I am an artist, a writer, and an editor, and I weave between the methodologies of each practice to produce hybrid works that explore historical narratives. Most of my projects employ appropriation of some sort: I manipulate images from mass-market history books to make sculptures, flags, and installations that expose the weaknesses of dominant narratives through imitation and parody; and my performances and installations often employ "institutional drag," utilizing the trappings of authority—such as uniforms, logos, and specialized language—to challenge the construction of historical representation.
Additionally, I often work in response to a site. From 2013 to 2015, I turned my San Francisco apartment into The Bean Gilsdorf Living History Museum, an institution that recreated an authoritative impression of the lived experience of an artist named Bean Gilsdorf. My 2015 performance at the Banff Centre, Protected Area, was inspired by a natural rock formation that exists inside a building on the campus; this satirical interpretive "tour" used the terminology of Park Service documents to create a variety of extended metaphors about conservation, consumption, risk, and the historical conditioning of women.
Text and language play an essential role in my work. Give Me Your Hand and Aesthetic Palm Reading, both 2012, burlesqued the vocabulary of palm readings to collaboratively improvise individual histories with participants. An Exhibition That Might Exist (2014) responded to the notion that art criticism is "the rough draft of history" by exhibiting a series of three-page reviews that describe a fictional exhibition purported to take place within the gallery; on the final day, the exhibition reviewed itself.
In addition to my artistic practices, I am also the Editor in Chief of Daily Serving, an international journal for the contemporary arts. My critical writing and interviews have been included in publications such as Artforum, BOMB Magazine, and Frieze.