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WEEK 17 / COOKING SHOW WITH GUESTS ELENA DORFMAN︎︎︎ AND ALLISON DE FREN︎︎︎
Recipe and photograph by Nicole of Heal Me Delicious︎︎︎︎
Peppermint Patty Cupcakes
Recipe and photograph by Nicole of Heal Me Delicious︎︎︎︎
[ IMAGE DESCRIPTION: A closeup shot of a peppermint patty cupcake with a bite taken out of it. The cupcake is dark brown carob with a white coconut peppermint filling, and has light brown carob icing piled on top of it. Underneath the cupcake is an opened white cupcake wrapper. The cupcake is centered in the photo and there are three identical cupcakes on a tray in the background, which are out of focus. They all sit atop a bright white counter. ︎︎ heart symbol ]
Photograph by Elena Dorfman
[ IMAGE DESCRIPTION: A photograph of Elena Dorfman. She is a white woman with dark hair who is wearing sunglasses, a black shirt, a blue jacket, jeans, and sneakers. She is standing in front of the exterior wall of a building with her hands in her pockets. The sun is shining on her at an angle, casting her shadow on the ground. There is also a dramatic triangular shadow cast on the wall behind her. The wall is textured and there is an industrial looking door to her right in the image. ︎ heart symbol ]
A finalist for the BMW Prize, Paris Photo, Elena Dorfman’s photographs and video installations have been exhibited in both the U.S. and worldwide at venues, including the Fondazione Prada, Milan; Palazzo Strozzi, Florence; the Triennale di Milano, Milan; Walker Art Center, Minneapolis; the San Francisco Museum of Modern Art, the Williams College Museum of Art, Williamstown, and the Centre Canadiean d’Architecture, Montreal. Her work is held in numerous collections including the Denver Art Museum, San Francisco Museum of Modern Art, Cincinnati Art Museum, Palm Springs Art Museum, Newcomb Art Museum of Tulane University, and Bass Art Museum. Her work is the subject of three monographs, “Empire Falling” (Damiani, 2013), “Fandomania: Characters & Cosplay” (Aperture, 2007), “Still Lovers” (Channel, 2005).
Dorfman’s work from “Still Lovers” was the focus of several documentary films and the inspiration for the feature film, “Lars and the Real Girl.”
Photograph by Elena Dorfman
[ IMAGE DESCRIPTION: A photograph of a Zoom between Allison de Fren (who is pictured seated and full-screen) and Elena Dorfman (who is pictured standing behind a tripod in a very small rectangle at the top right of the frame, overlapping the image of Allison). Allison, in the foreground, is tilting her head to the left in the image while looking directly into the camera with her arms outstretched and reaching outside of the frame. She is a white woman with long wavy brown hair wearing glasses, a striped stocking cap and a striped long-sleeved shirt. She is also wearing a face mask with a photograph of her own nose and mouth printed on it. To the right of Allison in the background are closed semi-sheer curtains that allow sun to stream in. To the left are framed photographs hung on a wall above a wooden piece of furniture. The photograph is from Elena’s series, VIS-a-VIS (Our Year In Isolation). ︎ heart symbol ]
Allison de Fren is a media maker/scholar whose research-practice focuses on gender and technology, in general, and artificial women, in particular. Her feature-length documentary The Mechanical Bride (2012) explores the relationship between the science fiction fantasy of creating the perfect woman and the reality of artificial companions in the lovedoll and robotics industries. It features, among other iDollators, Harmony Show Co-Creator, Davecat, along with her co-cooking show guest, photographer Elena Dorfman, and it was narrated by My Living Doll robot (and, more famously, Catwoman), Julie Newmar. Her gynoid-oriented video essays, Fembot in a Red Dress (2015) and Ex Machina: Questioning the Human Machine (2016) screened internationally and were published in [In]Transition Journal of Videographic Film & Moving Image Studies, Hyperrhiz: New Media Cultures Journal, and Fandor Keyframe. Her essay, “The Anatomical Gaze in Tomorrow’s Eve,” which examines a novel published in 1886 (L’Ève Future) in which a fictionalized Thomas Edison builds an artificial woman using technologies that the real Thomas Edison was developing at the time, won the 2010 Science Fiction Research Association Pioneer Award for the best science fiction essay of the year. She received her PhD in the Cinema and Media Studies Department at USC, and she is currently Associate Professor and Chair of the Media Arts & Culture Department at Occidental College in Los Angeles.
[ IMAGE DESCRIPTION: Purple line drawing of a tailor’s bust form ︎ heart symbol ]