Browsing by Author "King, Homay, 1972-"

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    Ears wide open: sound and alienation in Tati's "Play time: and Kubrick's "2001: a space odyssey"
    (2008) Travis, Melanie; Castillo Sandoval, Roberto; King, Homay, 1972-
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    “The Child’s Sex Could Not Be Solved” Gender Transcendence and the Medicalized Trans Body in the Work of Greer Lankton
    (2017) Quinn, Deirdre; King, Homay, 1972-
    My first encounter with Greer Lankton and her work occurred in January of 2016, while my mother and I were visiting my sister, who was living in Pittsburgh at the time. During this trip, the three of us paid a visit to the Mattress Factory, the museum in Pittsburgh in which Lankton’s It’s All About ME, Not You is installed. I had never heard of Lankton, nor seen any of her works, digitally or otherwise. When I stumbled upon It’s All About ME, Not You, I was quite enthralled by the distinctive appearance of Lankton’s dolls, simultaneously grotesque and beautiful. After several moments of looking, I was struck with something beyond mere interest and more like fear as I began to understand the contents of the installation more deeply. This visit to the Mattress Factory occurred at a critical moment for me; I was about four and a half months into my social transition and a month and a half into my medical transition, and only the day before I had ended a rushed, embarrassingly over-publicized, week-long attempt at going by a new name. This is to say that in this early-transition stage I was feeling overwhelmed and bewildered by the daunting path ahead of me, and it had come to a boiling point, less than twenty-four hours before my initial exposure to Greer Lankton’s work, with the realization that I had pressured myself to make a decision about my name much too quickly. In this emotional state, Lankton’s work at the Mattress Factory felt like a warning, a vision of what it would look like if many of the fears I had for myself came true. All of this was made especially more potent by the resemblance between Lankton and myself—both of us tall, too thin, pale, and blonde. I left the installation feeling haunted—and it is this lingering impression which has driven me to use this thesis as an opportunity to investigate Lankton and reveal what her work can teach the world as gender expands rapidly to new horizons in the present moment.