Allison Noelle Conner

1 month ago | momus.ca | Allison Noelle Conner

For the past few weeks, I’ve been mulling over an image from a single-channel video by interdisciplinary artist María Magdalena Campos-Pons. In Baño Sagrado (Rite of Initiation, Sacred Bath) (1991), an extreme close-up of a bare stomach, brown and downy, occupies most of the wall it is projected onto. Soil scatters across its surface and a single root seems to be growing from the figure’s navel, creating a visual rhyme between skin and earth.

Oct 17, 2024 | momus.ca | Allison Noelle Conner |KCET’s Artbound

The whirring motor sound emanates from an unusual contraption. A linear aluminum-rail system is attached to the wall, a vertical glint of silver adrift in an expanse of white. From this structure flows long, draping wires connected to what looks like a makeshift circuit-breaker box. Another wire creeps up the length of the wall. And affixed to the right side of the aluminum rail is a severed, animatronic arm, a Frankenstein’s monster–like grotesquerie of Arduino hardware and other machinery.

Oct 17, 2024 | momus.ca | Allison Noelle Conner |KCET’s Artbound

The whirring motor sound emanates from an unusual contraption. A linear aluminum-rail system is attached to the wall, a vertical glint of silver adrift…

Oct 13, 2024 | latimes.com | Allison Noelle Conner

The first wig is inspired by the celestial bodies, by the stars. I’m on this continuous journey discussing our connection to the stars and heavenly mates. Living in the inner city in L.A., there’s smog, light pollution, sound pollution; we’re towered by these skyscrapers and all these street lights — our access to seeing the stars is blanketed. I wanted to highlight how powerful our connection is to the stars. There’s a deeper side to that story, tied into my spiritual practice, Ifá.

Oct 20, 2023 | pbssocal.org | Allison Noelle Conner |George B. Sánchez-Tello |Cynthia Rebolledo |SenYon Kelly

In 1968, the demographics of the film program at the University of California, Los Angeles (UCLA) began to shift to reflect the cultural realities of the city. Following the Watts Uprising, student organizers pushed for affirmative action policies to increase enrollment of students of color in the film program, leading to the launch of the university's "Ethno-Communications" program.