David Carter curates Carina Zox

1. Carina’s juxtaposition piece (masks, “human again”, etc., modified to use the hallway down to the green room as well as the directing studio)
2. and her show-don’t-tell piece (Syrian refugee crisis, modified for the outdoor area on the dir. studio side of the ’62 ctd).

Gabrielle DiBenedetto curates Jackson Zerkle

1. I would like to include his 5 Senses combo (the broken recording where he hit the table and said….some not so savory things)
2. and his Show, Don’t Tell project. I know that being in the directing studio there is no way for the audience to be up on a grid, but most of what I liked about that performance was Jackson’s character and the conversation we had with him, so maybe there is a way to replicate the performer-audience relationship in some way by seating the audience far away or having Jackson be higher up?

Bailey Edwards curates Sophia Wilansky

1. all of Sophia’s Cosmogeny postcard images. I know it’s quadruple the number of images but I think they are interesting as a collection. That also seems like it would be a ton of objects but if, like me, you see it as one object…
2. I would like to include the Story of David Carter as well.

Kimmy Golding curates Maddie Seidman

1. 5 SENSES—I’m interested if Maddie does her 5 senses project but only with descriptions of what each item should smell, taste, sound, look, or feel like. (Essentially, nobody should know that the taste of “Dirt, blood, and tears” is actually cacao powder and sea salt. Same with the sound of “carving metal”. Nobody should know that it’s actually the scraping of a knife against a tray)
2. SHOW DON’T TELL (first part) It might be interesting if Maddie combines this performance with Carina’s performance of “If I Were A Bell.” She could start the piece by humming the first notes in the ears of 8-10 audience members people and then end the piece with a full belt of the song (a la Carina’s performance).

Omar Gouda curates John Rodriguez

1. The road map from the juxtapositions prompt ~ assuming our gallery is less cramped than our classroom, our audience would be able to actually read and appreciate the stories John wrote on the map (I had to read them online afterwards ~ 5′ 4″ problems.)
2. The short “Remember me, please” reversed video that was part of 5/50. I’m wondering about how to best present this one ~ would it simply be a video display on loop? Would it make sense to have it as a live performance where someone (presumably for a good chunk of the hour and a half) sits at a desk writing the phrase, and then erasing it by tracing backwards in white-out?

Molly Knoedler curates Sarah Pier

1. The Federalist Papers- I know she’s keenly interested in this and it fits with the theme of audience participation.
2. Story 4: Gram- Specifically, the music recording, the spilt urn, and the wine bottle could be presented as one object, perhaps even incorporating the taste/ smell of wine Sarah did for the Five Senses project. These objects as a whole fit in with the theme of beginnings/endings, mortality and coping.

Phoebe Mattana curates Paige Peterkin

1. Paige’s “The Genesis of Love (Juxtapositions video)”
2. Paige’s 5/50 “My OCD is/is not” piece.

Paige Peterkin curates David Carter

1. Letters from Dad videos (technically there are two, but they’re both 30 seconds and I feel like you have to have both to get the full effect).
2. First Attempt video – from his series of Job Hunt videos.

Sarah Pier curates Gabrielle DiBenedetto

1. Gabrielle’s Albinism piece, to be performed in the hallway in front of the elevator by the directing studio
2. and the scattered letters of her name, to be placed on a table, possibly with a sign telling audiences they can play with the letters (similar to the instruction she gave us when she presented)

John Rodriguez curates Bailey Edwards

1. Show, Don’t Tell Performance: “Be Careful You Might” (AKA the bread box AKA Bailey’s feeding trough)
2. Five Senses Performance: THE TOMB OF EURYSACES THE BAKER

Because the two objects I’m interested in curating for Bailey are both performances that a) require his presence and b) are time-consuming and elaborate, I also have an alternate proposition which I like just as much:

1. Show, Don’t Tell Performance: “Be Careful You Might” (AKA the bread box AKA Bailey’s feeding trough)
2. Juxtapositions: “Blue” video
3. From one of Bailey’s 5/50 stories: “Wind” video

I’m really interested in seeing how the two videos would be interpreted and consumed by an audience when played next to each other, or immediately after one another, or out of order, etc. I’d like to see how they communicate as a pair and individually to other people, especially because they exist in such a similar vocabulary. I think it would be feasible to show them both and wouldn’t required any additional work. especially since they are meant to be experienced as videos and not live performances.

Maddie Seidman curates Kimmy Golding

1. From her “Don’t forget you mission” story. She is sitting on the window ledge thing in directing studio, giving instructions to crowd. She acts out certain missions, such as spritzing herself and turning on music. The piano should be beneath her. Someone who can play piano (sorta) will play jazz chords when cued. Kimmy will be wearing a sign that says fierce, which she can swing around. Bailey (Amy) will be beside the piano. Maybe, but probably not… we can workshop it… her crush and Amy leave and Kimmy turns Yoncé on louder and does her dance thing to calm her rage down.
2. The triptych…. This one is more for shit of everyday life than a particlar failure. Kimmy will walk slowly across blackbox to omar’s voice, with her signs displayed. At the end, when Omar says “we want bread, clothing, etc…” he will change that to bread, fruit of the vine, and then the rest of those things. Kimmy will slip in a farcical way, and a bunch of people will walk quickly past her with ease. One of those people will be omar, who will stop center and deliver his grape spoken word piece. He might be dress as grapes/raisins

Sophia Wilansky curates Omar Gouda

1. Enraged edibles
2. Story 5 – What’s in a name, with a modification (juxtaposition with 5 senses) that I still need to think more about the details of (I’ve been busy all day!) but should involve cheese slices

Jackson Zerkle curates Molly Knoedler

1. Molly’s Suspicious Grapes video and
2. her ‘trapped’ movement piece.
3. I’d also like to make a case for maybe doing the movement piece that she, Maddy, and Kimmy ended up with in Will Rawls’ class. The only reason I didn’t make that one of my two guaranteed pieces is that its authorship isn’t entirely Molly’s. I think it would bring a true accidental juxtaposition to our showing in a way that might be hard to recreate with other such juxtapositions we came across. Also, I worry that the work we did in that class has gotten short shrift (hasn’t ended up on the website, we didn’t talk about it much yesterday) and it might be nice to have a representative piece included.

Carina Zox curates Phoebe Mattana

1. her Show Don’t Tell piece, performance with Maddie–memory
2. her Juxtapositions piece: Act 1 text over Pixar lamp, Act 2 Fresh Prince of Belair, and Act 3 Pokemon card trading

(I’m not sure if we will have time to do all three parts, I’d like to work on curating the pieces together with other pieces, or choosing the best parts of the three-Act project)