab643365f091b83a495dda58e9e2168f0a1006df37fae1300ec/The-Haircut--B-Quinn-DSF4676.jpg" data-mid="147273496" border="0" data-scale="22" data-icon-mode alt="2/11 &#38;mdash; THE HAIRCUT The Haircut reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (National Velvet, 1944), embodying a feline aesthetic as a vigilant antiheroine (Catwoman, 2004), aligning with male military standards (GI Jane, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (We Not Naughty, 2012).The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.Video, 18 hours, 2018-2020. Installation images at AIR gallery by Sebastian Bach" data-caption="2/11 — THE HAIRCUT &#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The Haircut&#38;lt;/i&#38;gt; reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (&#38;lt;i&#38;gt;National Velvet&#38;lt;/i&#38;gt;, 1944), embodying a feline aesthetic as a vigilant antiheroine (&#38;lt;i&#38;gt;Catwoman&#38;lt;/i&#38;gt;, 2004), aligning with male military standards (&#38;lt;i&#38;gt;GI Jane&#38;lt;/i&#38;gt;, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (&#38;lt;i&#38;gt;We Not Naughty&#38;lt;/i&#38;gt;, 2012).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Video, 18 hours, 2018-2020. &#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Installation images at AIR gallery by Sebastian Bach&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;" src="https://freight.cargo.site/w/1000/i/42e60e09c8f6aab643365f091b83a495dda58e9e2168f0a1006df37fae1300ec/The-Haircut--B-Quinn-DSF4676.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/afc95ee15e31afd2caca90fca4284130f1944e7feda709b61ade2cb263674a60/The-Haircut--B-Quinn-DSF4678.jpg" data-mid="147273497" border="0" data-scale="22" data-icon-mode alt="3/11 &#38;mdash; THE HAIRCUTThe Haircut reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (National Velvet, 1944), embodying a feline aesthetic as a vigilant antiheroine (Catwoman, 2004), aligning with male military standards (GI Jane, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (We Not Naughty, 2012).The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.Video, 18 hours, 2018-2020. Installation images at AIR gallery by Sebastian Bach" data-caption="3/11 — THE HAIRCUT&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The Haircut&#38;lt;/i&#38;gt; reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (&#38;lt;i&#38;gt;National Velvet&#38;lt;/i&#38;gt;, 1944), embodying a feline aesthetic as a vigilant antiheroine (&#38;lt;i&#38;gt;Catwoman&#38;lt;/i&#38;gt;, 2004), aligning with male military standards (&#38;lt;i&#38;gt;GI Jane&#38;lt;/i&#38;gt;, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (&#38;lt;i&#38;gt;We Not Naughty&#38;lt;/i&#38;gt;, 2012).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Video, 18 hours, 2018-2020. &#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Installation images at AIR gallery by Sebastian Bach" src="https://freight.cargo.site/w/1000/i/afc95ee15e31afd2caca90fca4284130f1944e7feda709b61ade2cb263674a60/The-Haircut--B-Quinn-DSF4678.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/5696a25064ee6adf7979cd2face2af464d5b781c1194c4bfc44aea2d0148007b/The-Haircut--B-Quinn-DSF4680.jpg" data-mid="147273498" border="0" data-scale="22" data-icon-mode alt="4/11 &#38;mdash; THE HAIRCUTThe Haircut reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (National Velvet, 1944), embodying a feline aesthetic as a vigilant antiheroine (Catwoman, 2004), aligning with male military standards (GI Jane, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (We Not Naughty, 2012).The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.Video, 18 hours, 2018-2020. Installation images at AIR gallery by Sebastian Bach" data-caption="4/11 — THE HAIRCUT&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The Haircut&#38;lt;/i&#38;gt; reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (&#38;lt;i&#38;gt;National Velvet&#38;lt;/i&#38;gt;, 1944), embodying a feline aesthetic as a vigilant antiheroine (&#38;lt;i&#38;gt;Catwoman&#38;lt;/i&#38;gt;, 2004), aligning with male military standards (&#38;lt;i&#38;gt;GI Jane&#38;lt;/i&#38;gt;, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (&#38;lt;i&#38;gt;We Not Naughty&#38;lt;/i&#38;gt;, 2012).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Video, 18 hours, 2018-2020. &#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Installation images at AIR gallery by Sebastian Bach" src="https://freight.cargo.site/w/1000/i/5696a25064ee6adf7979cd2face2af464d5b781c1194c4bfc44aea2d0148007b/The-Haircut--B-Quinn-DSF4680.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/fcd582f13addd653c42a5d3bbf66afcf4f11d6bf2281d27ebdfe7088ede56830/The-Haircut--B-Quinn-DSF4682.jpg" data-mid="147273499" border="0" data-scale="22" data-icon-mode alt="5/11 &#38;mdash; THE HAIRCUTThe Haircut reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (National Velvet, 1944), embodying a feline aesthetic as a vigilant antiheroine (Catwoman, 2004), aligning with male military standards (GI Jane, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (We Not Naughty, 2012).The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.Video, 18 hours, 2018-2020. Installation images at AIR gallery by Sebastian Bach" data-caption="5/11 — THE HAIRCUT&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The Haircut&#38;lt;/i&#38;gt; reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (&#38;lt;i&#38;gt;National Velvet&#38;lt;/i&#38;gt;, 1944), embodying a feline aesthetic as a vigilant antiheroine (&#38;lt;i&#38;gt;Catwoman&#38;lt;/i&#38;gt;, 2004), aligning with male military standards (&#38;lt;i&#38;gt;GI Jane&#38;lt;/i&#38;gt;, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (&#38;lt;i&#38;gt;We Not Naughty&#38;lt;/i&#38;gt;, 2012).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Video, 18 hours, 2018-2020. &#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Installation images at AIR gallery by Sebastian Bach" src="https://freight.cargo.site/w/1000/i/fcd582f13addd653c42a5d3bbf66afcf4f11d6bf2281d27ebdfe7088ede56830/The-Haircut--B-Quinn-DSF4682.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/8faa41927daccc1475e8d08b6290643418cb604733dc86b8b85a8ddf55eed1f4/The-Haircut--B-Quinn-DSF4685.jpg" data-mid="147273500" border="0" data-scale="22" data-icon-mode alt="6/11 &#38;mdash; THE HAIRCUTThe Haircut reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (National Velvet, 1944), embodying a feline aesthetic as a vigilant antiheroine (Catwoman, 2004), aligning with male military standards (GI Jane, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (We Not Naughty, 2012).The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.Video, 18 hours, 2018-2020. Installation images at AIR gallery by Sebastian Bach" data-caption="6/11 — THE HAIRCUT&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The Haircut&#38;lt;/i&#38;gt; reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (&#38;lt;i&#38;gt;National Velvet&#38;lt;/i&#38;gt;, 1944), embodying a feline aesthetic as a vigilant antiheroine (&#38;lt;i&#38;gt;Catwoman&#38;lt;/i&#38;gt;, 2004), aligning with male military standards (&#38;lt;i&#38;gt;GI Jane&#38;lt;/i&#38;gt;, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (&#38;lt;i&#38;gt;We Not Naughty&#38;lt;/i&#38;gt;, 2012).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Video, 18 hours, 2018-2020. &#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Installation images at AIR gallery by Sebastian Bach" src="https://freight.cargo.site/w/1000/i/8faa41927daccc1475e8d08b6290643418cb604733dc86b8b85a8ddf55eed1f4/The-Haircut--B-Quinn-DSF4685.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/4d34d1d1676514c592e60fb3787828a04780848f1ca6cbc6ecdbede483c98ec7/The-Haircut--B-Quinn-DSF4687.jpg" data-mid="147273501" border="0" data-scale="22" data-icon-mode alt="7/11 &#38;mdash; THE HAIRCUTThe Haircut reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (National Velvet, 1944), embodying a feline aesthetic as a vigilant antiheroine (Catwoman, 2004), aligning with male military standards (GI Jane, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (We Not Naughty, 2012).The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.Video, 18 hours, 2018-2020. Installation images at AIR gallery by Sebastian Bach" data-caption="7/11 — THE HAIRCUT&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The Haircut&#38;lt;/i&#38;gt; reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (&#38;lt;i&#38;gt;National Velvet&#38;lt;/i&#38;gt;, 1944), embodying a feline aesthetic as a vigilant antiheroine (&#38;lt;i&#38;gt;Catwoman&#38;lt;/i&#38;gt;, 2004), aligning with male military standards (&#38;lt;i&#38;gt;GI Jane&#38;lt;/i&#38;gt;, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (&#38;lt;i&#38;gt;We Not Naughty&#38;lt;/i&#38;gt;, 2012).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Video, 18 hours, 2018-2020. &#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Installation images at AIR gallery by Sebastian Bach" src="https://freight.cargo.site/w/1000/i/4d34d1d1676514c592e60fb3787828a04780848f1ca6cbc6ecdbede483c98ec7/The-Haircut--B-Quinn-DSF4687.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/3aa090da39923840cc092bf086f740edc597660e06cf83dcb3050bb4a3f45a44/The-Haircut--B-Quinn-DSF4689.jpg" data-mid="147273502" border="0" data-scale="22" data-icon-mode alt="8/11 &#38;mdash; THE HAIRCUTThe Haircut reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (National Velvet, 1944), embodying a feline aesthetic as a vigilant antiheroine (Catwoman, 2004), aligning with male military standards (GI Jane, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (We Not Naughty, 2012).The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.Video, 18 hours, 2018-2020. Installation images at AIR gallery by Sebastian Bach" data-caption="8/11 — THE HAIRCUT&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The Haircut&#38;lt;/i&#38;gt; reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (&#38;lt;i&#38;gt;National Velvet&#38;lt;/i&#38;gt;, 1944), embodying a feline aesthetic as a vigilant antiheroine (&#38;lt;i&#38;gt;Catwoman&#38;lt;/i&#38;gt;, 2004), aligning with male military standards (&#38;lt;i&#38;gt;GI Jane&#38;lt;/i&#38;gt;, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (&#38;lt;i&#38;gt;We Not Naughty&#38;lt;/i&#38;gt;, 2012).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Video, 18 hours, 2018-2020. &#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Installation images at AIR gallery by Sebastian Bach" src="https://freight.cargo.site/w/1000/i/3aa090da39923840cc092bf086f740edc597660e06cf83dcb3050bb4a3f45a44/The-Haircut--B-Quinn-DSF4689.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/eaba13dbebe5a187ec092897afc26d1ba368d5630dfcb05e4aae08fa900bc883/The-Haircut--B-Quinn-DSF4693.jpg" data-mid="147273503" border="0" data-scale="22" data-icon-mode alt="9/10 &#38;mdash; THE HAIRCUTThe Haircut reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (National Velvet, 1944), embodying a feline aesthetic as a vigilant antiheroine (Catwoman, 2004), aligning with male military standards (GI Jane, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (We Not Naughty, 2012).The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.Video, 18 hours, 2018-2020. Installation images at AIR gallery by Sebastian Bach" data-caption="9/10 — THE HAIRCUT&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The Haircut&#38;lt;/i&#38;gt; reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (&#38;lt;i&#38;gt;National Velvet&#38;lt;/i&#38;gt;, 1944), embodying a feline aesthetic as a vigilant antiheroine (&#38;lt;i&#38;gt;Catwoman&#38;lt;/i&#38;gt;, 2004), aligning with male military standards (&#38;lt;i&#38;gt;GI Jane&#38;lt;/i&#38;gt;, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (&#38;lt;i&#38;gt;We Not Naughty&#38;lt;/i&#38;gt;, 2012).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Video, 18 hours, 2018-2020. &#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Installation images at AIR gallery by Sebastian Bach" src="https://freight.cargo.site/w/1000/i/eaba13dbebe5a187ec092897afc26d1ba368d5630dfcb05e4aae08fa900bc883/The-Haircut--B-Quinn-DSF4693.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/aef3539ea6345eef21fd688bf5f18b1374e8272ddbf1ac6e7e8728d3f749f749/The-Haircut--B-Quinn-DSF4695.jpg" data-mid="147273504" border="0" data-scale="22" data-icon-mode alt="10/11 &#38;mdash; THE HAIRCUTThe Haircut reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (National Velvet, 1944), embodying a feline aesthetic as a vigilant antiheroine (Catwoman, 2004), aligning with male military standards (GI Jane, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (We Not Naughty, 2012).The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.Video, 18 hours, 2018-2020. Installation images at AIR gallery by Sebastian Bach" data-caption="10/11 — THE HAIRCUT&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The Haircut&#38;lt;/i&#38;gt; reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (&#38;lt;i&#38;gt;National Velvet&#38;lt;/i&#38;gt;, 1944), embodying a feline aesthetic as a vigilant antiheroine (&#38;lt;i&#38;gt;Catwoman&#38;lt;/i&#38;gt;, 2004), aligning with male military standards (&#38;lt;i&#38;gt;GI Jane&#38;lt;/i&#38;gt;, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (&#38;lt;i&#38;gt;We Not Naughty&#38;lt;/i&#38;gt;, 2012).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Video, 18 hours, 2018-2020. &#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Installation images at AIR gallery by Sebastian Bach" src="https://freight.cargo.site/w/1000/i/aef3539ea6345eef21fd688bf5f18b1374e8272ddbf1ac6e7e8728d3f749f749/The-Haircut--B-Quinn-DSF4695.jpg" /&#62;
&#60;img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/d81faea3686ab12ca41f211f0371fa176d1a5c8962259d150cc41eac21d8ba9b/The-Haircut--B-Quinn-DSF4699.jpg" data-mid="147273505" border="0" data-scale="22" data-icon-mode alt="11/11 &#38;mdash; THE HAIRCUTThe Haircut reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (National Velvet, 1944), embodying a feline aesthetic as a vigilant antiheroine (Catwoman, 2004), aligning with male military standards (GI Jane, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (We Not Naughty, 2012).The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.Video, 18 hours, 2018-2020. Installation images at AIR gallery by Sebastian Bach" data-caption="11/11 — THE HAIRCUT&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The Haircut&#38;lt;/i&#38;gt; reconstructs selected scenes from movies where female characters cut their hair or have their haircut unwillingly. Reasons range from pretending to be a man to compete in a horse race (&#38;lt;i&#38;gt;National Velvet&#38;lt;/i&#38;gt;, 1944), embodying a feline aesthetic as a vigilant antiheroine (&#38;lt;i&#38;gt;Catwoman&#38;lt;/i&#38;gt;, 2004), aligning with male military standards (&#38;lt;i&#38;gt;GI Jane&#38;lt;/i&#38;gt;, 1997), to retaliation by classmates for being involved in a severe cyber-bullying case (&#38;lt;i&#38;gt;We Not Naughty&#38;lt;/i&#38;gt;, 2012).&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;The provided file hosts a ten-minute excerpt from the project. The full-scale work contains close to 600 scenes with an approximate duration of 18 hours, to be presented as a single-channel video installation.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Video, 18 hours, 2018-2020. &#38;lt;br&#38;gt;&#38;lt;br&#38;gt;Installation images at AIR gallery by Sebastian Bach" src="https://freight.cargo.site/w/1000/i/d81faea3686ab12ca41f211f0371fa176d1a5c8962259d150cc41eac21d8ba9b/The-Haircut--B-Quinn-DSF4699.jpg" /&#62;

	
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		<title>10 - Panic. Panic. Panic...</title>
				
		<link>https://brennaquinn.com/10-Panic-Panic-Panic</link>

		<pubDate>Fri, 16 Oct 2020 17:32:08 +0000</pubDate>

		<dc:creator>brennaquinn.com</dc:creator>

		<guid isPermaLink="true">https://brennaquinn.com/10-Panic-Panic-Panic</guid>

		<description>


&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/f9b5c25859b40183b3bb8ab43d42ed672a852dd5531f2eda683494b8527fd400/Panic.Panic.Panic....jpg" data-mid="85805363" border="0" data-scale="30" data-icon-mode alt="1/1 &#38;mdash; PANIC. PANIC. PANIC...  The number of index cards references the number of days from the United States Presidential Democratic Debate held on Friday, February 7, 2020, until the United States Presidential election scheduled for Tuesday, November 3, 2020. This work was donated to the AIR Gallery's Fe-Mail exhibition/fundraiser in February, 2020. Two hundred and seventy 4&#38;quot; x 6&#38;quot; index cards, sharpie, rubber-band, 2020." data-caption="1/1 — PANIC. PANIC. PANIC... &#38;lt;br&#38;gt;&#38;lt;br&#38;gt; The number of index cards references the number of days from the United States Presidential Democratic Debate held on Friday, February 7, 2020, until the United States Presidential election scheduled for Tuesday, November 3, 2020. This work was donated to the AIR Gallery's &#38;lt;i&#38;gt;Fe-Mail&#38;lt;/i&#38;gt; exhibition/fundraiser in February, 2020.&#38;lt;br&#38;gt;&#38;lt;br&#38;gt; Two hundred and seventy 4&#38;quot; x 6&#38;quot; index cards, sharpie, rubber-band, 2020." src="https://freight.cargo.site/w/1000/i/f9b5c25859b40183b3bb8ab43d42ed672a852dd5531f2eda683494b8527fd400/Panic.Panic.Panic....jpg" /&#62;

	
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