DaCNet: Day 2

By Katie Clary

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Day 2 of the Death and Culture Network Conference opened with, “Corpses in Cabinets,” my own panel, which included fantastic women scholars from around the world, but also from my home state!

Imagine my surprise when I realized the first speaker, Melissa Schrift, was from East Tennessee State University, close to my hometown. How cool to travel all the way to England to meet someone from home who is doing super cool, and in some ways similar work, to my own. Melissa spoke on, “Race, bodies and spectacle in 19th century living exhibitions,” which was exciting for me, since a large part of my dissertation and previous work was on freakshows and exhibitions of people with disabilities or difference. One of her case studies was that of Charles Byrne, “The Irish Giant,” whose body is still on display and causing controversy at the Hunterian in London. I spoke next on human remains in museums, then Jenny Bergman and Kicki Eldh presented “Death –a concern?” about human remains in Swedish museums.

20180907_104231-e1543164410793.jpgLast, but certainly not least, curators Katherine Baxter and Ruth Martin from Leeds Museums and Galleries presented, “Displaying the dead: public reactions to human skeletons in museums.” They shared the museum’s human remains policy as well as photography policies. Leeds Museums have also integrated these big questions of museums displaying and photographing the dead into their exhibitions to involve the museum stakeholders and visitors in the process. I really want to visit the Leeds Museums and want to chat more with Katherine and Ruth on their work.

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I am not exaggerating when I say this conference was basically made for me. The next session I attended was “Bodies on View,” which included a paper on TLC and other television programming (which I’ve written about before as the modern freakshow) and reliquaries and “bone churches.”

First up, Agata Korecka tackled “Death, dying and light entertainment” through medical reality television. Shows in the UK like Embarassing Bodies, or US-based shows like My 600 Pound Life, and a variety of other programs depict people with medical issues for entertainment or education. Sometimes, the subjects of those shows die, such as in the case of Robert Buchel, who died soon after filming. Korecka examined public reactions to the show during the airing, and then after the announcement of his death during the program. Kelsey Perreault ended the session with, “The Church of Bones and the human rights of the dead.” She explored a church in that displays the bones of various individuals in patterns across the chapel, and the treatment of these bones as a dark tourist destination. One audience question was about the gift shop offerings and commodification of the dead. Perreault also addressed questions about “protecting the dignity of the dead.”

20180907_161715My last session of the day was “Digital Reimaginings” with Kelly Richards and Matt Coward. Kelly did an amazing job discussing “Reimagining the personification of Death in popular culture” with a talk that included comics, movies, and other popular culture and their depictions of death. Her multimedia presentation included some fantastic video clips (Bill and Ted! Mighty Boosh!!) and she even finished the session with a great rebuttal of some quite strange questions. Matt ended the conference with a bang, discussing death and video games. I learned about some new games I want to play (Graveyard Keeper!) and now have a different perspective of seeing death spaces in video games, as well (not cool to ransack graves, God of War).

And just like that, DaCNet 2 was done. I hope to see a lot of the same folks at the 14th International Conference on the Social Context of Death, Dying and Disposal in Bath this September. Until then…

DaCNet Conference: Day 1

By Katie Clary

img_8ac6ph.jpgNight 1 of the conference I headed over to a pub for games and introductions to the DaCNet crew. I knew I was in the right place when I walked in and heard people asking, “Are you here for death??”  I met all kinds of people from all over the world working broadly with death; Maggie, a doula and activist from the Bay area, Ruth from York who studies sociological aspects of death and criminology, Janieke from the Netherlands who studies funereal music… and so many more.

The next morning, I was excited to head over to University of York for the conference. My only complaint about this conference, and I’m not sure how it could be fixed and it is really a positive, is that there were so many great papers in each session. I wanted to try to hop from room to room for different papers in different sessions, but rooms were always packed (yay!) and it wasn’t really feasible. That said here are some highlights from Day 1:

20180906_115908.jpgHeather Conway and Ruth Penfold-Mounce, “The evil dead: the law and disposing of the criminal corpse.”

Wow. Something I had never given much thought, but now I can’t stop thinking about it! Who cares for the criminal dead, such as Ian Brady or the Manchester concert bomber? The morgue that took their remains has been dubbed “Monster Morgue.”  Similar to this talk was, “(Dis)posing of monsters: justice and the ‘inhuman’ dead” by Daniel Robins and Rosie Smith. I’m still thinking through these issues and trying to decide what rights the dead have, and if those supersede those of the living. Best example: Ian Brady (who murdered children and buried them on the moors) wanted his ashes spread across those same moors; he was denied and instead his ashes were buried at sea, at night, and in secret. So thought-provoking!

tess-margollesJulia Banwell’s, “Echoes of the absent: Teresa Margolles’ work with afterlives of bodies, objects and spaces.”

Another one that has really stuck with me: Art and the dead. Artist Teresa Margolles has some great work addressing. Some of her best-known work is the details of murder victims of the cartels on marquees in Mexican towns and cities. The only thing I learned in this conference that truly bothered me was the piece, En El Aire (In the Air) (2003) which was a room filled with water vapor… from the water used to wash corpses at a morgue. Read more about her work here.

Claire Wood’s “Ordering meaning in the Victorian memorial card”

Wood looked in depth at these wonderful primary sources used to commemorate the dead. They are beautiful pieces of art, too! Last, Helen Frisby presented on, “Representing gravediggers in nineteenth and twentieth century popular culture” which included some great references to popular culture gravediggers.

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Our evening concluded with a keynote address from Joanna Burke titled, “Carved into the body: forensic science, truth, and the female corpse.” Professor Burke talked about the gendered nature of death and forensics through the story of one of the early forensic mannequins used for training in England. From there, we were treated to a reception and dinner, which included a book launch and celebration by Emerald Publishing’s Death Studies series. Congrats to the new authors! I walked back to the guesthouse, excited for day 2 of DacNet and my own presentation in the morning…

Death and Culture Network 2018: A Review

DacNet UOY RHAlignLast September I had the opportunity to present a paper on Bodies and Display for the Death and Culture II conference at the University of York in the United Kingdom. This was a fantastic opportunity to bring that research to an international audience. While in the UK, I also visited several London and York museums, met with other amazing #DeathStudies scholars, and did some good research for my book, What Remains.

IMG_mh7wdbAccording to the DaCNet website, “The Death and Culture Network based at the University of York seeks to explore and understand cultural responses to mortality. It focuses on the impact of death and the dead on culture, and the way in which they have shaped human behaviour, evidenced through thought, action, production and expression. The network is committed to promoting and producing an inter-disciplinary study of mortality supported by evidence and framed by theoretical engagement.” This is a true interdisciplinary work of genius, and a fun group of people to meet and collaborate with for sure.

I can not emphasize enough how much I enjoyed this conference and the other presentations and discussions held formally and informally. I will explore those in future blogs in more detail.

IMG_20180907_102201_205In my presentation I explored the legacy of freakshows and cabinets of curiosities on the current guidelines and ethics of museums in regard to the display of human remains. Topics I am brought up included: ethics, public reactions, and responsibilities of public historians with regards to the display and exhibition of human remains. I also presented on the racial, ableist, and class implications of displaying human remains in natural history, history, and medical museums. I also mentioned cultural patrimony of objects, as well as human remains as museum objects. I posed many questions in my talk about how old do human remains have to be to be considered “objects” and no longer people? How do visitors react to various human remains on display, from mummies, to Victorian hair wreath memorials, to skeletons or cremated remains? Human remains have been a part of exhibitions since the first museums opened in various forms; from the case of Sarah Baartman and nineteenth century freak shows, to modern displays of mummies and medical specimens, the human body has often been a source of emotion, intrigue, and education. Have museums moved beyond the “freakshow,” or are current human remain displays merely an extension of the spectacle of the earliest museum?

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And I got to see Trish!

I had a blast doing this presentation, and I even managed to finish my talk with 4 seconds to spare. The audience and other panel members were so accepting and helpful, and they brought so many insights to my talk. I can’t wait to be back in York in 2020 for DaCIII!

Trauma, Art, Grieving, and Memento Mori

IMG_20190330_142939Our inaugural blog comes from artist Charles Clary, who was kind enough to design our MMM logo. Clary recently won the $12,500 People’s Choice 2D award at the regional art competition ArtFields in South Carolina, as well as the Jury Chosen $2,000 Merit Award for his piece “Memento Morididdle.” Follow his recent work on his website and his instagram

My work stems from the loss of both my mother and father due to smoking related cancers in February of 2013. Their passing left a deep void in my life that led to my interest in Memento Mori, or the act of coming to terms with ones own mortality. Through this investigation I came to terms with the trauma of my childhood and the lack of memories I actually have.

Trauma is something we all unfortunately share and mine started early in life and continued well into my young adulthood. My parents were unhappily married and divorced when I was in the 5th grade. My father soon abandoned us and my mother turned to alcohol. She became a functioning alcoholic and chain-smoker while my father sunk into severe alcoholism and eventually became homeless. At the same time my mother became an animal hoarder and at the worst point had 15 feral dogs living within our home. I was ruthlessly picked on growing up due to the stench one would associate with the house I was living in and it was hard to make friends. I turned to art and music as a theraputic release from reality not knowing how big a part it would eventually play.

I eventually escaped this life earning my BFA in painting and later my MFA. While I still maintained a relationship with my mother, resentment, anger, and sadness were ever present. After my mother suffered a near fatal heart attack in the summer of 2006 she quite drinking but continued smoking. No matter what was said or how much I pleaded she hung on to that habit, and in 2012 was diagnosed with stage 4 small cell carcinoma. Meanwhile, around the same time, my father was diagnosed with mouth, throat, and esophageal cancer due to his smoking. It was a long ugly battle for both of them, and on February 16, 2013, my mother lost her battle with cancer; two weeks later so did my father.

How does one come to terms with losing one parent let alone two in such a short period of time? Granted they were’t the poster children for great parenting, but they were my parents. The loss was severe and overwhelming to say the least. I stopped making art for a time and battled alcohol myself as a poor coping mechanism. But eventually I turned to the thing I knew best, the surrogate that nurtured me in my darkest childhood days: my artwork. I began to contemplate memento mori and memento vivere / remember you will die / remember to live. Little did I know that this would become the impetus behind several bodies of work that continue today.

I began to think alot about my childhood, and as I did I realized how little memory I had. This was un-nerving to say the least. It was difficult to remember happy moments or even traumatic ones, though those stood out more prevalent than any other. This is when I stumbled into my discarded frames work. Frames usually encapsulate a cherished moment of elation and celebration. I was somewhat unfamiliar with this idea because we never really took many photos so there isnt much documentation of my growing up. I always found family photos a bit odd because they seemed like posed moments stuck in time. I was more drawn to the moments we dont see the things we hide away in dark corners to never be spoken of. These traumas or “beautiful scars” as I like to call them, are to be remembered, more so than the posed moments. These instances force us to make decisions, to take the right rather than the left, to push beyond what we think we are capable of and more often than not make us stronger and more resilient.

I began to collect discarded frames from antique stores, and thrift shops. They felt abandoned and forgotten much like my memories and trauma. By incorporating my paper sculptures into these frames they are imbued with new life. Each opening resembles a scar, a wound, or even a disease. They challenge the viewer to face the unfaceable and reflect on the past while reorienting their own personal traumas. They are installed in salon style groupings reflecting on the southern United States home and the collection of memories found in hallways or staircases.

The overwhelming nature of each installation is purposeful as trauma feels like the heaviest of burdens something that time often doesnt heal. But there is a hopefulness with the saturation of color and delicateness of each cut.

Charles Clary was born in 1980 in Morristown, Tennessee. He received his BFA in painting with honors from Middle Tennessee State University and his MFA in painting from the Savannah College of Art and Design. He has shown in exhibitions at Galerie EVOLUTION-Pierre Cardin in Paris, France, Pierogi Gallery and Nancy Margolis Gallery in New York, Spoke art in San Francisco, and museum shows at Mesa Contemporary Art Museum, Gadsten Museum of Art, Currier Museum of Art and Cornell Museum of Art. Clary has been featured in numerous print and Internet interviews including, WIRED magazine (US and UK), Hi Fructose, Beautifuldecay.com, Bluecanavs Magazine, and This Is Colossal, as well as a recent feature in American Craft Magazine. He was also featured in the Art On Paper Art Fair with Kenise Barnes Fine Art in 2014 and with Paradigm Gallery in 2017. He has also been featured in publications including 500 Paper Objects, Paper Works ,Paper Art, Papercraft 2, PUSH: Paper, and The New Twenties.