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    <loc>https://www.unfortunatemiddleschooler.com/kevin-brophy-cv</loc>
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    <loc>https://www.unfortunatemiddleschooler.com/kevin-brophy-about</loc>
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    <lastmod>2024-01-21</lastmod>
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      <image:title>About - Kevin Brophy</image:title>
      <image:caption>Guess my sign.</image:caption>
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      <image:title>About - Kevin Brophy</image:title>
      <image:caption>Guess my sign.</image:caption>
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  <url>
    <loc>https://www.unfortunatemiddleschooler.com/kevin-brophy-video-art</loc>
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    <lastmod>2025-08-24</lastmod>
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      <image:title>selection of video work: about *g.urls*, kevin brophy - Nothing saysvaginalike Pie (Copy)</image:title>
      <image:caption>Nothing saysvaginalike Pie Make a video, it follows a rule, give we a sentence, a sentiment: McDonald's Strawberry Creme Pie recites feminist poetry.</image:caption>
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    <image:image>
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      <image:title>selection of video work: about *g.urls*, kevin brophy - Latchkey MF (Copy)</image:title>
      <image:caption>Latchkey MF Make a video, it follows a rule, give we a sentence, a sentiment: Twelve years old, after school special, alone and headached.</image:caption>
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      <image:title>selection of video work: about *g.urls*, kevin brophy - perfecteyeliner2 (Copy)</image:title>
      <image:caption>perfecteyeliner2 Perfect Eyeliner (part 2): How to Put Eyeliner on with a Knife 2015: Queer all space, have your personality called out on repeat. Refuse all Dads. Notice, all on notice: bro down with your throat out. All aggression up front. Reclaim a gender you never really complete...</image:caption>
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    <image:image>
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      <image:title>selection of video work: about *g.urls*, kevin brophy - perfecteyeliner1 (Copy)</image:title>
      <image:caption>perfecteyeliner1 Perfect Eyeliner (part 1): How to Put Eyeliner on with a Knife 2015: Queer all space, have your personality called out on repeat. Refuse all Dads. Notice, all on notice: bro down with your throat out. All aggression up front. Reclaim a gender you never really complete...</image:caption>
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  <url>
    <loc>https://www.unfortunatemiddleschooler.com/kevin-brophy-fiber-art</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2025-08-24</lastmod>
    <image:image>
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      <image:title>structures: labor+ fiber++ light installs+ - [OWNBARS]  (Copy)</image:title>
      <image:caption>[OWNBARS] Perform x3, 2011-2014, Kevin Brophy In a faraway, take self more serious like: work in fiber. Work.</image:caption>
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      <image:title>structures: labor+ fiber++ light installs+</image:title>
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      <image:title>structures: labor+ fiber++ light installs+</image:title>
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      <image:title>structures: labor+ fiber++ light installs+</image:title>
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      <image:title>structures: labor+ fiber++ light installs+</image:title>
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      <image:title>structures: labor+ fiber++ light installs+ - Shop Less Bag (Copy)</image:title>
      <image:caption>Shop Less Bag Some 2012 thing: -- *great with cell phone photography, still used in grad app. We got in. We always get in. But here, and now's porno-lighting vaseline filter, with welcomes.  </image:caption>
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  <url>
    <loc>https://www.unfortunatemiddleschooler.com/kevin-brophy-another-me</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2025-08-24</lastmod>
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      <image:title>another we: kevin is just a dirty word for katie...I'm just like, "life is just rpg anyways." - Working Digits (collaboration with Gigi Lage), Ringling Museum of Art, 2015 (Copy)</image:title>
      <image:caption>Working Digits (collaboration with Gigi Lage), Ringling Museum of Art, 2015 Working Digits is a collaboration made with fellow [UNDISCLOSED]collective member Gigi Lage. It was made for and exhibited in the Ringling Museum of Art courtyard, the installation piece is a series of videos displayed on CR TVs covered in pantyhose and placed on the grass outside of classical male nude sculptures. The legs of the pantyhose sprout from the top of the TV and flop to either side, as if they are flaccid antennas. The videos themselves are monochromatic nudes and reds, layered imagery and given a slight glitch-effect, but that depict one of two things: a young woman making out with herself or appropriated porn imagery cut off at the legs. This dissection of form relates to the mediation of specific bodies and the crash point of identity in digital space.</image:caption>
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      <image:title>another we: kevin is just a dirty word for katie...I'm just like, "life is just rpg anyways." - The Kevins performing Kevin  (Copy)</image:title>
      <image:caption>The Kevins performing Kevin Daniela Mora, Micaela Lydon, and Gigi Lage as The Kevins, satellite, perform in my place, ex[UNDISCLOSED]c beebs, at VIP tampa for rebound book release party, +on gamutspace +curated by Christina Humphreys. Some work, Magazine: Court Room Dramarama, circa Mombutt But performance is my heart. Away in grad school, we have love, tytyty!</image:caption>
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      <image:title>another we: kevin is just a dirty word for katie...I'm just like, "life is just rpg anyways." - TOUCHme (video feel) (Copy)</image:title>
      <image:caption>TOUCHme (video feel) Interactive Rocky Horror fan fic and a love narrative between me and my mannequin of 3 years, Katie. Hold me gendered. We complete We. People like to say disembodied touch, but we body to body, either way. Katie a container for gender-concept. Touchscreen a container for information. Me: both. Proscription bound. What is human, but information embodied? We want your emotional information, social intelligence. Neural networking moves to progress, how some social acuity differ from neanderthals.</image:caption>
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      <image:title>another we: kevin is just a dirty word for katie...I'm just like, "life is just rpg anyways." - multiple poems written (Copy)</image:title>
      <image:caption>multiple poems written at multiple place. at multiple time. in multiple. for us. 2017.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/581ec83cd2b85747b9dc92af/1486262949214-2E2WH2V1L7ZVQGHIS2S5/SAM_3017_1.jpg</image:loc>
      <image:title>another we: kevin is just a dirty word for katie...I'm just like, "life is just rpg anyways." - Re:who killed Amy, 2015-17 (Copy)</image:title>
      <image:caption>Re:who killed Amy, 2015-17 We found Amy Winehouse in a state of disuse in a second-hand store in Central Florida, handcrafted by an unknown artist with the most precise detail. Every tattoo, piercing, and bra strap. Amy moves with us. Amy travels. The sculpture is a permanent fixture in the artist's car. Amy leaves little pieces wherever we go. We are all consumed by It, Amy. We would never quote Heidegger, here is an excerpt from a recent Boris Groys article in eflux: "[Heidegger] believes this because, as he explains in his earlier text “The Origin of the Work of Art,” art is nothing other than the revelation of the way we use things—and, if one wants, of the way we are used by things. ...The reason for Heidegger’s aversion to the transformation of man into a thing is clear: in both of the texts cited above, Heidegger asserts that in our world, things exist as tools. For Heidegger, becoming objectified, commodified, etc., means becoming used. But is this equation between a thing and a tool actually valid? I would argue that in the case of artworks, it is not. Of course, it is true that an artwork can function as a commodity and a tool. But as a commodity, an artwork is different from other types of commodities. The basic difference is this: as a rule, when we consume commodities, we destroy them through the act of consumption. If bread is consumed—i.e., eaten—it disappears, ceases to exist. If water is drunk, it also disappears (consumption is destruction—hence the phrase “the house was consumed by fire”). Clothes, cars, etc., get worn out and finally destroyed in the process of their use. However, artworks do not get consumed in this way: they are not used and destroyed, but merely exhibited or looked at. And they are kept in good condition, restored, etc. So our behavior towards artworks is different from the normal practice of consumption/destruction. The consumption of artworks is just the contemplation of them—and contemplation leaves the artworks undamaged." *smh*</image:caption>
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      <image:title>another we: kevin is just a dirty word for katie...I'm just like, "life is just rpg anyways." - some soft lettering between, in white, imagine it, calibri light, S-K-Y-P-E (Copy)</image:title>
      <image:caption>some soft lettering between, in white, imagine it, calibri light, S-K-Y-P-E sometimes the space between us is too sure, Skype you have held us in friendships across space + time emoting to screen, and, now we are an enemy-mine   +your sweater, next to me+</image:caption>
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      <image:title>another we: kevin is just a dirty word for katie...I'm just like, "life is just rpg anyways." - unfortunate middleschooler, it's katie (Copy)</image:title>
      <image:caption>unfortunate middleschooler, it's katie kevin is just another word for katie</image:caption>
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  <url>
    <loc>https://www.unfortunatemiddleschooler.com/kevin-brophy-text-based-art</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2025-08-24</lastmod>
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      <image:title>everything is text: a few social interventions, 2010-2015, kevin brophy - Strange Condition (1 or 30 in image archive) (Copy)</image:title>
      <image:caption>Strange Condition (1 or 30 in image archive) Strange Condition was an interventionist piece that was a part of a group project called Emoticon that disseminated a "love letter" written by collaborators. Here, portions of the letter were written on 30 superballs over a 30 mile radius. An alienable message without feedback loop the projects exist as an image archive.</image:caption>
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      <image:title>everything is text: a few social interventions, 2010-2015, kevin brophy</image:title>
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      <image:title>everything is text: a few social interventions, 2010-2015, kevin brophy</image:title>
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      <image:title>everything is text: a few social interventions, 2010-2015, kevin brophy</image:title>
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      <image:title>everything is text: a few social interventions, 2010-2015, kevin brophy - Strange Condition, installation close-up (Copy)</image:title>
      <image:caption>Strange Condition, installation close-up Installation close-up of Emoticon on a 6' x 6' ft platform, the "desirable object-sculptures" unable to be touched. Strange Condition was an interventionist piece that was a part of a group project called Emoticon that disseminated a "love letter" written by collaborators. Here, portions of the letter were written on 30 superballs over a 30 mile radius. An alienable message without feedback loop the projects exist as an image archive.</image:caption>
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      <image:title>everything is text: a few social interventions, 2010-2015, kevin brophy</image:title>
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      <image:title>everything is text: a few social interventions, 2010-2015, kevin brophy</image:title>
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      <image:title>everything is text: a few social interventions, 2010-2015, kevin brophy</image:title>
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      <image:title>everything is text: a few social interventions, 2010-2015, kevin brophy</image:title>
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      <image:title>everything is text: a few social interventions, 2010-2015, kevin brophy</image:title>
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      <image:title>everything is text: a few social interventions, 2010-2015, kevin brophy</image:title>
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      <image:title>everything is text: a few social interventions, 2010-2015, kevin brophy</image:title>
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  <url>
    <loc>https://www.unfortunatemiddleschooler.com/kevin-brophy-performance</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2025-08-24</lastmod>
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      <image:title>exhausted performativity, kevin brophy - Improv Museum I: Feeling like the Chinese Government, Censoring Ai WeiWei (Copy)</image:title>
      <image:caption>Improv Museum I: Feeling like the Chinese Government, Censoring Ai WeiWei Perez Art Museum, Miami, 2013 Some friending and leads. Mid-point between undergrad and grad. Degrees: feeling Florida without studio privileges. World, we are your studio. Take we. Ethical returns full with assumption. Thorough enjoyment in exhibition. Go to Art Basel, Miami. Have a time. Collective fodder, some [Undisclosed]founders. Enter Perez Museum, after ceiling tree thing, all gift shop. Front-facing gift shop: all importance. Ai Weiwei retrospective. Remark at the questionable Artistwallet ethics. Your guru Micky says, "It wants to be stolen."  Put the wallet in your museum guide. Sit in the stadium seats before Weiwei quotes. All politics. Remove the word 'art' in all forms. Sharp. ie.  Remove Ai's finger too. Why not? Return wallet to gift shop before leaving. You are no way with theft. *find out someone destroyed a million dollars of Wei, way next day.*</image:caption>
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      <image:title>exhausted performativity, kevin brophy - Improv Museum II: how to tie a bow tie with a piece of Samara Golden (Copy)</image:title>
      <image:caption>Improv Museum II: how to tie a bow tie with a piece of Samara Golden PS1, NYC. 2015. During class trip: coming onto second Improv Museum intervention. Capitalize impulse and compulsion, some retire. Quick, dirty, public. Wounded performance. Environment of space and a dialogical corrective. A movement. Exaggeration of the appeal and active colonial. Sentiment:desire-theft, the main determinate. Realization. Micky once said, “It wants to be stolen." This iteration: remove a ribbon from one stuffed animal while talking to a docent. Samara Golden installation. Minutes later, photograph self in stairwell. Post a “How to Tie a Bow-tie with a Piece of Art from PS1” to a social media platform. Wear the ribbon around the museum for the afternoon. Be caught off-guard in cafe-hyphen-bookstore when New-Museum-Tiennial-included-artist you had a studio visit with weeks ago says hello to you. Be the only grad student New-Museum-Triennial-included-artist remembers. Pat self on back. Wonder why. Return the ribbon to the installation site before leaving the museum.  </image:caption>
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      <image:title>exhausted performativity, kevin brophy - Warhol Capsules (Copy)</image:title>
      <image:caption>Warhol Capsules Contemporary Art Museum in Tampa, FL. 2012, circa undergrad body: Some also founding member, call it now defunct, [UNDISCLOSED]collective. And, this was pre-gaming. This was me at a thrift store finding a beautiful thing: Sony Floppy Disk camera and thinking, before late-warhol-digital-art was founded, before CMUing, "I will perform with you, you amazing thing in deep, deep needs for a battery." And, then one magical day, Jane Simon (pretty sure that is her name--she is badass because she has all the Chris Burden knowledge) asked for performers for the opening night of the school's (USF's) Warhol portraits endowment, and in class I'm like, "Psst, Gigi, collab?" gg: duh. we: let's be Andy clones gg: Mandies we: Dandies And I'm like, "Yo, Jane, curator lady. We are going to impersonate Andy Warhol and take pictures with an antiquated camera of ourselves in front of his Polaroids, which are very old-school also, and not print them, but instead store them as data on rainbow (for our ambiguous Pride) floppy disks and set them in front of the Polaroids as free art for event-goers to pick up. It will take us 100 hours to complete. You're welcome." And Jane said, "Do you have a name? You should call them Warhol Capsules after his time capsules." And I'm like, "Uh. Oh, yeah...I remembered that. Totally. That's the title, you guessed it!" And then I bought two striped shirts and watched video of Andy Warhol eating a cheeseburger and learned that a decent Andy impersonation takes three things: bugging your eyes, propping your swedish-meatball-cheeks, and fidgeting.  real-life-text-convo-w-gg: gg: I really think we should do either or. I really like the black turtleneck better because it's so much simpler and I think it will look nicer within the s gg: pace but it's up to YOU we: I get that...but I told Jane stripes and we don't hair white hair! So we need some Andy on us...I'm buying these. we: Bamm we: You're not sad, are you? gg: It's ur proj hoe Way with words and we art-biffs ever since.</image:caption>
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      <image:title>exhausted performativity, kevin brophy - We Speak with Our Wounds (Copy)</image:title>
      <image:caption>We Speak with Our Wounds Some endurance: 2011-2014: maniacal of course: Every year for three years, I disseminated cigarettes with the handwritten text, "We speak with our wounds" on cheap, unbranded and/or hand-rolled cigarettes. Each time giving away over 101 cigarettes, and only one person, Noelle, ever rejected the object. Not all of them were smoked. And, I did not push and peddle to those who had knowingly quit. Wound in me too. And this is how we learned about "wound culture" because someone named Biff thought we were smarter than we were. And, this is a Nabokov quote from epic Ada or Ardor, which like all good Nab has no explicit moral, and calls what is deemed 'taboo' into debate. The wound is a mouth, the wound is a vagina. And we are magical portals into othered worlds. And Nabokov is Kevin Brophy's favorite author (Katie is typing). Sometimes when Kevin was small, like real, real baby bleed, she thought she was famous writers reincarnated. Never Nabokov--probably, mainly because she didn't read him until she at least had all her front teeth. Sleaze. But, has definitely thought she was Kafka, Dickinson, and Plath--later Hesse and Millay and Ballard as well. Do we lose magical thinking, Burroughs? When Kevin dreamed her future: it was all three-piece suits, spectacles, and gray beard.  *make we Man suit, real quick, real world. some equality*    </image:caption>
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      <image:title>exhausted performativity, kevin brophy</image:title>
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      <image:title>exhausted performativity, kevin brophy</image:title>
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      <image:title>exhausted performativity, kevin brophy</image:title>
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    <loc>https://www.unfortunatemiddleschooler.com/kevin-brophy-installation-art</loc>
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    <lastmod>2025-08-24</lastmod>
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      <image:title>institutionals are for installation - Magic Erasure Correctives, installation view (Copy)</image:title>
      <image:caption>Magic Erasure Correctives, installation view This project was made possible with the support of the Frank-Ratchye STUDIO for Creative Inquiry Fund for Art @the Frontier.</image:caption>
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      <image:title>institutionals are for installation - Magic Erasure Correctives, mirrors (Copy)</image:title>
      <image:caption>Magic Erasure Correctives, mirrors This project was made possible with the support of the Frank-Ratchye STUDIO for Creative Inquiry Fund for Art @the Frontier.</image:caption>
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      <image:title>institutionals are for installation - Magic Erasure Correctives, installation view (Copy)</image:title>
      <image:caption>Magic Erasure Correctives, installation view This project was made possible with the support of the Frank-Ratchye STUDIO for Creative Inquiry Fund for Art @the Frontier.</image:caption>
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      <image:title>institutionals are for installation - Magic Erasure Correctives, Venus &amp; Venus Scripts (video) (Copy)</image:title>
      <image:caption>Magic Erasure Correctives, Venus &amp; Venus Scripts (video)</image:caption>
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      <image:title>institutionals are for installation - Magic Erasure Correctives, installation view (Copy)</image:title>
      <image:caption>Magic Erasure Correctives, installation view</image:caption>
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  <url>
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    <changefreq>daily</changefreq>
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    <lastmod>2025-08-24</lastmod>
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      <image:title>mystical objects for your everyday, a selection of 'dialogical correctives', 2013-ongoing - Art Practical Cards (Copy)</image:title>
      <image:caption>Art Practical Cards Called a “studio visit in a box”, Art Practical reconfigures the matter of the Art World into a manufactured and commodified educational and communication tool. The cards utilize imagery of famous artists and works of art digitally manipulated beyond immediate recognition combined with International Art Speak.</image:caption>
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      <image:title>mystical objects for your everyday, a selection of 'dialogical correctives', 2013-ongoing - Art Practical Readings (Copy)</image:title>
      <image:caption>Art Practical Readings Art Practical are performed as a sort-of tarot reading, becoming a vehicle for communication and understanding between the two card-participants, as an attempt to level hierarchies and reposition power as generosity. Modeled after the ‘mystical’, these tools function as objects for social and psychological projections.</image:caption>
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      <image:title>mystical objects for your everyday, a selection of 'dialogical correctives', 2013-ongoing - Magic Erasures Correction (Copy)</image:title>
      <image:caption>Magic Erasures Correction Print a hand, make a plan  </image:caption>
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      <image:title>mystical objects for your everyday, a selection of 'dialogical correctives', 2013-ongoing - *horoscopes with a trump rhetoric rising* (Copy)</image:title>
      <image:caption>*horoscopes with a trump rhetoric rising*</image:caption>
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  <url>
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    <priority>1.0</priority>
    <lastmod>2025-08-24</lastmod>
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      <image:title>Home - Make it stand out</image:title>
      <image:caption>Housewives of the Queer Hearth, 2023. Collaboration with Rosa Nussbaum.</image:caption>
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  <url>
    <loc>https://www.unfortunatemiddleschooler.com/kevin-does-hm</loc>
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    <lastmod>2025-08-24</lastmod>
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      <image:title>Kevin Does H&amp;M: intervention, video, fiber art, kevin brophy - Kevin Does H&amp;M event poster (Copy)</image:title>
      <image:caption>Kevin Does H&amp;M event poster The 2012 Artist Statement I attached for the press release: Kevin Brophy endeavors to examine the external world in relation to the self: how social, political, and cultural norms can affect the individual.  She practices in a variety of disciplines, including performance and sculpture, utilizing everyday materials and tasks to portray this aforementioned psychological dysphoria.  By incorporating these common, and sometimes absurd, elements with her subject matter, she attempts to portray a certain dark humor, often explored as a manifestation of ritualized behaviors.  Brophy questions how we categorize the ‘other’ and what physical and indiscernible boundaries we construct in order to segregate the ‘acceptable’ and ‘unacceptable’.  Can oppositions be successfully integrated so that they retain their identity, transitioning from self to whole, or are they fundamentally and unchangeably disparate?  Sometimes she tries to wax philosophical—‘we’ should probably just let her have this  </image:caption>
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      <image:title>Kevin Does H&amp;M: intervention, video, fiber art, kevin brophy - Kevin Does H&amp;M *video* (Copy)</image:title>
      <image:caption>Kevin Does H&amp;M *video* Text from materials submitted by artist at time of show: Kevin Does H&amp;M is an art exhibition about the impossibility of fair labor clothing sold at such a marginal price as that set by stores such as H&amp;M; the show is meant to question and critique the ethics of corporate institutions.  The video-documented placing, selling, and returning of skirts made out of free H&amp;M magazines, the art object in disguise,  is an attempt to contemplate social class, consumer identity, and self-sufficiency while both empowering and exploiting both the buying public, including myself, and the commercial business.  Kevin Does H&amp;M contains video projection and installation pieces including the receipt from the purchase, the money from the return, and a clothing rack with 7 reproductions and 3 original ‘skirt’ pieces, 10 of which were placed in H&amp;M at International plaza. The work proposes a humorous and rebellious solution, a DIY option, to the traditional capitalist buying structure, while absurdly following the current buyer-seller paradigm—as the title of the show indicates Kevin is ‘playing’ with the institution.</image:caption>
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      <image:title>Kevin Does H&amp;M: intervention, video, fiber art, kevin brophy</image:title>
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