The Haunted Dollhouses of Diana Thorneycroft

The Haunted Dollhouses of Diana Thorneycroft The Haunted Dollhouses of Diana Thorneycroft --Peter Hodgins The work of Diana Thorneycroft has been controversial, to say the least. She is probably best known and perhaps most notorious for a 1999 site-specific show in Winnipeg titled Monstrance. Playing with the form of a Catholic reliquary called a monstrance that often holds the bones of various saints, Thorneycroft stitched family-type photos under the belly skin of gutted rabbits that she had purchased at a local fine-food store. Her hope was that the images stitched under the rabbits' skin would become clearer as the rabbits decayed and that the work as a whole would become a poignant reflection on the relationship between death, the decaying body, memory, and mourning. Unfortunately for her (or fortunately if you believe the adage that there is no such thing as bad publicity), things did not work out that way. On the technical side, the rabbit skins did not decay as quickly as she expected and so the sombre and phantasmic effect that she hoped to produce fell flat. That technical failure would prove to be the least of her worries, however. Almost immediately, the show united three rather surprising bedfellows in their denunciation http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Jeunesse: Young People, Texts, Cultures University of Winnipeg

The Haunted Dollhouses of Diana Thorneycroft

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Publisher
University of Winnipeg
Copyright
Copyright © University of Winnipeg
ISSN
1920-261X
Publisher site
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Abstract

The Haunted Dollhouses of Diana Thorneycroft --Peter Hodgins The work of Diana Thorneycroft has been controversial, to say the least. She is probably best known and perhaps most notorious for a 1999 site-specific show in Winnipeg titled Monstrance. Playing with the form of a Catholic reliquary called a monstrance that often holds the bones of various saints, Thorneycroft stitched family-type photos under the belly skin of gutted rabbits that she had purchased at a local fine-food store. Her hope was that the images stitched under the rabbits' skin would become clearer as the rabbits decayed and that the work as a whole would become a poignant reflection on the relationship between death, the decaying body, memory, and mourning. Unfortunately for her (or fortunately if you believe the adage that there is no such thing as bad publicity), things did not work out that way. On the technical side, the rabbit skins did not decay as quickly as she expected and so the sombre and phantasmic effect that she hoped to produce fell flat. That technical failure would prove to be the least of her worries, however. Almost immediately, the show united three rather surprising bedfellows in their denunciation

Journal

Jeunesse: Young People, Texts, CulturesUniversity of Winnipeg

Published: Jul 14, 2011

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