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Trying to Understand Desire, type R print from cross-processed slide film, 2002


photographer | performance artist | designer | educator selected works 2019

SPOOKY BOOBS Primary focus: SPOOKY BOOBS is a collaborative and shared art identity of three conceptual artists: Amy Cannestra, Myszka Lewis, and Maggie Snyder. SB’s work visualizes how language is used to dismiss or trivialize women’s experiences or reduce men’s experiences to the status of womens’. Primary mediums: photography, design, performance, installation

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YOU HAVE THE RIGHT TO REMAIN A _________. 99 photographs (performance ephemera), as part of SPOOKY BOOBS 2017-ongoing In the course of the performance, SPOOKY BOOBS officer Amy “arrests” unsuspecting woman of crimes against the patriarchy during this performance. The offender is charged with such crimes as “thinking women are people”. This might cause them to be arrested for being a feminist. Officer Myszka informs the suspect of the processing that will take place. The performance is then passed to me, and I take themugshot. Once the “arrest”

is processed, the performance ends with the SB officer reminding the “criminal” that it is their right to remain thinking women are people, to remain a feminist. THIS PAGE You Have the Right to Remain A ______ 99 mugshots, 18” x 24” digital prints, Crossman Gallery, Whitewater, WI 2019 INSET You Have the Right to Remain A ______ Performance in progress and video documentation Crossman Gallery, Whitewater, WI 2019

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You Have the Right to Remain A Feminist 18” x 24” archival digital print, 2017

You Have the Right to Remain A Pussy 18” x 24” archival digital print, 2017

THE PATTERNS’ VICIOUS INFLUENCE The Patterns’ Vicious Influence is a series of conceptual wallpaper patterns featuring designs that incorporate langauge that marginalizes or dimishes women’s experiences, or diminishes men by equating them with women or women’s bodies. These are words like slut, bitch, cunt, crazy, bossy, etc. 2015 - ongoing

THIS PAGE - ABOVE LEFT: Gallery documentation of various patterns during solo exhibition at the 5 & J Gallery in Lubbock, TX, 2016 BELOW LEFT: Gallery documentation She’s So High Maintenance during the Wisconsin Triennial exhibition at the Madison Museum of Contemporary Art, Madison, WI 2019 RIGHT: Pattern detail of She’s So High Maintenance wallpaper, 2016

Pattern detail of You’re So Sensitive dimensions variable, 2017

Pattern detail of She’s So Aggressive dimensions variable, 2017

THE ABC’s of MISOGYNY The ABC’s of Misogyny adopts the format of early childhood education handwriting worksheets to critique how early in life we learn and internalize sexism, marginalizing language, and gendered constructions of social norms. Blank worksheets are provided to allow the viewer to meditatively engage with sexist language in a private way and reflect on their personal use/misuse/disuse of it in their daily lives. Worksheets are then hung as part of the exhibition. 2019 - ongoing ABOVE LEFT: The ABC’s of Misogyny booklet cover, 2019 ABOVE RIGHT: Documentation detail of workbook pages, performed by viewers in a gallery situation. Whitewater, WI 2019 BELOW LEFT: Documentation of pages in Crossman Gallery, Whitewater, WI, 2019

NON-GENDERED INSULTS GAME/CROTCH! We are currently developing a feminist game called CROTCH! In addition to making work about how language is used to police women’s behavior, we also want to offer a way to promote change in our humorous way. After two years (?) of investigation, research, and failed attempts we can now introduce CROTCH! We named our game CROTCH! because everyone has one. Gameplay revolves around drawing cards with sentences and blank spaces that prompt the player to have to spontaneously create a new insult, where the impulse would be to use a gendered insult. For example, a card might say: “That lady really screwed me over, what a _______!” The person who drew the card would have 2 seconds to come up with a new insult. In addition to cards, there is a central buzzer that players can slap if someone uses a gendered insult, repeats a non-gendered insult, or takes too long to make up a new non-gendered insult during their turn. The game is played in rounds. Once buzzed, players are eliminated from the round. Points are awarded to those who make it through the round. Players can object to an insult, contesting gendered implications, by throwing down an orange penalty card, which each player has two of during the game. Urban Dictionary is the arbiter of the objection. So if someone calls someone a TAINT and there is an objection that this is a gendered word, the first three entries in the Urban Dictionary determine if this is really the case. LEFT: Documentation of game prototype at ALL, Madison, WI 2018 ABOVE RIGHT: Documentation detail of game prototype at ALL, Madison, WI 2018

VIDEO, AUDIO & INSTALLATION Primary focus: storytelling using videos, photographs, motion graphics, and audio. Sometimes forms the basis for social practice work and installation. Primary mediums: video, installation, social practice work

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PAPER LAKE Stills from digital video RT 03’ 11” 2013


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Single-channel video 2009 Satisfaction is a single-channel video piece that explores themes of girlon-girl violence, girl fights, sexual violence and the role women play in perpetuating patriarchal strictures on each other. Starring: Anneliese Charek and Marina Kelly Music: Benny Benassi, Satisfaction

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LEFT TO TWIST Large-scale public video projection installation 2014 MAIN: documentation of projection INSET: digital video still of source video

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I CAN’T FIND MY BODY single-channel video with original audio score, RT 1’53” 2009

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COIN-OP DON’T STOP Stills from digital video collaboration with artist Angela Richardson Coin-Op Don’t Stop was originally created as a video and live storytelling performance. It is now presented as a complete single-channel video about coin-operated laundromats as unqiue spaces that are public, where we perform private rituals with personal objects. 2014


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Performance and installation with live and recorded sound, single-channel video, space, conversation, trauma, processing. 2013 Flying/Falling is an installation where I performed live remixes of the WNYC eyewitness account radio reports recorded during the 9/11 attacks using effects pedals to loop, resample, manipulate, and distort the sound. The installation also consisted of a looping video of a man running through a park with his arms outstretched like a plane. Behind where I sat manipulating the audio was a 3’ x 12’ black and white photograph of a 2002 performance piece I was involved in, protesting the treatment of non-white Americans and foreigners under the Patriot Act in the year following 9/11. When it happened, 9/11 didn’t become real to me until I heard the narratives being broadcast on NPR the day it happened. The images I saw of the planes flying into the buildings seemed surreal. By contrast, as I drove to school with the radio on, I heard the broadcaster’s even voice pitch in hysteria, then break, something all too real in a space that wasn’t normally allowed. The analog looping technology involved in the live remix mimics the human brain’s habit of capturing and replaying trauma over and over again until memories degrade into noise and echoes of feelings that are still painful even though the specific words have been lost. The elements of this installation/performance served as a jumping off point for conversations about how this country has struggled to process 9/11 culturally and emotionally. The installation environment was dark so we could hold space for each other to grieve, process, and express emotions about this event safely.

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ABOVE LEFT: Flying/Falling video still ABOVE INSET: Installation set-up with photographic print on bond paper, speakers, guitar effects pedals, audio from 9/11 radio broadcasts ABOVE RIGHT: Images of viewers listening to the live remix and seeing the video, and discussing their experience of 9/11

PERFORMANCE & SOCIAL PRACTICE Primary focus: visualizing and connecting to community expressions, engaging a gallery audience directly, immediacy, meaning sited in the body of the performer and the body of the viewer, challenging that performance has to be for an audience and directly involve the body of the artist, and employing bodily stand-ins instead. Primary mediums: time, space, relationships,ideas, body, readymade objects, participants, text, language

WHAT DOES HOME LOOK LIKE? Performance and installation at the Madison Childrens Museum Collaboration with artist Jay Ludden 2013 What Does Home Look Like? was performed at the Madison Childrens Museum with museum visitors under the age of 18. The piece explored with children visiting the museum what home meant to them. We conversed and invited the children to draw or write what they thought about home as a concept after we chatted. The performance ended when the museum closed for the day and we attached the childrens’ drawings and writing to helium-filled gold balloons. We used all of this material to then create an installation in the childrens’ craft area that stayed in the museum until the balloons no longer had the helium to remain upright. OPPOSITE PAGE: Children at the Museum participating in creating the installation, responding to the question “What does home look like? THIS PAGE: Collaborator Jay Ludden carries part of the installation through the museum

HIT PIECE Installation and performance with two single-channel video loops, strike mitts, coaching 2014 Hit Piece is a relational meditation on power and violence. In Hit Piece, visitors enter the gallery and encounter a woman holding training pads for martial arts. Two video monitors play loops of fists striking mitts loudly. The woman begins the piece by inviting the viewer to strike the mitts. They are usually tentative. The woman then coaches the viewer in correct technique, giving the viewer more power and control over their capabilities. Once the participant is stiking firmly and correctly, the woman asks the participant to reflect on the notion that everyone is fighting a battle. She then invites them to consider a battle they’ve been fighting and has participants visualize this battle. The woman encourages the participant to use their new striking skills to beat the punching mitts with everything they’ve got, and encourages them to yell and scream while they do so. Emphasis is put on breathing. The two video monitors in the background play video and audio of fists striking mitss. The piece ends when the participant is spent. THIS PAGE:


Leigh hitting the strike mitts Performance documentation

1. Installation view - mitts and monitors


3. Promotional image

Henry hitting the strike mitts Performance documentation

2. Installation view - video

HIT PIECE Installation and performance with two single-channel video loops, strike mitts, coaching, 2014

SORT PIECE Performance with 100s & 1000s, tweezers, conversation 2015 - ongoing Sort Piece is an experiential, relational meditation piece facilitated in a variety of spaces. 3 lbs of brightly colored 100s & 1000s are placed on a level surface surrounded by seating enough for at least four people. Participants are invited to sort the material into homogeneously-colored piles. As participants sort colors, their conscious mind is focused on this task and as their mind relax into the work, participants become very present in the moment. This results in a kind of casual social connection that is open to receive spontaneous sharing of personal stories, memories, and ideas. This kind of gentle, casual shared-experience bonding experience is the gift I’m interested in giving with this piece, offering a space for people to dwell comfortably in the paradox of healthy distraction, and total presence of mind. It is a way to find the humanity of everyone who sits with you in this space. Participants may spend as much time as they like sorting colors. Conversation is allowed to wander where it will or be silent when needed. While images are taken to document this piece, audio is not recorded to protect the aura of the experience. THIS PAGE: Sorting in Gallery 7, Madison, WI Performance documentation 2015 OPPOSITE PAGE - LEFT: Sorting at The Bubbler, Madison, WI Performance documentation 2016

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SORT PIECE Performance with 100s & 1000s, tweezers, conversation 2015 - ongoing

Plucked Strings, 16�x24� archival digital print, 2009

PERFORMANCE FOR CAMERA Primary focus: expression of emotional states through gesture, interaction with objects, creation of loose characters and narrative ambiguity rooted in the shadow self, and generation of abstract photographic images. Primary mediums: performance, photography

UNEMBODIED PERFORMANCES OF VAGUE DOMESTIC UNEASE Snake gourds, fast fashion clothes, domestic spaces 18”x 24” archival digital prints 2018

UNEMBODIED PERFORMANCES OF VAGUE CULTURAL UNEASE Performance for camera with thrifted wedding dresses Photographic series 24”x36” archival digital print 2018

EXPERIMENTAL LOVE LETTER Performance for camera 12” x 28” archival digital print 2007

GESTURE COLLABORATION - LAKE EDGE Performance for camera mimicking forms found along Lake Monona 18” x 24” archival digital prints 2013

GESTURE COLLABORATION - FOUND STUFFED ELEPHANT Performance for still camera 12” x 18” type R print from 6” x 7” film negatives 2005

Berlin, type R print from cross-processed slide film, 2004

PHOTOGRAPHY Primary focus: using film cameras, DSLRS, scanners and digital compositing to illustrate fractured realities and how they feel. Darkroom printing and digital printing Primary mediums: digital and film photography, design, compositing

QUEEN OF THE CIRCULATING LIBRARY Digital photograph 24”x 24” archival digital print 2019

ON THE HALF-SHELL Digital photograph 36”x 24” archival digital print 2019


Reclamation Series - digital photograph 36”x 24” archival digital print 2017


Reclamation Series - digital photograph 24”x 24” archival digital print 2017

As an action-oriented conceptual artist and photographer, Maggie considers all parts of life as material and all spaces as open for artistic intervention. Maggie works in the lineage of the 1960’s and 1970’s American avant garde, employing the language of Happenings, design, assemblage, installation, and performance to explore identity, experience, relationships, connection, seen and unseen forces, power, violence, and natural and man-made spaces. Maggie is an artistic polymath who finds joy in mixing media, utilizing design thinking, and working in the community and in public spaces, to create images, experiences, spaces, films, and art that sometimes functions as a service. Her work is a response to and in conversation with external political and cultural climates, as well as interal emotional climates. Maggie can often be found working in collaboration with other artists to create an expanded experience for the viewer, to create intimate experiences between artists or artist and audience, and to explore new creative frontiers and ideas. Maggie’s most recent and possibly most significant collaboration to date, is her work as a founding member and one-third of the SPOOKY BOOBS, a feminist art collaboration that uses design, performance, and installation to visualize the trivialization of women’s experiences. Maggie’s work has been exhibited in group and solo exhibitions in Germany, Norway, Sweden, and Mexico, as well as in multiple US states. Recent honors include Madison Magazine’s 2018 M List award for Innovation in the Arts and the collection of eight photographs and a wallpaper design in the new St. Kate art hotel’s permanent collection in Milwaukee, WI. For more information, please visit and For professional photography work, please visit or @quicksilverweddingphotography.


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