https://brennaquinn.com 2024-01-14T08:31:29+00:00 always 0.5 https://brennaquinn.com/About 2024-04-03T21:44:06+00:00 always 0.5 https://freight.cargo.site/t/original/i/05d6fae234c8360a97e67bd2c08dc661935a337adbf97465657a367e109615d5/B.Quinn_July-2020-.jpg https://brennaquinn.com/41-Full-Haircut 2023-11-16T03:54:37+00:00 always 0.5 https://brennaquinn.com/39-Eve-of-Destruction 2022-07-29T20:22:31+00:00 always 0.5 https://brennaquinn.com/38-Pstrossova-Ostrovni-Muj-Mujkrizovatka 2022-07-27T02:44:14+00:00 always 0.5 https://freight.cargo.site/t/original/i/0cb65890f4f7234870ef1e008e5859167237b27babd9db6997e4f38faeaa7b9b/prague-paintings.jpg 1/1 — PŠTROSSOVA + OSTROVNÍ (MŮJ MUJKŘIŽOVATKA) Installation image of works created during SAIC summer residency program in conjunction with the Academy of Fine Arts (AVU) in Prague, CZ. Charcoal and acrylic on canvas, 2010. https://brennaquinn.com/37-Is-this-sleep 2022-07-27T02:43:42+00:00 always 0.5 https://brennaquinn.com/36-How-to-Forgive 2022-07-27T02:43:22+00:00 always 0.5 https://freight.cargo.site/t/original/i/3b9a85a8489f40a697248aa3dc223d997f29816ed71c86af0854094686bcc026/IMG_3556.JPG 2/2 — HOW TO FORGIVE? Quinn's singular presentation brings together the text-based performance, We are Tilted Spheres, which seeks to explore the duality of interpersonal communication–distance and proximity–while the second element, How to Forgive?, utilizes cell phone camera documentation of a site-responsive performance at the 2011 Venice Biennale, emphasizing duality at the level of the material itself. Both segments appropriate the artist's own gestural history in their musings on miscommunication and the anticipation of clarity. Presented with Critical Art Ensemble at documenta (13), 2012. Digital photography and video, 2011; text-based audio recording, 2011. https://freight.cargo.site/t/original/i/57e1df58234b4ed86d6d29e6886d4d59ff1439730fd53f962d5fb60a9c3f9907/2htf.jpg 1/2 — HOW TO FORGIVE? Quinn's singular presentation brings together the text-based performance, We are Tilted Spheres, which seeks to explore the duality of interpersonal communication–distance and proximity–while the second element, How to Forgive?, utilizes cell phone camera documentation of a site-responsive performance at the 2011 Venice Biennale, emphasizing duality at the level of the material itself. Both segments appropriate the artist's own gestural history in their musings on miscommunication and the anticipation of clarity. Presented with Critical Art Ensemble at documenta (13), 2012. Digital photography and video, 2011; text-based audio recording, 2011. https://brennaquinn.com/35-41-51-22 2022-07-27T02:43:00+00:00 always 0.5 https://freight.cargo.site/t/original/i/c0bd7e7d8c611c3069bff844d5fe47792868000ab59af854eea30f104956021e/sound-installatioin.jpg 1/3 — 41°51'22"N, 87°40'6"W + 41°52'54"N, 87°36'53"W 41°51'22 "N, 87°40'6 "W + 41°52'54 "N, 87°36'53 "W references both the site location of where the work's audio file was created and the site of the installation. The audio track contains a recording of the artist showering, captured with both air and contact microphones. Site-specific installation; 16-minute looped sound file, chair, headphones, mp3 player, installation site at lake Michigan, Chicago, IL, 2013. https://freight.cargo.site/t/original/i/bf2fa3a774742102920b0b54f4bc8981b38b976a9c9744a9a9284716028dc61b/02-sound.jpg 2/3 — 41°51'22"N, 87°40'6"W + 41°52'54"N, 87°36'53"W 41°51'22 "N, 87°40'6 "W + 41°52'54 "N, 87°36'53 "W references both the site location of where the work's audio file was created and the site of the installation. The audio track contains a recording of the artist showering, captured with both air and contact microphones. Site-specific installation; 16-minute looped sound file, chair, headphones, mp3 player, installation site at lake Michigan, Chicago, IL, 2013. https://freight.cargo.site/t/original/i/e67e07d94e5425f8be5df987bcc5368f3852277eaafcb8b035780a7b8e2a4c0f/03-sound.jpg 3/3 — 41°51'22"N, 87°40'6"W + 41°52'54"N, 87°36'53"W 41°51'22 "N, 87°40'6 "W + 41°52'54 "N, 87°36'53 "W references both the site location of where the work's audio file was created and the site of the installation. The audio track contains a recording of the artist showering, captured with both air and contact microphones. Site-specific installation; 16-minute looped sound file, chair, headphones, mp3 player, installation site at lake Michigan, Chicago, IL, 2013. https://brennaquinn.com/34-Two-Birds-in-a-Sink 2022-07-27T02:42:34+00:00 always 0.5 https://brennaquinn.com/33-TFDSM 2022-07-27T02:42:10+00:00 always 0.5 https://freight.cargo.site/t/original/i/1502cdf37cbc715769ab40fd7e3ea1c51c49a94e99d27637a91dc78976a3cfe9/TFDSM-NC-EDITED.jpg 1/2 — TFDSM. Utilizing a specific sentence, "The fox drinks snake's milk," as the starting point, TFDSM investigates language, communication, and physical gesture through analog processes. The project employs newsprint because of its fragility and role historically as a material typically filled with information and language, becoming seemingly ubiquitous. With the tradition of drawing in mind, individual letters are cut by hand, without a preplanned font or form, then intuitively composed. Installation view from the exhibition Skin Tight at New Capital, Chicago, IL, 2013. https://freight.cargo.site/t/original/i/eea35b0f7b27c29d9dcf1831b824a13add380b681e7dd19d8669bc70b2b8f567/02-tfdsm.jpg 2/2 — TFDSM. Utilizing a specific sentence, "The fox drinks snake's milk," as the starting point, TFDSM investigates language, communication, and physical gesture through analog processes. The project employs newsprint because of its fragility and role historically as a material typically filled with information and language, becoming seemingly ubiquitous. With the tradition of drawing in mind, individual letters are cut by hand, without a preplanned font or form, then intuitively composed. Installation view from the exhibition Skin Tight at New Capital, Chicago, IL, 2013. https://brennaquinn.com/32-Bandersnatch-The-Taming-of-the-Snark 2022-07-27T02:41:53+00:00 always 0.5 https://freight.cargo.site/t/original/i/df166a6e02af53ab974c74d98bfec9752467d3b835de5955a45f34388ed62567/Bandersnatch.jpg 1/2 — BANDERSNATCH/THE TAMING OF THE SNARK. The eight individual Bandersnatch sculptures are hand-cast in ballistics gel, a mostly translucent material representing the density of human flesh. The material is often used for weapons testing and the evaluation of wound penetration. Bandersnatch (One) from the installation The Hunting of the Snark, which is composed of eight sculptures. Each piece measures approximately 16 cm x 16 cm x 16 cm; the suspended shelf is approximately 30 cm x 3 cm x 214 cm and hangs 188 cm from the ceiling. Ballistics Gel with suspended stainless-steel band saw blades, oak panel, wire, tracing paper, kraft paper, soap, razor blade, 2013. https://freight.cargo.site/t/original/i/6eda5c91d8ab92ce99ff19a12957f443bc030c58bf3641d2a82e7d57642549e6/Bandersnatch_Hunting-of-the-Snark_insatallation-image.jpg 2/2 — BANDERSNATCH/THE TAMING OF THE SNARK. The eight individual Bandersnatch sculptures are hand-cast in ballistics gel, a mostly translucent material representing the density of human flesh. The material is often used for weapons testing and the evaluation of wound penetration. Bandersnatch (One) from the installation The Hunting of the Snark, which is composed of eight sculptures. Each piece measures approximately 16 cm x 16 cm x 16 cm; the suspended shelf is approximately 30 cm x 3 cm x 214 cm and hangs 188 cm from the ceiling. Ballistics Gel with suspended stainless-steel band saw blades, oak panel, wire, tracing paper, kraft paper, soap, razor blade, 2013. https://brennaquinn.com/31-The-Owl 2022-07-27T02:41:36+00:00 always 0.5 https://freight.cargo.site/t/original/i/755c9fa79ba73b9ebec7bbb86b64912af5bfea9386b001718d68f4ba6b14bc3e/the-owl.jpg 1/1 — THE OWL The Owl (A Version) was created from drawings made in response to the Grimm's Fairy Tale "The Owl" number 174. The original story centers around a town that is frightened of an unknown creature in a local barn. Townspeople try to chase it away but are scared and unsuccessful in their attempts. Eventually, they decide to burn the barn down to rid themselves of the owl. "You will not drive away the monster by merely looking at him; we must be in earnest here, but I see that you have all turned into women, and not one of you dares to encounter the animal." Printed artists pamphlet, first edition open, 8" x 8", 2013. A new edition to be created on the occasion of the exhibition Storied References at NIU Art Museum, 2021. https://brennaquinn.com/30-A-Flower-Between-Two-Chasms 2022-07-27T02:50:47+00:00 always 0.5 https://freight.cargo.site/t/original/i/2c4ea85940a9c520b42726298493aa6481f49c41c56a6bdce20e219142989eb6/A-Flower-Between-Two-Chasms.-FBTC_1F_1M.jpg 1/1 — A FLOWER BETWEEN TWO CHASMS. The Piano Sonata No. 14 in C♯ minor "Quasi una fantasia," Op. 27, No. 2, is known to most as the Moonlight Sonata. Of the middle, second movement, composer and piano virtuoso Franz Liszt (who had studied under Beethoven's student Czerny) described it as "a flower between two chasms." Over eight days, Quinn bound two stainless steel plates to the studio floor, blindfolded herself. While listening to Beethoven's Piano Sonata No. 14, she attempted to strike each fixed pair with a sledgehammer. This projects' works exist as metaphorical chasms: eight pairs of photographs, created through a violent, controlled, yet improvisational process. 2013-2020. https://brennaquinn.com/29-MFA-Thesis-Works 2022-07-27T02:41:15+00:00 always 0.5 https://freight.cargo.site/t/original/i/4fc18d2714e3a91dc6e23934fca35eb3b20e8e470fd27dce7e32fca7a36d69d1/October.jpg 1/11 – OCTOBER. October. represents a notable benchmark for Quinn both personally and professionally. Previously created and stored on shelving above her stove in her apartment, this piece, along with others, was transformed and later retrieved from the artist's home's detritus after an apartment fire on the eve of her birthday in the fall of 2013. Painting retrieved from artist's home, 16" x 12", 2010-2013. https://freight.cargo.site/t/original/i/8e7f86fcc328bca901680a78ac9bbfa7749bae980ce64ee9ac665947a860ba5c/My-blue-desk--Berlin..jpg 2/11 – MY BLUE DESK, BERLIN. Painting retrieved from artist's home, 16'' x 12", 2010-2013. https://freight.cargo.site/t/original/i/9b4bbec8e0bfac64a3c8f1f38a145c584a237eff8566b95bab1a9509b50fd9cc/05-THESISphoto-5.png 4/11 – JOHN AND MARY. Undyed, fire-resistant wool felt, brass, buttons, wire, sonotube, concrete. 140 cm x 320 cm x 30 cm variable, 2013. https://freight.cargo.site/t/original/i/53104f01863985d52e907abb066c811f0e547c67c8aa9e485bb7676c43fc7481/MFA-SHOW-DSC06320.jpg 5/11 – JOHN AND MARY. Undyed, fire-resistant wool felt, brass, buttons, wire, sonotube, concrete. 140 cm x 320 cm x 30 cm variable, 2013. https://freight.cargo.site/t/original/i/7465dcc253e554f5603587a4d69d2fad3c54ca2b2f4d3daf8f0c48424b149917/thesis-3.jpg 6/11 – JOHN AND MARY. Undyed, fire-resistant wool felt, brass, buttons, wire, sonotube, concrete. 140 cm x 320 cm x 30 cm variable, 2013. https://freight.cargo.site/t/original/i/7b3af783ab32c438e80bd264f193f450f3852a9e1e5d22897ee502b116050f3e/no-stanchions-MFA-SHOW-DSC06319.jpg 7/11 – TWO THOUSAND AND NINETY-FIVE MILES THREE HUNDRED AND SIXTY POUNDS NINE HUNDRED AND TWENTY-FIVE BOARD FEET SEVEN HUNDRED AND EIGHTY-FOUR LINES THREE CRACKS FORTY-NINE KNOTS OUTSIDE EIGHTEEN KNOTS INSIDE ONE-INCH DIAMETER, SEVENTY-TWO INCHES OF BRASS SEVENTEEN POUNDS EIGHT GRAMS OF LEAD ONE DIVISION. Libocedrus decurrens (cedar), solid brass, margarine, one hand-cut division. 140 cm x 320 cm x 30 cm variable, 2013. https://freight.cargo.site/t/original/i/671d95e5f02a8ca915e6d3bf01f5bade740cf02370dd3fb08d755a6f39523ad8/thesis-detial.png 8/11 – TWO THOUSAND AND NINETY-FIVE MILES THREE HUNDRED AND SIXTY POUNDS NINE HUNDRED AND TWENTY-FIVE BOARD FEET SEVEN HUNDRED AND EIGHTY-FOUR LINES THREE CRACKS FORTY-NINE KNOTS OUTSIDE EIGHTEEN KNOTS INSIDE ONE-INCH DIAMETER, SEVENTY-TWO INCHES OF BRASS SEVENTEEN POUNDS EIGHT GRAMS OF LEAD ONE DIVISION. Libocedrus decurrens (cedar), solid brass, margarine, one hand-cut division. 140 cm x 320 cm x 30 cm variable, 2013. https://freight.cargo.site/t/original/i/17b2f0d9cd7ac8f6a66c95c18751ca93eda38988fcbd446d57914e96de26efc0/mfa-show-DSC06322.jpg 9/11 – CROSSCUT. Graphite on copy paper. Each 8.5" x 11" on plexi with brass piano hinge, 2013-2014. https://freight.cargo.site/t/original/i/bc3bfdcf59f3e82fe10d571fed0282086624e3d474b788d5d6500fabd4094b7b/THESIS-INSTALL-SHOT.PNG 10/11 – CROSSCUT. Graphite on copy paper. Each 8.5" x 11" on plexi with brass piano hinge, 2013-2014. https://freight.cargo.site/t/original/i/c19c327380122de442d72f25ccda1f9a0ebe5f4c31caf4552e8347e36b2ad8f0/4.5.jpg 11/11 – TWO WHITE SNAKES. Two Inkjet prints, tape. Each 8.5" x 11", 2013. https://freight.cargo.site/t/original/i/2c8e1f4628f9b9528cb3ba46ab677c0098de2c497af161c9643c369b1feaa753/early-response_larger-file.jpg 3/11 – EARLY RESPONSE. Foam core, concrete grout, plastic wrap. Approximately 96" x 50" x 3", 2014. https://brennaquinn.com/28-All-American-Classic 2022-07-27T02:40:53+00:00 always 0.5 https://freight.cargo.site/t/original/i/7b8ab63617cb3fe2b34218e4386dfe1b403fc05f664753cd71da645b74973e73/All-American-Classic-01.jpg 2/2 — ALL AMERICAN CLASSIC. On a website describing a six-foot A-frame wooden picnic table, it is billed as "Economical. All-American classic. Recommended for parks, walking paths, and picnic areas." Within the work's bodily scale, subtly moving from the wall into three-dimensional space, a lone balloon, popped, dangles from the picnic table. All American Classic was created in conversation with Kathryn Andrew's piece The Return to X for the exhibition In Response at Audrey Love Gallery in Miami, FL. Existing in layers, touching the ground, hanging, draping, or moving off the surface, there is also a conscious nod to the aspect of stage and theater. Is it used, leftover, or in progress? Have the characters already left, or have they yet to arrive? Plastic drop cloths, glassine, acrylic, and charcoal, 2015. https://freight.cargo.site/t/original/i/ac1f941ade5272cba34c3292903deff0f915c26b9a408b1e41aa93cba4efc6b9/All-American-Classic.jpg 1/2 — ALL AMERICAN CLASSIC. On a website describing a six-foot A-frame wooden picnic table, it is billed as "Economical. All-American classic. Recommended for parks, walking paths, and picnic areas." Within the work's bodily scale, subtly moving from the wall into three-dimensional space, a lone balloon, popped, dangles from the picnic table. All American Classic was created in conversation with Kathryn Andrew's piece The Return to X for the exhibition In Response at Audrey Love Gallery in Miami, FL. Existing in layers, touching the ground, hanging, draping, or moving off the surface, there is also a conscious nod to the aspect of stage and theater. Is it used, leftover, or in progress? Have the characters already left, or have they yet to arrive? Plastic drop cloths, glassine, acrylic, and charcoal, 2015. https://brennaquinn.com/27-Butter-Square-s 2022-07-27T02:40:38+00:00 always 0.5 https://freight.cargo.site/t/original/i/cd0067d010dabff8e59b8290ca331fc986e111362c324410d8053f03eb35e086/02-Butter-Square.jpg 3/4 — BUTTER SQUARE(S). Butter Square. 4.15.16 Site-specific installation, designed for the exhibition Cherry Pie at Union Shop Gallery, Charlotte, NC; 35 lbs. margarine, wall, 84” x 72”; 2016. https://freight.cargo.site/t/original/i/522626544d472cefc7ef399b16a348e0ef1a026be7a5627994a5f393a320d5e2/11-Two-Butter-Squares--Bisected.jpg 2/4 — BUTTER SQUARE(S). Two Butter Squares, Bisected. 1.5.17, this iteration of the project was designed for inclusion in the exhibition "Sinister Feminism" AIR Biennial, held at AIR Gallery in New York, curated by Piper Marshall with Lola Kramer. Site-specific installation, 86 lbs. margarine, wall. 156" x 90", 2017. https://freight.cargo.site/t/original/i/638a7d065e760dcce044abc4dbd8a5e3570ef406bf9e53086127a430568c77a0/12.jpg 1/4 — BUTTER SQUARE(S). Two Butter Squares, Bisected. 1.5.17, this iteration of the project was designed for inclusion in the exhibition "Sinister Feminism" AIR Biennial, held at AIR Gallery in New York, curated by Piper Marshall with Lola Kramer. Site-specific installation, 86 lbs. margarine, wall. 156" x 90", 2017. https://freight.cargo.site/t/original/i/213079670b450677269914eb69b863923abdf36a160a3bef00925d2061c7e487/Butter-Square-6.12.15.jpg 4/4 — BUTTER SQUARE(S). Butter Square. 6.12.15 Site-specific installation; 35 lbs. margarine, 72" x 80", wall; installation image from the exhibition "Body Mass Index", also left corner of image shows work A Wall of Flour. 6.12.15. Both works 2015. https://brennaquinn.com/26-A-Wall-of-Flour 2022-07-27T02:40:19+00:00 always 0.5 https://freight.cargo.site/t/original/i/84556e7542f60d79eaa3c9d92fcbab794c3e3a315b7d6e94170f26f4fdabeb14/wall-of-flour-two-_edited.jpg 1/3 — A WALL OF FLOUR. The site-responsive installation A Wall of Flour. 6.12.15 was created for the exhibition Body Mass Index, curated by George William Price. 150 lbs. sodium bicarbonate, floor, dimensions variable, approximately 6" x 540", the distance between work and wall/windows equal to reach of the artist's/activator's arms, 2015. https://freight.cargo.site/t/original/i/4b0bffadb92e2aa292c15a89e5ae1fbacfe1b4d5ec7aa10f299fe5f77920aa22/02-a-wall-of-flour.jpg 3/3 — A WALL OF FLOUR. The site-responsive installation A Wall of Flour. 6.12.15 was created for the exhibition Body Mass Index, curated by George William Price. 150 lbs. sodium bicarbonate, floor, dimensions variable, approximately 6" x 540", the distance between work and wall/windows equal to reach of the artist's/activator's arms, 2015. https://freight.cargo.site/t/original/i/9c89101fc9498c7da6720557da3a6f155dfc2c0042864a01d592d5f0a7ff5b22/BodyMassIndex_12.jpg 2/3 — A WALL OF FLOUR. The site-responsive installation A Wall of Flour. 6.12.15 was created for the exhibition Body Mass Index, curated by George William Price. 150 lbs. sodium bicarbonate, floor, dimensions variable, approximately 6" x 540", the distance between work and wall/windows equal to reach of the artist's/activator's arms, 2015. https://brennaquinn.com/25-A-Field-of-Dirt 2022-07-27T02:39:58+00:00 always 0.5 https://freight.cargo.site/t/original/i/7aaab5318e920bdb9fac3d5758071727a8c70277e9637cd15eee9c12efe53213/A-Field-of-Dirt.jpg 1/1 — A FIELD OF DIRT. Installation sketch, 2016. https://brennaquinn.com/24-Portend 2022-07-27T02:39:40+00:00 always 0.5 https://freight.cargo.site/t/original/i/160741687b55f21ded1e31d7ae46a0c9b9f2ff42a1aefec24447b07c523a0a93/03-PORTEND.jpg 3/5 — PORTEND. While in residency at MOTE90 in Columbus, OH, Quinn used a former banking institution's interior as a studio space and site for her installation project PORTEND. This project was curated by Nayeon Yang. With the building scheduled for future demolition, the installation's various elements included hand-cut paper, transparent packing tape, drapery, box fans, box fan boxes, copper pipe, 1,000 single-use plastic shopping bags, plastic jugs of water (one open), 2015. https://freight.cargo.site/t/original/i/7e614d2644e93a69309330f4df4d0dad598c84e7e650b97bd133e76c47040185/06-Portend_full-view.jpg 1/5 — PORTEND. While in residency at MOTE90 in Columbus, OH, Quinn used a former banking institution's interior as a studio space and site for her installation project PORTEND. This project was curated by Nayeon Yang. With the building scheduled for future demolition, the installation's various elements included hand-cut paper, transparent packing tape, drapery, box fans, box fan boxes, copper pipe, 1,000 single-use plastic shopping bags, plastic jugs of water (one open), 2015. https://freight.cargo.site/t/original/i/4d33698f1c67e0901e69b09c87af7e21e7996eb0a8c417d7165295679e3795f7/portend-street-view-distance_0037.jpg 5/5 — PORTEND. While in residency at MOTE90 in Columbus, OH, Quinn used a former banking institution's interior as a studio space and site for her installation project PORTEND. This project was curated by Nayeon Yang. With the building scheduled for future demolition, the installation's various elements included hand-cut paper, transparent packing tape, drapery, box fans, box fan boxes, copper pipe, 1,000 single-use plastic shopping bags, plastic jugs of water (one open), 2015. https://freight.cargo.site/t/original/i/5740daf6396d35605c994d00e7849c9197d0c352ed205efcef42d1c0e4b9905b/PORTEND.-fan-cropped.jpg 4/5 — PORTEND. While in residency at MOTE90 in Columbus, OH, Quinn used a former banking institution's interior as a studio space and site for her installation project PORTEND. This project was curated by Nayeon Yang. With the building scheduled for future demolition, the installation's various elements included hand-cut paper, transparent packing tape, drapery, box fans, box fan boxes, copper pipe, 1,000 single-use plastic shopping bags, plastic jugs of water (one open), 2015. https://freight.cargo.site/t/original/i/a2bc3bc11714cd393bc0ac14f70d71df069ee89a76ed9981e12dea8288dd8869/Portend.jpg 2/5 — PORTEND. While in residency at MOTE90 in Columbus, OH, Quinn used a former banking institution's interior as a studio space and site for her installation project PORTEND. This project was curated by Nayeon Yang. With the building scheduled for future demolition, the installation's various elements included hand-cut paper, transparent packing tape, drapery, box fans, box fan boxes, copper pipe, 1,000 single-use plastic shopping bags, plastic jugs of water (one open), 2015. https://brennaquinn.com/23-Blue-Valentine-1-600-Roses 2022-07-27T02:39:22+00:00 always 0.5 https://freight.cargo.site/t/original/i/dda628649edf9ec964844764b47e57adb960c138234be3c5bcd5c9c4381c5223/Blue-Vaentine_study_02.jpg 3/3 — BLUE VALENTINE (1,600 ROSES). Blue Valentine's primary work is an installation of approximately 1,600 live-cut red roses in individual vases. The exact number of roses comes from statistics from the National Violence Policy Center. Their September 15, 2015 report shares that more than 1,600 women are murdered by men in one year in the United States, with 94 percent of women killed by men killed by someone they knew--of the victims who knew their offenders, sixty-two percent were wives or other intimate acquaintances of their killers. Different varieties of roses will reference the varying percentages of these statistics. The project's title Blue Valentine references the 2010 romantic drama of the same name. Studio sketch (100 roses). https://freight.cargo.site/t/original/i/7b2643c4be609be599336aaae41daab2d889fcdce8849b365eb02c71e3d3c64d/Blue-Valentine-1-600-Roses-01-.jpg 2/3 — BLUE VALENTINE (1,600 ROSES). Blue Valentine's primary work is an installation of approximately 1,600 live-cut red roses in individual vases. The exact number of roses comes from statistics from the National Violence Policy Center. Their September 15, 2015 report shares that more than 1,600 women are murdered by men in one year in the United States, with 94 percent of women killed by men killed by someone they knew--of the victims who knew their offenders, sixty-two percent were wives or other intimate acquaintances of their killers. Different varieties of roses will reference the varying percentages of these statistics. The project's title Blue Valentine references the 2010 romantic drama of the same name. Studio study, 2016. https://freight.cargo.site/t/original/i/a4e33a2d9571da69ce56476d08be8f332dd1fd3f7ed67403a2759b953d41f36e/Blue-Valentine_Installation-drawing_AIR-Gallery_01.jpg 1/3 — BLUE VALENTINE (1,600 ROSES). Blue Valentine's primary work is an installation of approximately 1,600 live-cut red roses in individual vases. The exact number of roses comes from statistics from the National Violence Policy Center. Their September 15, 2015 report shares that more than 1,600 women are murdered by men in one year in the United States, with 94 percent of women killed by men killed by someone they knew--of the victims who knew their offenders, sixty-two percent were wives or other intimate acquaintances of their killers. Different varieties of roses will reference the varying percentages of these statistics. The project's title Blue Valentine references the 2010 romantic drama of the same name. Proposal installation sketch, 2019. https://brennaquinn.com/22-Oil-and-Water 2022-07-27T02:39:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/a3e650a83dc714ef4febb8a4fdec291b1c2614a3e1e7c7188f647cb03fffcdd5/Copy-of-Oil_Water_Plastic-studies.jpeg 4/4 — OIL AND WATER 6/2 (48 oz. Texas Crude Oil, 16 oz. Illinois Tap Water, remnants of single-use plastic shopping bag). 5/3 (40 oz. Texas Crude Oil, 24 oz. Illinois Tap Water, remnants of single-use plastic shopping bag). 7/1 (56 oz. Texas Crude Oil, 1 oz. Illinois Tap Water, remnants of single-use plastic shopping bag). Installation view of the project; crude oil, tap water, single-use plastic shopping bags, custom fabricated liquid-tight acrylic; all individual works are 10 1⁄2" x 8 7⁄8" x 1 1⁄2"; 2016. https://freight.cargo.site/t/original/i/c4a6d766337a7473c648d89a34bf77ceb82a421ce43ee73e4396e15d7cab6918/Oil-and-Water-detail_02.jpg 3/4 — OIL AND WATER 6/2 (48 oz. Texas Crude Oil, 16 oz. Illinois Tap Water, remnants of single-use plastic shopping bag). 5/3 (40 oz. Texas Crude Oil, 24 oz. Illinois Tap Water, remnants of single-use plastic shopping bag). 7/1 (56 oz. Texas Crude Oil, 1 oz. Illinois Tap Water, remnants of single-use plastic shopping bag). Installation view of the project; crude oil, tap water, single-use plastic shopping bags, custom fabricated liquid-tight acrylic; all individual works are 10 1⁄2" x 8 7⁄8" x 1 1⁄2"; 2016. https://freight.cargo.site/t/original/i/ac5a3f9596f90109377fd4fc837b4625f6649c4bad5128cbf2791e6c84b4143a/07.jpg 1/4 — OIL AND WATER 6/2 (48 oz. Texas Crude Oil, 16 oz. Illinois Tap Water, remnants of single-use plastic shopping bag). 5/3 (40 oz. Texas Crude Oil, 24 oz. Illinois Tap Water, remnants of single-use plastic shopping bag). 7/1 (56 oz. Texas Crude Oil, 1 oz. Illinois Tap Water, remnants of single-use plastic shopping bag). Installation view of the project; crude oil, tap water, single-use plastic shopping bags, custom fabricated liquid-tight acrylic; all individual works are 10 1⁄2" x 8 7⁄8" x 1 1⁄2"; 2016. https://freight.cargo.site/t/original/i/797579f50111b8ba2addd80b49923f53a5e0f114cb941be38f3321008a470f7e/Quinn_B_03.jpg 2/4 — OIL AND WATER 6/2 (48 oz. Texas Crude Oil, 16 oz. Illinois Tap Water, remnants of single-use plastic shopping bag). 5/3 (40 oz. Texas Crude Oil, 24 oz. Illinois Tap Water, remnants of single-use plastic shopping bag). 7/1 (56 oz. Texas Crude Oil, 1 oz. Illinois Tap Water, remnants of single-use plastic shopping bag). Installation view of the project; crude oil, tap water, single-use plastic shopping bags, custom fabricated liquid-tight acrylic; all individual works are 10 1⁄2" x 8 7⁄8" x 1 1⁄2"; 2016. https://brennaquinn.com/21-Bear-Bound 2022-07-27T02:38:46+00:00 always 0.5 https://freight.cargo.site/t/original/i/0e91bb9b78020880a05f11aadbacd1c7db63a123dc539ddc40e0a6f80a588afd/Bear--Bound.JPG 1/3 — BEAR, BOUND. Graphite and colored pencil, tracing paper, newsprint, 2016. https://freight.cargo.site/t/original/i/455f94e1b83c3510d1b3733ae99dd1bb6c588ec13bdc870d4f3dfc4eb0ff4d75/11_B.Quinn.JPG 2/3 — BEAR, BOUND. Installation view as part of the exhibition Gødbottom, organized by Stevie Hanley, in conjunction with Inferno, Brooklyn, NY. https://freight.cargo.site/t/original/i/9632d3d921a8d8dfb06234089a2716b6d6de31364764417a1621732e6ef84509/Quinn_Butter-Square-and-Bear-Bound.jpg 3/3 — BEAR, BOUND. These works were created on-site in a secret underground sex club location in Brooklyn, NY, for the special project God-Bottom. This exhibition was organized by Stevie Hanley and hosted in collaboration with Inferno, NY. 60lb. Margarine (approximately 185 cm x 185 cm) and wall; Eight-foot stuffed bear, saran wrap, chair, 2018. https://brennaquinn.com/20-18-928-Toll-House-Cookies 2022-07-27T02:38:12+00:00 always 0.5 https://freight.cargo.site/t/original/i/4fc9769d4dc545ce1947ab664f9756abc4bd3d206d0c95a8cabf828510d6853c/09-18-928-TollHouse-Cookies.jpg 1/3 — 18,928 TOLL HOUSE COOKIES. The title references the average number/lifetime supply of cookies consumed by an American adult. This average equates to approximately one cookie a day between the ages of 18-72. Toll House cookies refers to the chocolate chip cookie, which Ruth Graves Wakefield invented in the 1930s, and continues to be the most popularly consumed cookie type in the United States. First presented in the exhibition Revolvers are Meant for Crocodile Skins at Chicago Artists Coalition in 2016 and later in the Women Made 20th Annual Open in 2017. Hand-built clay (approx. 1,500 lb.), wax paper, wood plinth. https://freight.cargo.site/t/original/i/87fed0e712f162838301324913e1694cfb6acdda2da5cd8ba8c35176f1ac5712/RCH-EKH_GWP_111216_019.jpg 2/3 — 18,928 TOLL HOUSE COOKIES. The title references the average number/lifetime supply of cookies consumed by an American adult. This average equates to approximately one cookie a day between the ages of 18-72. Toll House cookies refers to the chocolate chip cookie, which Ruth Graves Wakefield invented in the 1930s, and continues to be the most popularly consumed cookie type in the United States. First presented in the exhibition Revolvers are Meant for Crocodile Skins at Chicago Artists Coalition in 2016 and later in the Women Made 20th Annual Open in 2017. Hand-built clay (approx. 1,500 lb.), wax paper, wood plinth. https://freight.cargo.site/t/original/i/a873fda90d4df76ba9dddab0608e5bec77153193ba273f15a527137f7b28aa3d/18.929_Tollhouse-Cookies_installatoin-view.jpg 3/3 — 18,928 TOLL HOUSE COOKIES. The title references the average number/lifetime supply of cookies consumed by an American adult. This average equates to approximately one cookie a day between the ages of 18-72. Toll House cookies refers to the chocolate chip cookie, which Ruth Graves Wakefield invented in the 1930s, and continues to be the most popularly consumed cookie type in the United States. First presented in the exhibition Revolvers are Meant for Crocodile Skins at Chicago Artists Coalition in 2016 and later in the Women Made 20th Annual Open in 2017. Hand-built clay (approx. 1,500 lb.), wax paper, wood plinth. https://brennaquinn.com/19-SELFISH 2022-07-27T02:38:24+00:00 always 0.5 https://freight.cargo.site/t/original/i/7a3da4a3a67dabdeb772cc1cef23aac00dd18ef33efad066f856f9faa055475e/SELFISH-01.jpg 3/5 — SELFISH. Site-specific installation created for the exhibition Hiding in Plain Sight, curated by George William Price at the Chicago Artist Coalition; hand-cut paper, packing tape; text on floor "SELF" measure 144" x 48" each, text on window "ISH" 96" x 48" each) 2017. https://freight.cargo.site/t/original/i/0cc47a3fe0e65f2c9fb6f6ca45376832dde817545efb6246d6900b081477b415/SELFISH.jpg 1/5 — SELFISH. Site-specific installation created for the exhibition Hiding in Plain Sight, curated by George William Price at the Chicago Artist Coalition; hand-cut paper, packing tape; text on floor "SELF" measure 144" x 48" each, text on window "ISH" 96" x 48" each) 2017. https://freight.cargo.site/t/original/i/c0559d37bbb49efd4e188d744a76b0e445e6a890af4ab32f8d6ad21fd163b603/SELFISH1.jpg 2/5 — SELFISH. Site-specific installation created for the exhibition Hiding in Plain Sight, curated by George William Price at the Chicago Artist Coalition; hand-cut paper, packing tape; text on floor "SELF" measure 144" x 48" each, text on window "ISH" 96" x 48" each) 2017. https://freight.cargo.site/t/original/i/c9aeeb12d6a405462abe2d3ea9b6f6be816120bd96f4a3c4a9b180241ae2e945/06-selfish.jpg 4/5 — SELFISH. Site-specific installation created for the exhibition Hiding in Plain Sight, curated by George William Price at the Chicago Artist Coalition; hand-cut paper, packing tape; text on floor "SELF" measure 144" x 48" each, text on window "ISH" 96" x 48" each) 2017. https://freight.cargo.site/t/original/i/6cbec68b6f427a093f2105070ec53703b294b10ca5e843a0136bfa29f1afe017/RCH-EKH_GWP_031417_024.jpg 5/5 — SELFISH. Site-specific installation created for the exhibition Hiding in Plain Sight, curated by George William Price at the Chicago Artist Coalition; hand-cut paper, packing tape; text on floor "SELF" measure 144" x 48" each, text on window "ISH" 96" x 48" each) 2017. https://brennaquinn.com/18-Luka-Lola-Polly 2022-07-27T02:37:25+00:00 always 0.5 https://freight.cargo.site/t/original/i/89e4388d0c6623c824ae5554b127a102be051e7404f975a3ffd903b1863ca55b/Lola.jpg 2/3 — LUKA. LOLA. POLLY. For this project, Luka. Lola. Polly., along with its distinctive smell, the Noxzema face cream on beveled bathroom mirror has hand-written text of names taken from popular songs where the individual referenced has in some way been a victim of abuse or transgression ("Luka" by Susan Vega; "Lola" by the Kinks; "Polly" by Nirvana). The mirrors' surfaces are rendered dysfunctional, except for the small pieces of its surface exposed within each name's form. Site-responsive installation created for the inaugural exhibition Corporate Lunch at the Condo Association in Chicago, IL, 2017. https://freight.cargo.site/t/original/i/6ea774d86920bf6a6acf667fde84e503e12ccf34d59340a8206875f2e366a5bb/Luka.jpg 1/3 — LUKA. LOLA. POLLY. For this project, Luka. Lola. Polly., along with its distinctive smell, the Noxzema face cream on beveled bathroom mirror has hand-written text of names taken from popular songs where the individual referenced has in some way been a victim of abuse or transgression ("Luka" by Susan Vega; "Lola" by the Kinks; "Polly" by Nirvana). The mirrors' surfaces are rendered dysfunctional, except for the small pieces of its surface exposed within each name's form. Site-responsive installation created for the inaugural exhibition Corporate Lunch at the Condo Association in Chicago, IL, 2017. https://freight.cargo.site/t/original/i/6e3ba1e2e4b7414d458050eb3a23ea3cd711c36803cb02b688f8b768a1d203dd/Polly.jpg 3/3 — LUKA. LOLA. POLLY. For this project, Luka. Lola. Polly., along with its distinctive smell, the Noxzema face cream on beveled bathroom mirror has hand-written text of names taken from popular songs where the individual referenced has in some way been a victim of abuse or transgression ("Luka" by Susan Vega; "Lola" by the Kinks; "Polly" by Nirvana). The mirrors' surfaces are rendered dysfunctional, except for the small pieces of its surface exposed within each name's form. Site-responsive installation created for the inaugural exhibition Corporate Lunch at the Condo Association in Chicago, IL, 2017. https://brennaquinn.com/17-Half-of-a-Quarter-of-An-Hour-Raging-Bull-etc 2022-07-27T02:37:06+00:00 always 0.5 https://freight.cargo.site/t/original/i/fd54fdd347e8c9fbac7a2e0ef4a6a7b09e9afad632c1c87c2d67ff9fc256ac54/Raging-Bull-02.jpg 1/2 — HALF OF A QUARTER OF AN HOUR & RAGING BULL (M160-7). In Charles Perrault's 17th-century fairy tale "BlueBeard," BlueBeard's eighth wife transgresses his orders that under no circumstance should she open the door leading into a small room at the end of the basement. Disobeying him, there she discovers his other seven wives, whom he had previously slain. Raging Bull (M160-7) responds to this tale of femicide as part of a larger project titled Half of a Quarter of an Hour. The piece references the blood on the key to the hidden room in Perrault's fairy tale, blood that never seems to dry. To match this idea, Quinn captured a sample of their own blood, and before it was dry, a spectrometer was utilized to determine the correlating paint color. Proposal installation sketch, 2017. https://freight.cargo.site/t/original/i/9a63d5235626bd51fc94edfdb65861538d430d83b0b8fd44302960862197f4fe/raging-bull-01_square.jpg 2/2 — HALF OF A QUARTER OF AN HOUR; RAGING BULL; ETC. In Charles Perrault's 17th-century fairy tale "BlueBeard," BlueBeard's eighth wife transgresses his orders that under no circumstance should she open the door leading into a small room at the end of the basement. Disobeying him, there she discovers his other seven wives, whom he had previously slain. Raging Bull (M160-7) responds to this tale of femicide as part of a larger project titled Half of a Quarter of an Hour. The piece references the blood on the key to the hidden room in Perrault's fairy tale, blood that never seems to dry. To match this idea, Quinn captured a sample of their own blood, and before it was dry, a spectrometer was utilized to determine the correlating paint color. Proposal installation sketch, 2017 https://brennaquinn.com/16-Cabbages 2022-07-27T02:36:45+00:00 always 0.5 https://freight.cargo.site/t/original/i/b9181e29efe154e1a7644aa163740f99fab6004255dad870c788d8c564793a74/Cabbage-drawings-01.jpg 1/4 — CABBAGES An excerpt from Olivia Canny’s review “Food, Mundanity, Devotion: Flavor Profile at Border Patrol” Just beyond the threshold of Border Patrol’s middle room is B. Quinn’s nine-page text-based work, 116 Actions in 24 Hours with a Purple Cabbage in Johnson, Vermont (2018). From the first few items, there is a comical and unsettlingly familiar quality to Quinn’s anthropomorphization of the cabbage: “5. I set you on top of the paper towel dispenser to take your photo, but now somehow my phone memory is full.” The dynamics of the narrator’s relationship with the cabbage offer introspection into how value and turbulence function within interpersonal relationships. Quinn shifts reference of the cabbage from “you” to “the cabbage” frequently, places it in the street to watch it get run over several times, buys a new cabbage as a replacement, totes that cabbage all around town, throws it at a garden gnome, and later patches it up with a bandaid. “91. Get up and walk, set cabbage down on top of fire hydrant that is close to three feet tall. You almost fall, but I catch you.” The organization and attention to detail mirrors a grocery list or a recipe for deconstructing one’s relationship to an other, be it tangible and edible, or projected and aggrandized. Across the hall from the text display, Quinn presents a precursor to the list, Purple Cabbage (2017), a series of graphite rubbings of a cabbage that mirror the variability in the artist’s sentiments as communicated in her writing. Drawing series, 2017-ongoing. https://freight.cargo.site/t/original/i/5798b641a0c0e5b0d834ec0753df5e0b8ebcb6743f6d342b96c2a6d8c3d87cb9/Cabbage-drawings.jpg 2/4 — CABBAGES An excerpt from Olivia Canny’s review “Food, Mundanity, Devotion: Flavor Profile at Border Patrol” Just beyond the threshold of Border Patrol’s middle room is B. Quinn’s nine-page text-based work, 116 Actions in 24 Hours with a Purple Cabbage in Johnson, Vermont (2018). From the first few items, there is a comical and unsettlingly familiar quality to Quinn’s anthropomorphization of the cabbage: “5. I set you on top of the paper towel dispenser to take your photo, but now somehow my phone memory is full.” The dynamics of the narrator’s relationship with the cabbage offer introspection into how value and turbulence function within interpersonal relationships. Quinn shifts reference of the cabbage from “you” to “the cabbage” frequently, places it in the street to watch it get run over several times, buys a new cabbage as a replacement, totes that cabbage all around town, throws it at a garden gnome, and later patches it up with a bandaid. “91. Get up and walk, set cabbage down on top of fire hydrant that is close to three feet tall. You almost fall, but I catch you.” The organization and attention to detail mirrors a grocery list or a recipe for deconstructing one’s relationship to an other, be it tangible and edible, or projected and aggrandized. Across the hall from the text display, Quinn presents a precursor to the list, Purple Cabbage (2017), a series of graphite rubbings of a cabbage that mirror the variability in the artist’s sentiments as communicated in her writing. Drawing series, 2017-ongoing. https://freight.cargo.site/t/original/i/bbda4b3e4a2129a9860796f4c6c0bb7990a8033f9d05cbcdd8c4e42fee36a72e/Cabbage-drawings1.jpg 3/4 — CABBAGES An excerpt from Olivia Canny’s review “Food, Mundanity, Devotion: Flavor Profile at Border Patrol” Just beyond the threshold of Border Patrol’s middle room is B. Quinn’s nine-page text-based work, 116 Actions in 24 Hours with a Purple Cabbage in Johnson, Vermont (2018). From the first few items, there is a comical and unsettlingly familiar quality to Quinn’s anthropomorphization of the cabbage: “5. I set you on top of the paper towel dispenser to take your photo, but now somehow my phone memory is full.” The dynamics of the narrator’s relationship with the cabbage offer introspection into how value and turbulence function within interpersonal relationships. Quinn shifts reference of the cabbage from “you” to “the cabbage” frequently, places it in the street to watch it get run over several times, buys a new cabbage as a replacement, totes that cabbage all around town, throws it at a garden gnome, and later patches it up with a bandaid. “91. Get up and walk, set cabbage down on top of fire hydrant that is close to three feet tall. You almost fall, but I catch you.” The organization and attention to detail mirrors a grocery list or a recipe for deconstructing one’s relationship to an other, be it tangible and edible, or projected and aggrandized. Across the hall from the text display, Quinn presents a precursor to the list, Purple Cabbage (2017), a series of graphite rubbings of a cabbage that mirror the variability in the artist’s sentiments as communicated in her writing. Drawing series, 2017-ongoing. https://brennaquinn.com/15-Purple-Cabbage-Thrown 2022-07-27T02:50:24+00:00 always 0.5 https://freight.cargo.site/t/original/i/8f80c0dbf68759453f2392cb97ba42d9abbdda0936e4be235b014d3e43f05107/Purple-Cabbage-Thrown-01.jpg 1/2 — PURPLE CABBAGE, THROWN. Iteration of work installed for the exhibition Employee of the Month at South of the Tracks in Chicago, IL in October 2017. Second-iteration presented in 2020 for the exhibition Distant Future, curated by Jova Lynn at Vermont Studio Center. One purple-leaved Brassica oleracea Capitata (Purple Cabbage), approximately six lbs., thrown from above the artist's or proxy's head onto the gallery floor. Dimensions variable, average approximately 42' trajectory to landing-place; edition of eight with one AP, 2017. https://freight.cargo.site/t/original/i/54f6a98ed64d7a0c2f0939a1680244e4b1026998899e89395ccc05c834010eda/Purple-Cabbage-Thrown-02.jpg 2/2 — PURPLE CABBAGE, THROWN. Iteration of work installed for the exhibition Employee of the Month at South of the Tracks in Chicago, IL in October 2017. Second-iteration presented in 2020 for the exhibition Distant Future, curated by Jova Lynn at Vermont Studio Center. One purple-leaved Brassica oleracea Capitata (Purple Cabbage), approximately six lbs., thrown from above the artist's or proxy's head onto the gallery floor. Dimensions variable, average approximately 42' trajectory to landing-place; edition of eight with one AP, 2017. https://brennaquinn.com/14-116-Actions-in-24-Hours-with-a-Purple-Cabbage-in-Johnson-Vermont 2022-07-27T02:36:02+00:00 always 0.5 https://freight.cargo.site/t/original/i/7f4a142cb4686790714bfe4e8dd281e5e33e7b953e039bda4ec291241920414d/116-Actions_01.JPG 1/4 — 116 ACTIONS IN 24 HOURS WITH A PURPLE CABBAGE IN JOHNSON, VERMONT. A written account of the artist completing 116 actions with a purple cabbage in 24 hours in the rural town of Johnson, VT; ranging from taking walks, being thrown into the snow, showering together, to taking an abusive tumble in a dryer in the town's laundromat. Text-file with instructions/certificate, Edition of eight with one AP, 2018. https://freight.cargo.site/t/original/i/1389a5b86b8de71332bea59c76e9951a14fa46222be8ebf12f89cc4804bdf620/116-Actions-with-a-cabbage-in-Johnson-Vermont-performance_reading_02.jpg 3/4 — 116 ACTIONS IN 24 HOURS WITH A PURPLE CABBAGE IN JOHNSON, VERMONT. Presenting work at Meekling Press Lectures at Elastic Arts, Chicago, IL. (BW image with people) Work installed at VSC for Open Studios February 2018. https://freight.cargo.site/t/original/i/39b6fb56794fb5acd24a9d528c72074bfab06655b3942180882dfa061d293cec/116-actions_03.jpg 2/4 — 116 ACTIONS IN 24 HOURS WITH A PURPLE CABBAGE IN JOHNSON, VERMONT. Work installed at VSC for Open Studios February 2018 https://freight.cargo.site/t/original/i/0d3e97af977ebf4c48765a3bf1ef8a1316b7c31278467ac0512fc2efc136e0db/Quinn_B_02.jpg 4/4 — 116 ACTIONS IN 24 HOURS WITH A PURPLE CABBAGE IN JOHNSON, VERMONT. https://brennaquinn.com/13-Illatszertar-Parfumerie 2022-07-27T02:35:39+00:00 always 0.5 https://freight.cargo.site/t/original/i/e6d931c6ca383b7992eb8b63bbf6773394649719352eef7338ec53419fdc2760/Illatszatar.jpg 3/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/c8b97278ed715bfc81c758ef48f2a68106602d6c86f17c1f18eea7d31d5c00da/lllatszertar-Parfumerie_four.jpg 1/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/3e2f31f2e8a6af1ded4c8090dea5ace83359cf00b5beac93d3e985c1fac42b0a/lllatszertar-Parfumerie_six.jpg 2/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/8e7b0a7828a3141c1c778a174914bd4f66096d6724641718a082b13a4dd990c1/56920016185__C10DD147-9E58-4433-94B1-B3D1DA7CA066.jpeg 4/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/6e63ce2c1a183c3ed1b73e38b6acf538ccf6d67946346d2b7615b2e08b711260/01_Negy-betu.-Four-letters_smalller-web.jpg 5/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/5e94e187b27d14e84d42c28a3c1aac254749b0a9d2a6cadd606f3ec789f0a6ab/02_Kolteszet-es-Kegyetlenseg.-Poetry-and-Meanness_web-smaller.jpg 6/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/bd4bc7504d39ba99dfe024f37324f4d3266336468f46ecbe4c48155481968b97/03_Elkestem.-I_m-late_web-smaller.jpg 7/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/a0645087b1499f2d62eda649ac7faa541a28dd6868aea017575035e2b8a54f21/04_Egyszer.-One-time_web-smaller.jpg 8/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/b7efebd833b2061e9a8a1937876c32cf904af67c272b15045112ea47446c3e8d/05_Brinkley-a-kutyam.-Brinkley-is-my-dog_web-smaller.jpg 9/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/08539194b5e3b4c1f0d8f4a8929d6c1b1447a03a5b452efe38998cc763709f71/06_Varratva-az-arca.-Facelift_web-samller_THIS.jpg 10/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/80189c8a037ed712734c8ef1c1227fb604e40606add5417125ea9fdc06d8ceec/07_Azt-hittem--utalod-a-buszkeseget-es-az-eloiteleteket.-I-thought-you-hated-Pride-and-Prejudice_web-smaller.jpg 11/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/6dcd659c1563a0d3f17260ead2f1dcecc7da9e9f2750cd24daa3d0b527874a4c/08_Az-on-parfumos-napjai-veget-ertek.-Your-perfume-days-are-over_web-smaller.jpg 12/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/2e471370d180d06bf8785acc3fcb347c4f6aea83eca8685cd2e714cf5d46b7ca/09_Enciklopediat.-Encyclopedias_web-smaller.jpg 13/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/76e7e6c6f1e2b0123a4dbbafe3e6e0ef7c95e98b9ef7fb80f39b2ca17f5c9a60/10_Talalkozzon-vele-egy-barban.-Meet-him-in-a-bar_web-smaller-this.jpg 14/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/dc8c243b240b774e75d38474d74a4b65a25d7ce7527f3dabfcb1e52d5231fd3b/11_Ket-par-lab.-Two-pairs-of-feet_web-smaller_THI.jpg 15/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/8a4019969e88fb7db930932d7f5e680d5334fccd1bf42ca6353bc7ab172eca88/12_C-_Users_brenn_Desktop_12_web-smaller.jpg 16/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/ceb3a2ff80d90b4d1e86692fc5e2a8cf9d98fd2427d207a0c43e59eb0e9ab9d2/13_Harcolnia-Kell.-Go-to-war_web-smaller.jpg 17/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/4f99d2a2fa141e6b0539176cbe71c39bb6f860aa0c22e283b5a0f8b8c355a791/14_Voros-szegfu.-Red-Carnation_web-smaller.jpg 18/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/8fb1489f2d8783cb6d0a0fa874ccb1b1f3698a2c9b800b9bf2b143707c8e49fa/15_15_Nem-vagyok-tokeletes.-I_m-not-perfect_web_smaller.jpg 19/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://freight.cargo.site/t/original/i/5346aeffa5fd5c0a80ac49840918bd46dd9981032a77a1fae8b91b8ce2aa4103/16_Leveled-van.-You_ve-got-mail_web-smaller.jpg 20/20 — ILLATSZERTÁR (PARFUMERIE). Inspired by her pursuit of learning to speak and write Hungarian, Quinn revisits the exploration of language as form in the project Illatszertár (Parfumerie). The title references the play of the same name, written by the Hungarian-born Miklós László. After László immigrated to America, Illatszertár was used as the storyline for the motion pictures The Shop Around the Corner, and, more recently, You've Got Mail. For the works created for Illatszertár, Quinn surveys these films' English scripts, extracting and translating text selections, returning their collective story to their language of origin. The project takes form across fifteen graphite works on linen, three photographs, and a printed pamphlet, 2019. https://brennaquinn.com/12-MY-BROTHER-AND-I 2022-07-27T02:35:17+00:00 always 0.5 https://freight.cargo.site/t/original/i/a074cb5bb15f9856a55731e361ebf1029cd2ea3e3b240c8bf62e854c3ded7039/B.Quinn_My-brother-and-I.jpg 1/1 — MY BROTHER AND I. A review of the exhibition Siblings, by Noa/h Fields for the Chicago New Art Examiner speaks to the artwork's relationship to memory: When a siblings' photo actually made an appearance in B. Quinn's diptych, My brother and I, the conventionality of its all-smiles riverside pose was punctured by a hand-written caption: "When I was ten, I chased you through the house with a kitchen knife." The menace of memory unnerves the steady waters with ominous affective undercurrents, as the specter of siblings' violent play troubles the photograph's seeming innocence." Found photograph of the artist, graphite on newsprint paper. 28 x 33 cm (framed and matted), 2019. https://brennaquinn.com/11-Women-Sustain-the-Patriarchy 2022-07-27T02:35:02+00:00 always 0.5 https://freight.cargo.site/t/original/i/93d09e2c9d41aec65b17fdbb0723e227299e7136ae0ba1ecba58d4be6dbd9a6a/Women-Sustain-the-Patriarchy.jpg 1/2 — WOMEN SUSTAIN THE PATRIARCHY. Installation view at project space Western Pole in Chicago, IL. Artists are invited by artist/curator Jesse Malmed to submit work to be presented in this outdoor gallery, found on an electrical pole on Western Ave, accessible to all 24/7. Inkjet print, 2020. https://freight.cargo.site/t/original/i/86874b77af7cbd8954f143d946ed6e9fd7f8c327f6642e0ccadf9a63c6dc9128/women-sustain-the-patriarchy_detail.jpg 2/2 — WOMEN SUSTAIN THE PATRIARCHY. Installation view at project space Western Pole in Chicago, IL. Artists are invited by artist/curator Jesse Malmed to submit work to be presented in this outdoor gallery, found on an electrical pole on Western Ave, accessible to all 24/7. Inkjet print, 2020. https://brennaquinn.com/10-Panic-Panic-Panic 2022-07-27T02:49:59+00:00 always 0.5 https://freight.cargo.site/t/original/i/f9b5c25859b40183b3bb8ab43d42ed672a852dd5531f2eda683494b8527fd400/Panic.Panic.Panic....jpg 1/1 — 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" x 6" index cards, sharpie, rubber-band, 2020. https://brennaquinn.com/09-The-Haircut 2022-07-29T20:22:07+00:00 always 0.5 https://freight.cargo.site/t/original/i/42e60e09c8f6aab643365f091b83a495dda58e9e2168f0a1006df37fae1300ec/The-Haircut--B-Quinn-DSF4676.jpg 2/11 — 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 https://freight.cargo.site/t/original/i/afc95ee15e31afd2caca90fca4284130f1944e7feda709b61ade2cb263674a60/The-Haircut--B-Quinn-DSF4678.jpg 3/11 — 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 https://freight.cargo.site/t/original/i/5696a25064ee6adf7979cd2face2af464d5b781c1194c4bfc44aea2d0148007b/The-Haircut--B-Quinn-DSF4680.jpg 4/11 — 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 https://freight.cargo.site/t/original/i/fcd582f13addd653c42a5d3bbf66afcf4f11d6bf2281d27ebdfe7088ede56830/The-Haircut--B-Quinn-DSF4682.jpg 5/11 — 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 https://freight.cargo.site/t/original/i/8faa41927daccc1475e8d08b6290643418cb604733dc86b8b85a8ddf55eed1f4/The-Haircut--B-Quinn-DSF4685.jpg 6/11 — 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 https://freight.cargo.site/t/original/i/4d34d1d1676514c592e60fb3787828a04780848f1ca6cbc6ecdbede483c98ec7/The-Haircut--B-Quinn-DSF4687.jpg 7/11 — 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 https://freight.cargo.site/t/original/i/3aa090da39923840cc092bf086f740edc597660e06cf83dcb3050bb4a3f45a44/The-Haircut--B-Quinn-DSF4689.jpg 8/11 — 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 https://freight.cargo.site/t/original/i/eaba13dbebe5a187ec092897afc26d1ba368d5630dfcb05e4aae08fa900bc883/The-Haircut--B-Quinn-DSF4693.jpg 9/10 — 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 https://freight.cargo.site/t/original/i/aef3539ea6345eef21fd688bf5f18b1374e8272ddbf1ac6e7e8728d3f749f749/The-Haircut--B-Quinn-DSF4695.jpg 10/11 — 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 https://freight.cargo.site/t/original/i/d81faea3686ab12ca41f211f0371fa176d1a5c8962259d150cc41eac21d8ba9b/The-Haircut--B-Quinn-DSF4699.jpg 11/11 — 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 https://brennaquinn.com/08-Banal-Deja-Vu 2022-07-27T02:34:32+00:00 always 0.5 https://freight.cargo.site/t/original/i/04b1dd8731e108d9d824f9907d3b18640df1e8ca9b9c2ecc48df4700c70c74ac/01-B.Quinn_12.2-compressed-for-web_smaller.jpg 1/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/7fec8d0e56ad6813a3b587ad2e39d9e776cadb6cb5cadb752ff272693a8be53d/02-B.Quinn_11.24.2020-compressed-for-web_smaller.jpg 2/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/55498ae19b8de099e71964309600db7144862a31e57881d559a3b9dcbd681e46/03-B.Quinn_11.22_compreseed-for-web_smaller.jpg 3/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/c12e5408eb08c493c85ae1f0dc0b73f0ebea32347f6e2fddad12ddd30d495a98/04-B.Quinn_11.14_compressed-for-web_smaller.jpg 4/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/d668e22965c85143ef27cc3366af4bc96f51228ab2879df70190d0ee11ce73a0/05-B.Quinn_11.11_compressed-for-web_smaller.jpg 5/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/accc3a759d7c2afe9befb307ba9e6a8a200e945da89c8b8bbfb58d9fdeb7b15b/06-B.Quinn_11.7_compressed-for-web_smaller.jpg 6/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/f8f1e853317e47e30d7e252d23ae873326517a11f002e4300fba9c3f5ae2e5c6/07-B.Quinn_8.7_compressed-for-web_smaller.jpg 7/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/819b4eb1401bc0a0e99942ef0b25a105a9d300752b6ef276925b67e49063d16e/08-B.Quinn_8.3_-compressed-for-web_smaller.jpg 8/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/e6a51727d65db7341885ac637bb56de39082309eef0736e41d294f8ba87adcb1/09-B.Quinn_8.2_compressed-for-web_smaller.jpg 9/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/764577b3090193dd2ca829d3c4f04d958c4c7e222dea6bd42bc75321c29443e7/10-B.Quinn_6.19-compressed-for-web_smaller.jpg 10/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/5733f22ce2553f383368eec823c7011ed25da28fc5bb47f2df828fe88a2ba8be/11-B.Quinn_6.18-compressed-for-web_smaller.jpg 11/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/8c7503de653704473926e88e44c44c0fc381b9de116a2139f7b65833d5b33493/12-B.Quinn_6.15-compressed-for-web_smaller.jpg 12/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/2b5fafc1d00e65d1be529f0d000cee44ff0a241137144610e344ee1315aeee29/13-B.Quinn_6.10-compressed-for-web_smaller.jpg 13/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/5f08ed7492e0dd430150ce4b3b5feb72353c377831d78cb7b324787f1bc8ee41/14-B.Quinn_6.9-compressed-for-web_smaller.jpg 14/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/7de18e6a187a61d979024b9dd4bebd402095f67ed341eb5690982d683072f347/15-B.Quinn_6.8-compressed-for-web_smaller.jpg 15/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/93f5f6512d98c8d9a72129f47e27b55b3622f29dcf88cc5671144c6251cae0c2/16-B.Quinn_6.6-compressed-for-web_smaller.jpg 16/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/f30a087f134f84ff67f5ba41ddd66fbdc48ccfc645f7e6ec65cdf9416ec5cb4e/17-B.Quinn_6.3-compressed-for-web_smaller.jpg 17/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/df9d13cc822b66c6f83cf804b73efae586dd43686867225c7a4f91a76364989c/18-B.Quinn_6.2_compressed-for-web_smaller.jpg 18/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/7fe825df4fdbeb4151a3520158c04bdb7b476a98483398c0d007318c9f543f72/19-B.Quinn_6.1-compressed-for-web_smaller.jpg 19/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/d56934714452901422c4d64f9218fc73ddfb42e66dd4919705ec9b5fdfa084f8/20-B.Quinn_5.31-compressed-for-web_smaller.jpg 20/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/99c7df4a217bc86b6e0419810b2610b149b1934fdd35465fd1d41107aefc6fdc/21-B.Quinn_5.30-compressed-for-web_smaller.jpg 21/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/7ffacd08807718ff78edc55a4a5e4a13d396a96241bdba9b8b349ad36bc3fdca/22-B.Quinn_5.29-compressed-for-web_smaller.jpg 22/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/f860d7c595e001892cfb98f8146f2e5bea5245f49bf2c9573f94194c2db9bbfd/23-B.Quinn_5.28-compressed-for-web_smaller.jpg 23/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/d189be2f0c0033e2ccac4eb033a6ba0b6420d13f905414716f5a40d4dea04712/24-B.Quinn_5.27-compressed-for-web_smaller.jpg 24/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/682c4c9fd065ccb577fb527e87837145153835deafc36cd6d19bf4f7a1d711f6/25-B.Quinn_5.26-compressed-for-web_smaller.jpg 25/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/c1dd447ec851fc4886f312b79c96ae4ba67f78b869ee3386a1e6497c7833fd1d/26-B.Quinn_5.25-compressed-for-web_smaller.jpg 26/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/18f28629f70525c59956632c714b9857c54593c34d94fe38e26859c528afc61d/27-B.Quinn_5.24-compressed-for-web_smaller.jpg 27/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/eede3ecde938fb2fe0c26f9c44e4b1e7c9f3ed046b11f09e1c76dac5d68be051/28-B.Quinn_5.23-compressed-for-web_smaller.jpg 28/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/ac1e6372b16a4c5a83fb423906123d81b093fe6d6412b86155611b4cc49c96bf/29-B.Quinn_5.22-compressed-for-web_smaller.jpg 29/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/02cc85ddedcd0e02652f8824a0e93bad04930eebbc659716157762430bbb44b0/30-B.Quinn_5.21-compressed-for-web_smaller.jpg 30/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/04f8535bd609f440fcffbd28ad6e9a34ff659d6f01bcc84afa488ee24cc91507/31-B.Quinn_5.20-compressed-for-web_smaller.jpg 31/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/b36b5a409c0e322a1b0a479157737efddcfe8fd70f1e23a2efc1d74e966ba807/32-B.Quinn_5.19-compressed-for-web_smaller.jpg 32/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/ef79d6215740ae1a7f0965367b3bd454a9ab5ba7515bfce0d1f2d49729ce269d/33-B.Quinn_5.18-compressed-for-web_samller-file.jpg 33/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/c828cc5e879753669a98ec2d7f711d9a2f2348421b4b6cc0f8bcc0fa6bae33cc/34-B.Quinn_5.17-compressed-for-web_smaller.jpg 34/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/31b6a520871f00495fe92830b5a238d5cef5d039fdbc1d4f30044418ae3bb316/35-B.Quinn_5.16-compressed-for-web_smaller.jpg 35/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/8a7b841a657980b563309a0478d52444a3db856b9e064d9142555299a62c8e61/36-B.Quinn_5.15-compressed-for-web_smaller.jpg 36/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://freight.cargo.site/t/original/i/170ff88772c790172d6b556c74536148a4a2909292f24eb257ae57bcd3f7dc7a/37-B.Quinn_5.14-compressed-for-web_smaller.jpg 37/38 — BANAL DEJA VU Archival ink on Bristol, 9" x 12" (2020 works). 2010-ongoing. https://brennaquinn.com/07-Orodogseker-Devil-s-Chariot 2022-07-27T02:34:14+00:00 always 0.5 https://freight.cargo.site/t/original/i/15dba103e13d4c160310694def744a30bda49459f4e61a136653135eb076bd47/ordogszeker.jpg 1/1 — ÖRDÖGSZEKÉR (DEVIL'S CHARIOT). Ördögszekér (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 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. https://brennaquinn.com/06-Darkness-Spoken 2022-07-29T00:42:47+00:00 always 0.5 https://freight.cargo.site/t/original/i/154aa3a4f87798eec7421cb2fdfec962d137313bbb4bb92b73fff62c0dfb4246/01_DS_still_web.jpg 1/1 — 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 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. 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. Video still; shot on Hi8 and digitized, 2021-2022. https://brennaquinn.com/05-Scissors 2022-07-29T20:18:30+00:00 always 0.5 https://freight.cargo.site/t/original/i/bd4cae23ebc8f184ca529a5fe47338401ab66b9d3b294cde7e5a046d1702532f/00_scissors-MQ-studio-for-web.jpg 1/26 — 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. https://freight.cargo.site/t/original/i/6aee41416d7dcc8b0fbf5105b8666370b97003cf3b33e1d3700444e5089dbc35/01_scissors-web-export_82.jpg 2/26 — 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. https://freight.cargo.site/t/original/i/f9c5414284137737d36235cfae784860dd0cdb9b8c39946db1a5788bee5d8762/02_scissors-export-for-web_55_scissors.jpg 3/26 — 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. https://freight.cargo.site/t/original/i/f30c7c4a4bc0e3ccde495211c1d9a9f6422a65ff65982bcf18d37169854719a7/03_scissors-for-web_75_scissors_for-web.jpg 4/26 — 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. https://freight.cargo.site/t/original/i/41bf7d2c2b6449648e8f743b547ed7315f685cb2db9ef0a37b5112c4365bd3fb/04_scissors-for-web_58_scissors.jpg 5/26 — 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. https://freight.cargo.site/t/original/i/a1105904f049bdf25ea81173a7d9cf8554efeef5a175d98aba3ee0c214b3e5b2/05_detail-scissors-for-wb_80_scissors.jpg 6/26 — 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. https://freight.cargo.site/t/original/i/2ac23a655221fc70fd67ab385c23afbf4668fd849851d403e28716c4745d0070/05_scissors-for-web_73_scissors.jpg 7/26 — 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. https://freight.cargo.site/t/original/i/580258402d9b0fb37e7f0730706fc5d8c16b2c4b11ce663747d4219d4f815994/06_scissors-for-web_56_scissors.jpg 8/26 — 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. https://freight.cargo.site/t/original/i/d9a4bd829d3ce2bc42210b0519b5142d0648972389b849fba7a176bf20952aeb/07_scissors-for-web_69_scissors.jpg 9/26 — 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. https://freight.cargo.site/t/original/i/1e7ce4b955291e6d861800f5a117beec298cf832e413a9a038b07b2e44532391/08_scissors-for-web_70_scissors.jpg 10/26 — 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. https://freight.cargo.site/t/original/i/92b916d233d1273a242f2d54f4f25271e6b11cded6825465111dbf8f5cd7f4b2/08_siccsors-group-for-web__scissors-MQ-studio-three.jpg 11/26 — 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. https://freight.cargo.site/t/original/i/3a5c3bebaabb0750d87d2895e22bcc4d7a4568cfc9ccde06b20ca98b6709772f/09_scissors_scissors-52.jpg 12/26 — 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. https://freight.cargo.site/t/original/i/e37c04511c9c3a995d1203fdae94bed7412cef7d9e8bb8908a4f88fbd9059cb2/10_scissors_for-web_10-scissors-for-web.jpg 13/26 — 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. https://freight.cargo.site/t/original/i/f54ede4ac22d87270c57194fa562fff1d6159d765adce721bed1eabf7fc9f042/10_scissors-for-web_29_scissors.jpg 14/26 — 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. https://freight.cargo.site/t/original/i/9f0a45a01d8e05944ea25894c8c97182d515adefad50f60e9d41d1ae81e59d9b/11_scissors_web.jpg 15/26 — 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. https://freight.cargo.site/t/original/i/598649ee868a3ae20f73aaadd799cd7da75d08ff05434a5828366249cf46459c/11_scissors-for-web_31_scissors.jpg 16/26 — 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. https://freight.cargo.site/t/original/i/d15f2b9f2ecb3d031b6eb3b1339db003ad976f571e2321c06fb467034ed71e33/11_scissors-for-web_38_scissors.jpg 17/26 — 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. https://freight.cargo.site/t/original/i/c6daa12097b8ea244aa71a1691729911db6125430cdf824877cf33207e2bb980/12_scissors-for-web_25_scissors.jpg 18/26 — 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. https://freight.cargo.site/t/original/i/cd738112fca7847c5715def0ba7983866768cad03927071e79fdb2369c68d4b5/13_scissors-for-web_39_scissors.jpg 19/26 — 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. https://freight.cargo.site/t/original/i/63e71e86da2f67223f379b66f09a35919ab99a64026d464e6e0c11b89687c1f8/14_scissors-for-web_48_scissors.jpg 20/26 — 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. https://freight.cargo.site/t/original/i/57f69eb68c2996303dc4153d3b719b5cce5b2a7d6a36133ab4be73b4b2a9a844/15_scissors-for-web_48_scissors.jpg 21/26 — 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. https://freight.cargo.site/t/original/i/92d4baeac892fe377ff9bda108ff4bd02c2563a472074141b7757baa3af8a124/16_scissors-for-web_72_scissors.jpg 22/26 — 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. https://freight.cargo.site/t/original/i/3a4f24596d745fb1c638a2c7e16d702c6363ba23871a01be668c973243330efd/17_scissors-for-web_24_scissors.jpg 23/26 — 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. https://freight.cargo.site/t/original/i/4bf7a35deb2d0b3c28123b3280abacd7d093a53645eaf1f9ce5b67812d6e7d01/18_scissors-for-web_12_scissors.jpg 24/26 — 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. https://freight.cargo.site/t/original/i/d98998d4015bf5066c07117250890302a28483188927140420a34e71469c2d46/19_scissors-web_11_scissors_web.jpg 25/26 — 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. https://freight.cargo.site/t/original/i/4d7d3b111fbd47d9e774761780b051a875405ccb4acd1ad9438c3dddc8a89479/20_scissors-for-web_05_scissors.jpg 26/26 — 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. https://brennaquinn.com/04-Five-twenty-four-a-m 2022-07-27T02:33:24+00:00 always 0.5 https://freight.cargo.site/t/original/i/990ab103003d98c99f795b8e7f9a6982835aa2d388ee42498b854affac6a5272/00_Fiive-twenty-four-a.m._for-web_Overnight-Stay.jpg 1/1 — FIVE TWENTY-FOUR AM.Video still, 2022. https://brennaquinn.com/03-Eight-Word-Collages 2022-07-27T02:33:05+00:00 always 0.5 https://freight.cargo.site/t/original/i/2237a723794707eab9d7774b9d3d4ab3f277a3d4b69ced97f5fee08fa43c0bad/01_colllage-for-web_1_collage.jpg 1/8 — 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" x 8.3". https://freight.cargo.site/t/original/i/59a840498485b5e7a0e2744b0c2d44ed96b04de51b5a48774f010f22886ae3be/02_collage-for-web_02_collage.jpg 2/8 — 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" x 8.3". https://freight.cargo.site/t/original/i/d32e29294365607d40940f533bb7d0ff957f3ae952f443750e248c2a59f66fff/03_collage-for-web_03_collage.jpg 3/8 — 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" x 8.3". https://freight.cargo.site/t/original/i/5cd6af4a09238f40bb3b2d28a3f25eb86bc9abd7e5541a0ad0980f597e1f8969/04_collage-for-web_04_collage.jpg 4/8 — 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" x 8.3". https://freight.cargo.site/t/original/i/2cbf76ea5bc49b9575900d40070b09eae99d5496ac3cca99dc1d3320d1bb8d3a/05_collage-for-web_05_collage.jpg 5/8 — 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" x 8.3". https://freight.cargo.site/t/original/i/b956fa1d1427dfddbe928e896f0c35a979e800601aff99cf11c2af6f4c169fd4/06_collage-for-web_06_collage.jpg 6/8 — 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" x 8.3". https://freight.cargo.site/t/original/i/30603d9eaec0079a72bd2f7eba0204c5290fd3be6e80b2def813e8be432811de/07_collage-for-web_07_collage.jpg 7/8 — 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" x 8.3". https://freight.cargo.site/t/original/i/e9caccdf035cbab0744670d0d0c06042d8f9b585ea1cf12ef50cc2a8de6e66cf/08_coolage-for-web_08_collage.jpg 8/8 — 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" x 8.3". https://brennaquinn.com/02-So-I-Ran-Faster-Precious-Things 2022-07-29T00:37:46+00:00 always 0.5 https://freight.cargo.site/t/original/i/529527eb8d80e701c879e800faf617e8bfe20e091b572415d89158b8b0d1d867/00_for-web_So-I-Ran-Faster-Prescious-Things.jpg 1/1 — SO I RAN FASTER (PRECIOUS THINGS.)Study for series of the same name. Donated to AIR Gallery for "My Body, My Choice," annual mail-art fundraising exhibition. Charcoal, enamel on canvas, 5" x 7", 2022. https://brennaquinn.com/01-Heartbeat-and-Candle 2023-11-21T01:10:59+00:00 always 0.5 https://freight.cargo.site/t/original/i/49588949157170e52d6267e9e725f16faeb94a9e29afb5979362bf60a77874c6/00_candle-and-hearbeat_video-still_-for-web.jpg 1/1 — 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.