Apocalypse Management (telling about being one being living)

Label

Against a scene of urban destruction, this distorted landscape defies a specific location, relying on the universal iconography of catastrophe to render its apocalyptic narrative. A pole pierces a flailing man; others hang from light poles and grasp at chains. All these characters twitch and convulse in the throes of their respective personal crises. Their ongoing struggle between this nonsensical fight and the hope of salvation implies that civilization will persist. An initial horrified scream slowly morphs into a mournful hum. Though these characters seem to be alone in their suffering, the operatic sounds unite them and reveal a collective resilience. These animated characters can transcend their struggle and be reborn.

From the 2024 exhibition, A Space for Dialogue 116, Apocalypse When: reflections on our collective psyche, Molly Rouzie '24, Homma Family Intern

Course History

FILM 48, SART 17, New Media Theory & Practice, Mary Flanagan, Winter 2012

SART 17, Digital Drawing, Karol Kawiaka, Winter 2014

WRIT 5, After Humans, Christian Haines, Winter 2015

FILM 38, Advanced Animation, Jodie Mack, Spring 2019

SPEE 26, How New Media Shapes Our Lives Rhetoric, Theory, and Praxis, Svetlana Grushina, Winter 2020

GEOG 25/WGSS 37.03, Social Justice and the City, Erin Collins, Fall 2021

Italian 3.01, Introductory Italian III, Floriana Ciniglia, Winter 2024

Film Studies 38.01, Advanced Animation, Jodie Mack, Spring 2024

Exhibition History

A Space for Dialogue 116, Apocalypse When: reflections on our collective psyche, Molly Rouzie '24, Homma Family Intern, Alvin P. Gutman Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 6 - March 2, 2024

Provenance

The artist, Brooklyn, New York; sold to present collection, 2010.

This record is part of an active database that includes information from historic documentation that may not have been recently reviewed. Information may be inaccurate or incomplete. We also acknowledge some language and imagery may be offensive, violent, or discriminatory. These records reflect the institution’s history or the views of artists or scholars, past and present. Our collections research is ongoing.

We welcome questions, feedback, and suggestions for improvement. Please contact us at: Hood.Collections@dartmouth.edu

Subject