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  • Hold
  • ∙ ∙ ∙ ∙ ∙ ∙ ∙
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  • CURATION
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  • 2024
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  • 2023
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  • 2014
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  • Labor Day Lectures
  • 2013
  • artcritical
  • NOWHERE
HALO STARLING
∙ ∙ ∙ ∙ ∙ ∙ ∙
ABOUT
Artist Statement
Bio
CV
Director's Portfolio
Directing Reel
Acting Reel
Community
Links & Contact
∙ ∙ ∙ ∙ ∙ ∙ ∙
CURRENT PROJECTS
Fairy Prince
FILM
Portent Soul
TestoLupron
Dance Dance Resolution
PONY
SUNRIDER
PATRICK
Valentine's Day After
Hold
∙ ∙ ∙ ∙ ∙ ∙ ∙
VIDEO
Your Love is Giving Me Life
The French Chef with Julia Child: Abortifacient Herbs
BE NOT AFRAID
One Made of Light
Plot Points in Our Sexual Development (Excerpt)
aph·ro·dis·i·ac
POLLINATION
Fruitr
VARIETY SHOW
Yellow Mountain Blue
Wait
8 1/2 INCH DICK
Eco Vignettes
Vagina Dentata
∙ ∙ ∙ ∙ ∙ ∙ ∙
LIVE ART
Planet Femme LIVE
GRIEF IN PUBLIC
QUEER in PUBLIC
SENSE
Pleasure Scores
∙ ∙ ∙ ∙ ∙ ∙ ∙
LIVE PERSONAE
Karan Devine
Home Depot
TORMENTRA
Crystal Mermaid
Black-Eyed Susan
Evangeline Dupree
Cleo the Past Teller
Cynthia Reid
Polyperformance
∙ ∙ ∙ ∙ ∙ ∙ ∙
WORLDBUILDING
Planet Femme
The Sagewell Archives
∙ ∙ ∙ ∙ ∙ ∙ ∙
CURATION
WINDOWS AND BLINDS
PONY and Friends
Positive Futures
AUTO ROBO ECO
ASYLUM
UNDER THE SEAMS RUNS THE PAIN
This Literally Happened
∙ ∙ ∙ ∙ ∙ ∙ ∙
FEATURED
2024
USC Libraries
USC Cinematic Arts - iMappening 2024
ARTFORUM
CAA 112th Annual Conference
MA+P Stories - WINDOWS AND BLINDS
2023
Deadline
2am Photography
2022
Expanding the Parameters of Feminist Artivism
Trans Cinematic Universe Podcast
World of Rex Podcast
Queer Forty
GAY.IT
LA Weekly
The Hollywood Times
Out News Global
TRANSlations (Panel)
Women's Screenwriters Workshop (Panel)
2021
Final Draft Blog
TFMA News
Deadline
2020
PGN - Film
PGN - Portraits
cinéSPEAK
Women and Hollywood
Summer Fall
Global Shorts
Temple News
2019
Business Courier
Vox Populi (Exhibition)
Vox Populi (Screening)
2017
GO Magazine
2016
purple ART
2015
PACKET
Adult Mag
KCHUNG
Sex-Ed @BHQFU
2014
The Brooklyn Rail
Nocountrycountry on bel-air radio
Labor Day Lectures
2013
artcritical
NOWHERE

Karan Devine LIVE
, BHQFU, 2014.

Karan Devine (2014-2015) was my proto-trans coming out vehicle. Scroll through for all of her public appearances.

Karan Devine LIVE
, BHQFU, 2014.

Karan Devine (2014-2015) was my proto-trans coming out vehicle. Scroll through for all of her public appearances.

"KARAN DEVINE RETREATS" is a 13-part video series mostly written, shot and edited on location during an artist residency at The Shandaken Project, July 2014. "KARAN DEVINE RETREATS" was showcased as part of the Center for Experimental Lectures' Labor Day Lectures at The Shandaken Project, 2014.

"Utilizing dark humor and outsized characters in the tradition of George Kuchar, Alex Bag, or Mike Smith, Rossetti’s confessional-style vignettes follow the intellectual and moral development of a young art star coming to terms with her aesthetic, loft-centric self-presentation as it crumbles against the backdrop of “wild” nature. Rossetti unpacks complex ideas of identity and performance while poking gentle fun at some contradictions and eccentricities familiar to urban cultural producers and their idols." —Nicholas Weist, Shandaken Projects.

"KARAN DEVINE RETREATS" is a 13-part video series mostly written, shot and edited on location during an artist residency at The Shandaken Project, July 2014. "KARAN DEVINE RETREATS" was showcased as part of the Center for Experimental Lectures' Labor Day Lectures at The Shandaken Project, 2014.

"Utilizing dark humor and outsized characters in the tradition of George Kuchar, Alex Bag, or Mike Smith, Rossetti’s confessional-style vignettes follow the intellectual and moral development of a young art star coming to terms with her aesthetic, loft-centric self-presentation as it crumbles against the backdrop of “wild” nature. Rossetti unpacks complex ideas of identity and performance while poking gentle fun at some contradictions and eccentricities familiar to urban cultural producers and their idols." —Nicholas Weist, Shandaken Projects.

On location for KARAN DEVINE RETREATS #13: SHELTER, 2014

KARAN DEVINE RETURNS #1: WOMEN’S GROUP


Embedded in If We Carry On Speaking the Same Language to Each Other, We Are Going to End Up Repeating The Same History, PARMER Gallery, November 15, 2014, and also shown in video format at the Shandaken Project Retrospective Salon, January 2015.


I was invited by Mikaela Assolent and Flora Katz, two French curators, to participate in a “feminist working group.” Each invitee was asked to bring an element, prepared beforehand, that is as close as possible to their own area of expertise. The element, such as a text, anecdote, performance, video, object, etc., would be up for discussion according to the conversation format and staging chosen by its presenter. Listening, commenting and contributing would be open; participants would be free to speak spontaneously whenever possible. Each individual would thus be able to negotiate their own contribution to the session.


I decided to bring one of my characters, Karan Devine, and make my contribution to the group by way of an embedded performance. Unlike the other nine members of this particular session at PARMER, Karan Devine, a 28-year-old downtown “art star” on the tail-end of a severe burnout, is not at all clued into feminism, or intellectual affairs of any kind of the liberal arts at all.

Karan Devine sat down, thanked everyone for letting them be a part of her “women and art group,” and then launched into her story, telling them that she had broken up with her longterm boyfriend, Mickey Future (of the post-glam rock-era band Mickey Future and the Presence, active from ’82 to ’92), and had sought refuge recently at the Center for Difficult Womyn, a womyn-only halfway house in the Catskills, at the purported behest of her best friend Indi Warthole, the world’s first and only 24/7 female Andy Warhol impersonator, who had spent some time in rehab there the summer before. Though the environment was occasionally deeply troublesome, Karan had learned the love and companionship of women there, and was looking for something similar back in New York. Karan then demonstrates her “art projects” to the group which include holotropic breath work, synonymous, to her, with hyperventilating or “pregnancy breathing”; a deafening, guttural scream that she had learned at a mandatory Primal Scream Therapy workshop at the Center; and a cover band—of her ex-boyfriend’s band—called Dickey Future and the Absence, in which Karan gets all of the other members of the feminist working group to sing a very misogynist refrain with her.


I documented this intervention and later incorporated it into a video, titled, “KARAN DEVINE RETURNS #1: WOMEN’S GROUP,” from which this embedded performance now takes its name.


KARAN DEVINE RETURNS: Women's Group
, 2014, incorporates footage from an embedded performance at “If We Carry On Speaking the Same Language to Each Other, We Are Going to End Up Repeating the Same History” at PARMER, November 2014.

KARAN DEVINE RETURNS: Women's Group
, 2014, incorporates footage from an embedded performance at “If We Carry On Speaking the Same Language to Each Other, We Are Going to End Up Repeating the Same History” at PARMER, November 2014.

Still from KARAN DEVINE RETURNS #1: WOMEN'S GROUP, 2014.

KARAN DEVINE RETURNS #1: WOMEN'S GROUP
in EMERGENCY INDEX 2014.

KARAN DEVINE RETURNS
projected at The Shandaken Project Retrospective Salon, January 2015.

Karan Devine LIVE
at TRASH4GOLD booth at SPRING/BREAK Art Show, March 7th and 8th, 2015.

Karan Devine at The Shandaken Project Retrospective Closing Night Salon, January 15, 2015.

Karan Devine at The Shandaken Project Retrospective Closing Night Salon, January 15, 2015.

Karan Devine embedded in a staged party at BHQFU, April 2014.

Karan Devine LIVE
, BHQFU, 2014.

Karan Devine (2014-2015) was my proto-trans coming out vehicle. Scroll through for all of her public appearances.

"KARAN DEVINE RETREATS" is a 13-part video series mostly written, shot and edited on location during an artist residency at The Shandaken Project, July 2014. "KARAN DEVINE RETREATS" was showcased as part of the Center for Experimental Lectures' Labor Day Lectures at The Shandaken Project, 2014.

"Utilizing dark humor and outsized characters in the tradition of George Kuchar, Alex Bag, or Mike Smith, Rossetti’s confessional-style vignettes follow the intellectual and moral development of a young art star coming to terms with her aesthetic, loft-centric self-presentation as it crumbles against the backdrop of “wild” nature. Rossetti unpacks complex ideas of identity and performance while poking gentle fun at some contradictions and eccentricities familiar to urban cultural producers and their idols." —Nicholas Weist, Shandaken Projects.

On location for KARAN DEVINE RETREATS #13: SHELTER, 2014

KARAN DEVINE RETURNS #1: WOMEN’S GROUP


Embedded in If We Carry On Speaking the Same Language to Each Other, We Are Going to End Up Repeating The Same History, PARMER Gallery, November 15, 2014, and also shown in video format at the Shandaken Project Retrospective Salon, January 2015.


I was invited by Mikaela Assolent and Flora Katz, two French curators, to participate in a “feminist working group.” Each invitee was asked to bring an element, prepared beforehand, that is as close as possible to their own area of expertise. The element, such as a text, anecdote, performance, video, object, etc., would be up for discussion according to the conversation format and staging chosen by its presenter. Listening, commenting and contributing would be open; participants would be free to speak spontaneously whenever possible. Each individual would thus be able to negotiate their own contribution to the session.


I decided to bring one of my characters, Karan Devine, and make my contribution to the group by way of an embedded performance. Unlike the other nine members of this particular session at PARMER, Karan Devine, a 28-year-old downtown “art star” on the tail-end of a severe burnout, is not at all clued into feminism, or intellectual affairs of any kind of the liberal arts at all.

Karan Devine sat down, thanked everyone for letting them be a part of her “women and art group,” and then launched into her story, telling them that she had broken up with her longterm boyfriend, Mickey Future (of the post-glam rock-era band Mickey Future and the Presence, active from ’82 to ’92), and had sought refuge recently at the Center for Difficult Womyn, a womyn-only halfway house in the Catskills, at the purported behest of her best friend Indi Warthole, the world’s first and only 24/7 female Andy Warhol impersonator, who had spent some time in rehab there the summer before. Though the environment was occasionally deeply troublesome, Karan had learned the love and companionship of women there, and was looking for something similar back in New York. Karan then demonstrates her “art projects” to the group which include holotropic breath work, synonymous, to her, with hyperventilating or “pregnancy breathing”; a deafening, guttural scream that she had learned at a mandatory Primal Scream Therapy workshop at the Center; and a cover band—of her ex-boyfriend’s band—called Dickey Future and the Absence, in which Karan gets all of the other members of the feminist working group to sing a very misogynist refrain with her.


I documented this intervention and later incorporated it into a video, titled, “KARAN DEVINE RETURNS #1: WOMEN’S GROUP,” from which this embedded performance now takes its name.


KARAN DEVINE RETURNS: Women's Group
, 2014, incorporates footage from an embedded performance at “If We Carry On Speaking the Same Language to Each Other, We Are Going to End Up Repeating the Same History” at PARMER, November 2014.

Still from KARAN DEVINE RETURNS #1: WOMEN'S GROUP, 2014.

KARAN DEVINE RETURNS #1: WOMEN'S GROUP
in EMERGENCY INDEX 2014.

KARAN DEVINE RETURNS
projected at The Shandaken Project Retrospective Salon, January 2015.

Karan Devine LIVE
at TRASH4GOLD booth at SPRING/BREAK Art Show, March 7th and 8th, 2015.

Karan Devine at The Shandaken Project Retrospective Closing Night Salon, January 15, 2015.

Karan Devine embedded in a staged party at BHQFU, April 2014.