The cheerleader is an undeniably American symbol. Since the girls wrestled the organized 'yell squad' out of its all-male origins in 1923, women in matching short skirts have served as cultural icons in camps as disparate as School Spirit and Hetero-normativity. I 'came out' as a former cheerleader with a documentary series about the squad of my alma matter in 2003. Since then, I have continued to investigate the multiple significations of the cheerleader in various projects.
Raskolnikov is the first of these investigations that uses my own cultural artifact -- all the bodies in Raskolnikov are wearing my high school cheerleading uniform (a vintage of the late 80s variety) to enact a conflation of Crime and Punishment and my novella Granite, which retells Dostoevsky's novel from the semi-comedic viewpoint a cheerleader and her meth-addicted boyfriend.
The images in the photographic series are not meant to illustrate either text. Rather, these bodies of work exist in tandem intertextual universes. The original suite of 43 images was commissioned by the UCSD Division of Arts and Humanities and curated by Fabian Cereijido. Raskolnikov has also been presented at LUI Velasquez, Tijuana and shown in part at Barnsdall Gallery, LA.
The cheerleader is an undeniably American symbol. Since the girls wrestled the organized 'yell squad' out of its all-male origins in 1923, women in matching short skirts have served as cultural icons in camps as disparate as School Spirit and Hetero-normativity. I 'came out' as a former cheerleader with a documentary series about the squad of my alma matter in 2003. Since then, I have continued to investigate the multiple significations of the cheerleader in various projects.
Raskolnikov is the first of these investigations that uses my own cultural artifact -- all the bodies in Raskolnikov are wearing my high school cheerleading uniform (a vintage of the late 80s variety) to enact a conflation of Crime and Punishment and my novella Granite, which retells Dostoevsky's novel from the semi-comedic viewpoint a cheerleader and her meth-addicted boyfriend.
The images in the photographic series are not meant to illustrate either text. Rather, these bodies of work exist in tandem intertextual universes. The original suite of 43 images was commissioned by the UCSD Division of Arts and Humanities and curated by Fabian Cereijido. Raskolnikov has also been presented at LUI Velasquez, Tijuana and shown in part at Barnsdall Gallery, LA.
The cheerleader is an undeniably American symbol. Since the girls wrestled the organized 'yell squad' out of its all-male origins in 1923, women in matching short skirts have served as cultural icons in camps as disparate as School Spirit and Hetero-normativity. I 'came out' as a former cheerleader with a documentary series about the squad of my alma matter in 2003. Since then, I have continued to investigate the multiple significations of the cheerleader in various projects.
Raskolnikov is the first of these investigations that uses my own cultural artifact -- all the bodies in Raskolnikov are wearing my high school cheerleading uniform (a vintage of the late 80s variety) to enact a conflation of Crime and Punishment and my novella Granite, which retells Dostoevsky's novel from the semi-comedic viewpoint a cheerleader and her meth-addicted boyfriend.
The images in the photographic series are not meant to illustrate either text. Rather, these bodies of work exist in tandem intertextual universes. The original suite of 43 images was commissioned by the UCSD Division of Arts and Humanities and curated by Fabian Cereijido. Raskolnikov has also been presented at LUI Velasquez, Tijuana and shown in part at Barnsdall Gallery, LA.
The cheerleader is an undeniably American symbol. Since the girls wrestled the organized 'yell squad' out of its all-male origins in 1923, women in matching short skirts have served as cultural icons in camps as disparate as School Spirit and Hetero-normativity. I 'came out' as a former cheerleader with a documentary series about the squad of my alma matter in 2003. Since then, I have continued to investigate the multiple significations of the cheerleader in various projects.
Raskolnikov is the first of these investigations that uses my own cultural artifact -- all the bodies in Raskolnikov are wearing my high school cheerleading uniform (a vintage of the late 80s variety) to enact a conflation of Crime and Punishment and my novella Granite, which retells Dostoevsky's novel from the semi-comedic viewpoint a cheerleader and her meth-addicted boyfriend.
The images in the photographic series are not meant to illustrate either text. Rather, these bodies of work exist in tandem intertextual universes. The original suite of 43 images was commissioned by the UCSD Division of Arts and Humanities and curated by Fabian Cereijido. Raskolnikov has also been presented at LUI Velasquez, Tijuana and shown in part at Barnsdall Gallery, LA.
The cheerleader is an undeniably American symbol. Since the girls wrestled the organized 'yell squad' out of its all-male origins in 1923, women in matching short skirts have served as cultural icons in camps as disparate as School Spirit and Hetero-normativity. I 'came out' as a former cheerleader with a documentary series about the squad of my alma matter in 2003. Since then, I have continued to investigate the multiple significations of the cheerleader in various projects.
Raskolnikov is the first of these investigations that uses my own cultural artifact -- all the bodies in Raskolnikov are wearing my high school cheerleading uniform (a vintage of the late 80s variety) to enact a conflation of Crime and Punishment and my novella Granite, which retells Dostoevsky's novel from the semi-comedic viewpoint a cheerleader and her meth-addicted boyfriend.
The images in the photographic series are not meant to illustrate either text. Rather, these bodies of work exist in tandem intertextual universes. The original suite of 43 images was commissioned by the UCSD Division of Arts and Humanities and curated by Fabian Cereijido. Raskolnikov has also been presented at LUI Velasquez, Tijuana and shown in part at Barnsdall Gallery, LA.
The cheerleader is an undeniably American symbol. Since the girls wrestled the organized 'yell squad' out of its all-male origins in 1923, women in matching short skirts have served as cultural icons in camps as disparate as School Spirit and Hetero-normativity. I 'came out' as a former cheerleader with a documentary series about the squad of my alma matter in 2003. Since then, I have continued to investigate the multiple significations of the cheerleader in various projects.
Raskolnikov is the first of these investigations that uses my own cultural artifact -- all the bodies in Raskolnikov are wearing my high school cheerleading uniform (a vintage of the late 80s variety) to enact a conflation of Crime and Punishment and my novella Granite, which retells Dostoevsky's novel from the semi-comedic viewpoint a cheerleader and her meth-addicted boyfriend.
The images in the photographic series are not meant to illustrate either text. Rather, these bodies of work exist in tandem intertextual universes. The original suite of 43 images was commissioned by the UCSD Division of Arts and Humanities and curated by Fabian Cereijido. Raskolnikov has also been presented at LUI Velasquez, Tijuana and shown in part at Barnsdall Gallery, LA.
The cheerleader is an undeniably American symbol. Since the girls wrestled the organized 'yell squad' out of its all-male origins in 1923, women in matching short skirts have served as cultural icons in camps as disparate as School Spirit and Hetero-normativity. I 'came out' as a former cheerleader with a documentary series about the squad of my alma matter in 2003. Since then, I have continued to investigate the multiple significations of the cheerleader in various projects.
Raskolnikov is the first of these investigations that uses my own cultural artifact -- all the bodies in Raskolnikov are wearing my high school cheerleading uniform (a vintage of the late 80s variety) to enact a conflation of Crime and Punishment and my novella Granite, which retells Dostoevsky's novel from the semi-comedic viewpoint a cheerleader and her meth-addicted boyfriend.
The images in the photographic series are not meant to illustrate either text. Rather, these bodies of work exist in tandem intertextual universes. The original suite of 43 images was commissioned by the UCSD Division of Arts and Humanities and curated by Fabian Cereijido. Raskolnikov has also been presented at LUI Velasquez, Tijuana and shown in part at Barnsdall Gallery, LA.
The cheerleader is an undeniably American symbol. Since the girls wrestled the organized 'yell squad' out of its all-male origins in 1923, women in matching short skirts have served as cultural icons in camps as disparate as School Spirit and Hetero-normativity. I 'came out' as a former cheerleader with a documentary series about the squad of my alma matter in 2003. Since then, I have continued to investigate the multiple significations of the cheerleader in various projects.
Raskolnikov is the first of these investigations that uses my own cultural artifact -- all the bodies in Raskolnikov are wearing my high school cheerleading uniform (a vintage of the late 80s variety) to enact a conflation of Crime and Punishment and my novella Granite, which retells Dostoevsky's novel from the semi-comedic viewpoint a cheerleader and her meth-addicted boyfriend.
The images in the photographic series are not meant to illustrate either text. Rather, these bodies of work exist in tandem intertextual universes. The original suite of 43 images was commissioned by the UCSD Division of Arts and Humanities and curated by Fabian Cereijido. Raskolnikov has also been presented at LUI Velasquez, Tijuana and shown in part at Barnsdall Gallery, LA.
The cheerleader is an undeniably American symbol. Since the girls wrestled the organized 'yell squad' out of its all-male origins in 1923, women in matching short skirts have served as cultural icons in camps as disparate as School Spirit and Hetero-normativity. I 'came out' as a former cheerleader with a documentary series about the squad of my alma matter in 2003. Since then, I have continued to investigate the multiple significations of the cheerleader in various projects.
Raskolnikov is the first of these investigations that uses my own cultural artifact -- all the bodies in Raskolnikov are wearing my high school cheerleading uniform (a vintage of the late 80s variety) to enact a conflation of Crime and Punishment and my novella Granite, which retells Dostoevsky's novel from the semi-comedic viewpoint a cheerleader and her meth-addicted boyfriend.
The images in the photographic series are not meant to illustrate either text. Rather, these bodies of work exist in tandem intertextual universes. The original suite of 43 images was commissioned by the UCSD Division of Arts and Humanities and curated by Fabian Cereijido. Raskolnikov has also been presented at LUI Velasquez, Tijuana and shown in part at Barnsdall Gallery, LA.
The cheerleader is an undeniably American symbol. Since the girls wrestled the organized 'yell squad' out of its all-male origins in 1923, women in matching short skirts have served as cultural icons in camps as disparate as School Spirit and Hetero-normativity. I 'came out' as a former cheerleader with a documentary series about the squad of my alma matter in 2003. Since then, I have continued to investigate the multiple significations of the cheerleader in various projects.
Raskolnikov is the first of these investigations that uses my own cultural artifact -- all the bodies in Raskolnikov are wearing my high school cheerleading uniform (a vintage of the late 80s variety) to enact a conflation of Crime and Punishment and my novella Granite, which retells Dostoevsky's novel from the semi-comedic viewpoint a cheerleader and her meth-addicted boyfriend.
The images in the photographic series are not meant to illustrate either text. Rather, these bodies of work exist in tandem intertextual universes. The original suite of 43 images was commissioned by the UCSD Division of Arts and Humanities and curated by Fabian Cereijido. Raskolnikov has also been presented at LUI Velasquez, Tijuana and shown in part at Barnsdall Gallery, LA.
The cheerleader is an undeniably American symbol. Since the girls wrestled the organized 'yell squad' out of its all-male origins in 1923, women in matching short skirts have served as cultural icons in camps as disparate as School Spirit and Hetero-normativity. I 'came out' as a former cheerleader with a documentary series about the squad of my alma matter in 2003. Since then, I have continued to investigate the multiple significations of the cheerleader in various projects.
Raskolnikov is the first of these investigations that uses my own cultural artifact -- all the bodies in Raskolnikov are wearing my high school cheerleading uniform (a vintage of the late 80s variety) to enact a conflation of Crime and Punishment and my novella Granite, which retells Dostoevsky's novel from the semi-comedic viewpoint a cheerleader and her meth-addicted boyfriend.
The images in the photographic series are not meant to illustrate either text. Rather, these bodies of work exist in tandem intertextual universes. The original suite of 43 images was commissioned by the UCSD Division of Arts and Humanities and curated by Fabian Cereijido. Raskolnikov has also been presented at LUI Velasquez, Tijuana and shown in part at Barnsdall Gallery, LA.
The cheerleader is an undeniably American symbol. Since the girls wrestled the organized 'yell squad' out of its all-male origins in 1923, women in matching short skirts have served as cultural icons in camps as disparate as School Spirit and Hetero-normativity. I 'came out' as a former cheerleader with a documentary series about the squad of my alma matter in 2003. Since then, I have continued to investigate the multiple significations of the cheerleader in various projects.
Raskolnikov is the first of these investigations that uses my own cultural artifact -- all the bodies in Raskolnikov are wearing my high school cheerleading uniform (a vintage of the late 80s variety) to enact a conflation of Crime and Punishment and my novella Granite, which retells Dostoevsky's novel from the semi-comedic viewpoint a cheerleader and her meth-addicted boyfriend.
The images in the photographic series are not meant to illustrate either text. Rather, these bodies of work exist in tandem intertextual universes. The original suite of 43 images was commissioned by the UCSD Division of Arts and Humanities and curated by Fabian Cereijido. Raskolnikov has also been presented at LUI Velasquez, Tijuana and shown in part at Barnsdall Gallery, LA.
The cheerleader is an undeniably American symbol. Since the girls wrestled the organized 'yell squad' out of its all-male origins in 1923, women in matching short skirts have served as cultural icons in camps as disparate as School Spirit and Hetero-normativity. I 'came out' as a former cheerleader with a documentary series about the squad of my alma matter in 2003. Since then, I have continued to investigate the multiple significations of the cheerleader in various projects.
Raskolnikov is the first of these investigations that uses my own cultural artifact -- all the bodies in Raskolnikov are wearing my high school cheerleading uniform (a vintage of the late 80s variety) to enact a conflation of Crime and Punishment and my novella Granite, which retells Dostoevsky's novel from the semi-comedic viewpoint a cheerleader and her meth-addicted boyfriend.
The images in the photographic series are not meant to illustrate either text. Rather, these bodies of work exist in tandem intertextual universes. The original suite of 43 images was commissioned by the UCSD Division of Arts and Humanities and curated by Fabian Cereijido. Raskolnikov has also been presented at LUI Velasquez, Tijuana and shown in part at Barnsdall Gallery, LA.
The cheerleader is an undeniably American symbol. Since the girls wrestled the organized 'yell squad' out of its all-male origins in 1923, women in matching short skirts have served as cultural icons in camps as disparate as School Spirit and Hetero-normativity. I 'came out' as a former cheerleader with a documentary series about the squad of my alma matter in 2003. Since then, I have continued to investigate the multiple significations of the cheerleader in various projects.
Raskolnikov is the first of these investigations that uses my own cultural artifact -- all the bodies in Raskolnikov are wearing my high school cheerleading uniform (a vintage of the late 80s variety) to enact a conflation of Crime and Punishment and my novella Granite, which retells Dostoevsky's novel from the semi-comedic viewpoint a cheerleader and her meth-addicted boyfriend.
The images in the photographic series are not meant to illustrate either text. Rather, these bodies of work exist in tandem intertextual universes. The original suite of 43 images was commissioned by the UCSD Division of Arts and Humanities and curated by Fabian Cereijido. Raskolnikov has also been presented at LUI Velasquez, Tijuana and shown in part at Barnsdall Gallery, LA.
The cheerleader is an undeniably American symbol. Since the girls wrestled the organized 'yell squad' out of its all-male origins in 1923, women in matching short skirts have served as cultural icons in camps as disparate as School Spirit and Hetero-normativity. I 'came out' as a former cheerleader with a documentary series about the squad of my alma matter in 2003. Since then, I have continued to investigate the multiple significations of the cheerleader in various projects.
Raskolnikov is the first of these investigations that uses my own cultural artifact -- all the bodies in Raskolnikov are wearing my high school cheerleading uniform (a vintage of the late 80s variety) to enact a conflation of Crime and Punishment and my novella Granite, which retells Dostoevsky's novel from the semi-comedic viewpoint a cheerleader and her meth-addicted boyfriend.
The images in the photographic series are not meant to illustrate either text. Rather, these bodies of work exist in tandem intertextual universes. The original suite of 43 images was commissioned by the UCSD Division of Arts and Humanities and curated by Fabian Cereijido. Raskolnikov has also been presented at LUI Velasquez, Tijuana and shown in part at Barnsdall Gallery, LA.
The cheerleader is an undeniably American symbol. Since the girls wrestled the organized 'yell squad' out of its all-male origins in 1923, women in matching short skirts have served as cultural icons in camps as disparate as School Spirit and Hetero-normativity. I 'came out' as a former cheerleader with a documentary series about the squad of my alma matter in 2003. Since then, I have continued to investigate the multiple significations of the cheerleader in various projects.
Raskolnikov is the first of these investigations that uses my own cultural artifact -- all the bodies in Raskolnikov are wearing my high school cheerleading uniform (a vintage of the late 80s variety) to enact a conflation of Crime and Punishment and my novella Granite, which retells Dostoevsky's novel from the semi-comedic viewpoint a cheerleader and her meth-addicted boyfriend.
The images in the photographic series are not meant to illustrate either text. Rather, these bodies of work exist in tandem intertextual universes. The original suite of 43 images was commissioned by the UCSD Division of Arts and Humanities and curated by Fabian Cereijido. Raskolnikov has also been presented at LUI Velasquez, Tijuana and shown in part at Barnsdall Gallery, LA.
The cheerleader is an undeniably American symbol. Since the girls wrestled the organized 'yell squad' out of its all-male origins in 1923, women in matching short skirts have served as cultural icons in camps as disparate as School Spirit and Hetero-normativity. I 'came out' as a former cheerleader with a documentary series about the squad of my alma matter in 2003. Since then, I have continued to investigate the multiple significations of the cheerleader in various projects.
Raskolnikov is the first of these investigations that uses my own cultural artifact -- all the bodies in Raskolnikov are wearing my high school cheerleading uniform (a vintage of the late 80s variety) to enact a conflation of Crime and Punishment and my novella Granite, which retells Dostoevsky's novel from the semi-comedic viewpoint a cheerleader and her meth-addicted boyfriend.
The images in the photographic series are not meant to illustrate either text. Rather, these bodies of work exist in tandem intertextual universes. The original suite of 43 images was commissioned by the UCSD Division of Arts and Humanities and curated by Fabian Cereijido. Raskolnikov has also been presented at LUI Velasquez, Tijuana and shown in part at Barnsdall Gallery, LA.