Drawing on themes of exuberance, vibrancy, and playfulness in the summer exhibition Alive & Kicking, Maria DiBari brings together a playlist capturing the essence of being unapologetically joyful and alive.
The Alive & Kicking exhibition assembles the work of three contemporary artists known for their punchy, surreal installations. Gladys Nilsson and Catalina Schliebener Muñoz created original works on-site in the gallery, featuring spirited, strange, cartoonish scenes. These are accompanied by Thomas Lanigan-Schmidt’s Mysterium Tremendum (late 1980s), a quasi-autobiographical tale illustrated across 125 aluminum lasagna pans. Through absurdly colorful and playful visuals, the works capture the everyday in its entirety: the sweet, the sour, and the unpredictability of life!
In the spirit of tamed chaos, I took up the challenge of creating a playlist in response to Alive & Kicking, stringing together selections from Lanigan-Schmidt, Nilsson, and Schliebener Muñoz along with songs of my choice. The combined soundtrack creates a musical journey that complements the exhibition and reflects the lives of the artists. To tell their stories I sought out songs that I categorized as upbeat and groovy with vibrant and exaggerated motion, songs by Queer identifying artists, and songs that tell a story of growth and identity utilizing religious motifs.
Art and music live within the same realm of storytelling and expression, prompting vivid imagery bursting with emotion. Before entering the rabbit hole with Wolfgang Mozart, David Bowie, and Chappell Roan, among others, I’d like to introduce our “kicking” artists and their stories, accompanied by their chosen music that lead to this whole production.
Artist Picks: A Personal Touch
I had the pleasure of speaking with Kris Nuzzi (Thomas Lanigan-Schmidt’s assistant), Gladys Nilsson, and Catalina Schliebener Muñoz; I asked the artists to share a few songs they consider to be their favorites or inspiration for their artistry or being as well as a brief explanation of their significance.
Thomas Lanigan-Schmidt
b. 1948; Elizabeth, New Jersey
—————
Mysterium Tremendum, late 1980s
Mixed media including mylar paper, lined
paper, marker, pencil, pen, glitter, and
watercolor on 125 aluminum lasagna trays
Bio: Known for his large-scale yet intricate mixed-media creations, artist Thomas Lanigan-Schmidt infuses his work with lived experiences and with the zest for life as one of the few openly gay artists who participated in the 1969 Stonewall Uprisings.
Selected Songs: Lanigan-Schmidt recommended a number of songs by artists that he believes encompass his mentality and spirit of resilience while reminding him of his journey to where he is today. Here are the highlights:
“Walking in the Rain” by The Ronettes
“It’s so beautiful and covers a lot of ground.”
This song captures the bittersweet emotions and multifaceted experiences reflected in his art as well as the romantic and melancholic tone of the song mirrors his nuanced, layered storytelling. He felt that this song says exactly what it is, naming a lot of names and wrapping it all up just as a story comes to a satisfying end.
“Dancing in the Street” by Martha Reeves & The Vandellas
“Dancing at the Stonewall is what makes the riot happen.”
The song embodies the joy and rebellion central to the Stonewall uprising, much like the spirited defiance in his artworks. He recalls his youthful desire to be a normal teenager, dancing wherever his feet brought him, yet he found that the only safe dance floors were in the homes of close friends.
“Halfway to Paradise” by Tony Orlando
“The title says it all…halfway to what total love could or should be about.”
This song mirrors the longing for acceptance and love that permeates his work.
Lanigan-Schmidt also recommended “The Shoop Shoop Song” by Betty Everet and “Runaround Sue” by Dion which share in the dynamic and upbeat nature of his other selections.
Gladys Nilsson
b. 1940; Chicago, Illinois
—————
Rounding Rosie’s Ring: Dance, You Fools, Dance, 2024
Charcoal, graphite, chalk, marker, wall paint
Bio: Known for her playful and cartoonish art style, Gladys Nilsson’s work is a delightful explosion of color and whimsy using an endless array of materials breathing life into giant forms.
Selected Songs: Nilsson recommended a library’s worth of music, including practically the entire discography of numerous artists such as Willie Nelson, Bob Dillon, Wagner’s Ring Cycle opera, playful Mozart, early Beatles, Fred Astaire, and Mick Jagger’s gritty sound. Nilsson gave me free range of songs by these artists but highlighted a few songs and provided her reasoning.
“Long Tall Sally” by The Beatles
“It reflects the gritty and impactful nature of my artwork.”
The raw energy of early Beatles music parallels the bold, dynamic quality of Nilsson’s art. Within her own art, she wishes to replicate the gut punching feeling a painting that you’ve known and loved for years has when you’ve finally encountered it in person, just “wham.”
Willie Nelson and Bob Dylan
“Their poetic and raw music mirrors the authenticity in my art.”
Both artists’ music captures the spirit of genuine expression and storytelling that Nilsson embodies. It’s “sublime.”
Fred Astaire’s early musical film songs
“I love to listen to his unique voice.”
- Astaire’s playful yet sophisticated style complements Nilsson’s lighthearted while intricately detailed creations. Though recording songs are not his specialty, just as Nilsson had never worked at such a large scale for this exhibition, he brought with it a special pizzazz.
Catalina Schliebener Muñoz
b. 1980; Santiago, Chile
—————
Animales domésticos, 2024
Vinyl cut-outs, polyester, acrylic and synthetic
fabrics, coloring book pages, wall paint
Bio: Catalina Schliebener Muñoz is known for their remixes of recognizable characters (many from Disney) forming fantastical beings that resist easy categorization while being particularly aware of the ways that children’s media can replicate and perpetuate stereotypes.
Selected Songs: Music is a core part of Schliebener Muñoz, and they certainly couldn’t limit their life and inspiration to one song. Instead, they graced me with a handful of music, most with explanations providing a deeper look into their youth and passions as an artist.
“Ship of Fools” and “Always” by Erasure
“‘Ship of Fools’ by Erasure has a really pretty music video by Pierre et Gilles with a pastel pink and aquamarine color palette. And they also did the music video for ‘Always’ by Erasure. Through Erasure, I learned of this other amazing artist (Pierre et Gilles) that I also love, and a lot of my artist references come from music.”
“What?” by Soft Cell
“I love Marc Almond, and this is his first band. I love that ‘What?’ is an upbeat sounding song, but it also has so many emotions about breakup and drama. This has a dancey feel even though it’s about heartbreak, mixing that pain with fun and dancing.”
“Deadbeat Club” by The B-52’s
“A key album from my youth that influenced my art and identity.”
The nostalgic and carefree vibe of the B-52’s mirrors the joyful and introspective elements in Schliebener Muñoz’s work which houses this concept of “other,” the inbetween or outside, a liminal space of sorts. It acts as a club for us to celebrate with each other.
“Shiny Happy People” by R.E.M. and The B-52’s
“All my memories are attached to images and music. I remember being a kid and watching MTV at my best friend’s place. They’d play this video often. I love how gender was really playful. And I love that they’re singing about being happy but there’s a melancholic aspect to their voices.”
This song’s playful take on happiness, with its undercurrent of melancholy, aligns with the nuanced exploration of identity that Schliebener Muñoz focuses on.
“Mis-Shapes” and “The Day After the Revolution” by Pulp
“My last two songs are by Pulp. Pulp was important to me when I was a teenager, and from the age when I really started paying attention to lyrics. Their lyrics are really smart, and they often write about class in a playful way.”
“Mis-Shapes” —
“A manifesto to me when I was younger.”
The song’s lyrics about class and individuality resonate with Schliebener Muñoz’s focus on personal identity and societal roles.
“The Day After the Revolution” —
“spoke to me a lot as I became more aware about economic class and its relationship to accessing certain opportunities”
Author’s Note
To complement their stories with music of my choice, I decided to start with a dramatic build with the help of Wolfgang Mozart, foreshadowing what’s to come through our odyssey, a prolonged revelation. After the comfort and drawn out suspense of the instrumentals subsides, you’re quickly thrown into the deep end with Chappell Roan’s magnetic voice. It’s a little jarring. However, like art, it evokes strong emotions and an array of feelings; this transition prepares you for the exhibition containing work that’s not like anything you’ve seen before with their unusual materials and subjects and live installations. You almost question its acceptance in this location just as Mozart followed by Chappell Roan would typically seem questionable, but she is “your artist’s favorite artist,” after all.
Our journey consists of three phases that work together to write a narrative of unapologetically joyful lives, lived vibrantly and authentically. The gradual build parallels the time it takes to grasp how layered the work in the exhibition is. Just as the playlist takes time to tell its story one song after another, we reach an understanding of the beauty found in the details of individual lives. Our experiences and passions inform our identity and inspire our work. Art is a vehicle of expression and conversation. You could spend hours on end unpacking their art and still find more to learn, nevertheless, for now we can just unravel some highlights of my playlist.
⇒ Phase 1 is nostalgic, representing the
passage of self-discovery, embracing individuality,
and seeking confidence in one’s uniqueness.
The songs in this phase whisper of estrangement
and concern for living outside of expectations,
nevertheless, they are swiftly overcome by the
energetic unpredictability of youth, celebrating
the freedom to explore and define oneself.
⇒ Phase 2 is about living unapologetically,
having found your strut, and inviting others to
join your dance! It reflects the themes of resilience,
community, and celebration of perpetual change.
The songs here are vibrant ,carefree, and mirror
the dynamic and lively nature of life as art;
they’re not trying to be anything in particular
other than an extension of the artists.
⇒ Phase 3 looks forward with optimism and hope. It celebrates dreams, aspirations, and the trek towards a bright future. The songs here are reflective, mystical, and uplifting, resonating with the exhibition’s exploration of self-discovery and transformation. In the final songs, we are left open ended on a more pensive note as our futures remain as unpredictable as ever.
Phase 1: Youth and Identity
“Super Graphic Ultra Modern” by Chappell Roan
Feeling: Energetic, bold, girlhood
Following Mozart’s build, Roan paints us a vivid image of a night in a girl’s life. She captures an internal conversion with oneself, looking for self-assurance that progressively becomes more intimate and untethered as she is decisive in her being while maintaining her inner child. Roan sets the tone for the exhibition with the mix of sound, preparing visitors for wildly vibrant and unique artworks that have a lot to say in mixed material.
“Not overdramatic, I know what I want”
Being called overdramatic is synonymous with throwing a tantrum but Roan reframes it as her decisiveness and being unapologetically herself. She quickly shuts down the external voices, following her path and desires.
“Telling secrets, there on the mattress /
Wearing nothing but glitter and lashes”
The first line feels juvenile, like being a little kid at a sleepover under the covers giggling relentlessly, but, by the second line, the subject shifts yet still maintains a childlike shine that memories of youth hold. This song transports me into the world of Schliebener Muñoz’s and Nilsson’s art installations; first you see the vibrant colors and familiar Disney designs, but with the next moment, you start registering the obscurities and peculiar forms that still hold the light, airiness of adolescence. Nilsson’s work plays with what it means to be clothed, blurring the difference between the body and material like “wearing nothing but glitter and lashes.”
“The Bottom of It” by Fruit Bats
Feeling: Reflective, joyous, celebratory
In the fourth song on the playlist, the Fruit Bats sing of self-discovery and contentment, resonating with the artists’ expressions of their most authentic selves. The peculiar lyrics align with the unique and outside-the-norm artworks they crafted. My narrative truly begins here, and by the title, it represents exactly what I mean. We are starting from the beginning, the bottom and building up to understanding these artists and their unique experiences that inspired their artwork, whether it be by the feeling or the lyrical set up. The emotions drudged up by this song and its instrumentals spur a similar feeling I had while wandering around Nilsson’s artwork in the center of the downtown gallery. It made me feel like one of those inflatable air dancers.
“Now that you’ve gotten to the autumn of /
Your years and you feel your best yet /
…
so happy that you got to the bottom of /
The fears that were fettering you /
And you found a round stone and you’re wearing it around like a jewel”
These lines convey the build up of emotions experienced while coming of age. There’s a sense of contentment while reflecting on personal growth. It resonates with all three of the artists’ work as this song talks about feeling the best you’ve ever felt and you got to the bottom of it– they found their most authentic selves, pushing past their fears.
“Now that you’ve wandered to the clearing in /
The woods where the wheat swayed in the wind /
And you found a dead deer and you made it into moccasins ”
This song is quite bizarre, similar to the artwork of the exhibition; it’s outside of what people may consider the “norm” for art, especially in a museum. These artists emphasize the peculiarities in life, heavily influenced from their youth, and exaggerate art forms to fit their narratives.
“Overjoyed that you’ve gotten to the flat spot /
In the field and you’re starting to feel /
That it’s heartening to something heartening /
Doors creaking loud, swing wide open /
And you found yourself, man, and that’s something”
Here we encounter a metaphor for self-discovery and acceptance. The artists are finally in the open spotlight, taking a moment to stop and breathe freely, feeling everything unconstrained at last.
“Beacon” by Matt Duncan
Feeling: Upbeat, confident, groovy
Next we are struck by the playful instrumentals of “Beacon,” inviting us to sway as the music cradles us to a jazzy lullabye. Each instrument is in conversation with one another, in some sort of call and response manner, supporting the singer’s lyrical reassurance. The title “Beacon” made me think of Nilsson’s installation at the center of the room, big and impossible to miss yet it doesn’t take away from the rest of the exhibit; it honestly uplifts it all. It’s loud n’ proud, for lack of a better word. It builds and builds, creating this feeling of confidence increasing with each verse: confident in “what to do.”
“Hold your head up, you’re a beacon…We know who you are”
These lines encourage self-confidence and visibility, relating to the bold and expressive nature of the artworks, but one could also imagine this song to be a supportive parent encouraging their child to not waive and trust in themselves.
“You know what to do /
You know what to do /
You know what to do /
You know what to do”
Repeated affirmations of external and internal assurance to be unapologetically yourself. This cycle of repetition ties us back to the visuals and literal name of Nilsson’s installation Rounding Rosie’ s Ring, as her figures dance around the gallery room in their purest forms and connected to one another creating an infinite loop.
“Still Feel” by Half•Alive
Feeling: Uplifting, hopeful, continuous
Teetering on the edge of Phase 1 and dipping ever so slightly into Phase 2, “Still Feel” reflects the travels from hopelessness to confidence and everything in between. It expresses how fluid this journey is, falling in and out of doubt and certainty. Rather than the song wrapping up at the end, it remains strong into the final beats till it fades out. This song is otherworldly.
“Falling forward /
Back into orbit /
I can feel it /
It ain’t hopeless ‘cause I start to notice /
I can feel it /
Falling Forward”
Throughout the song is this cycle of doubt and certainty. The syncopated beat within this cycle crafts a sense of being outside of the “norm” but ensures there’s a place for it. These lines emphasize resilience and finding hope, resonating with themes of identity and self-assurance. We’re enveloped by this floaty feeling, insisting that we dance, boogey, and JUST FEEL!
“And it’s pulling me back to Earth to let me know /
(Ohh-oh-oh-woah-oh) /
I am not a slave can’t be contained”
Art can tether you to the world but give you a floaty mental feeling as it expands past any one person’s mind.
Phase 2: Living Unapologetically
“Changes” by David Bowie
Feeling: Reflective, empowering, transformative
Chanting along with David Bowie about taking change face on, this song captures the fluidity of identity. It conveys a sense of self-discovery and the courage to evolve for one’s self rather than for the approval of others.
“Ch-ch-ch-ch-changes /
Turn and face the strange”
Bowie emphasizes the inevitability of change and the importance of embracing it in a perpetual progress of growth and transformation that life entails.
“Time may change me /
But I can’t trace time /
Oh-yeah /
I watch the ripples change their size /
But never leave the stream of warm impermanence, and”
Here we find ourselves reflecting on the passage of time and its impact on identity. Like our exhibition, Bowie explores the ever-evolving nature of selfhood and the importance of staying true to oneself amidst change. He suggests that while changes happen, there is a continuity to life, mirroring the exhibition’s dynamic and ever-evolving nature.
“Hot Rod” by Dayglow
Feeling: Playful, empowering, motion
Embraces change and self-acceptance, resonating with the exhibition’s themes of motion, movement, and dance. The song has an upbeat and carefree vibe that encourages self-acceptance and embracing change. Its light-heartedness and dynamic energy make it a perfect fit for the theme of living unapologetically.
“Complicated theories of life, sarcastically /
But we both know-oh-oh”
This line suggests a playful take on life’s complexities: the joy, playfulness, and the dynamic nature of identity. “Sarcastically” adds a lighthearted tone, emphasizing the importance of not taking life too seriously and enjoying the moment.
“The way it’s gonna go-oh-oh in the same way ”
The sense of predictability and acceptance of life’s path hints at the growth within our quest of self-discovery. It suggests confidence and a laid-back attitude toward life’s unfolding events.
“Maybe I’m not all that you thought /
And we don’t mo-o-ove /
Like we used to do-o-o in the same way”
Here, themes of change and self-acceptance rise. These lines acknowledge that people change over time and may not fit into others’ expectations so why not be unapologetically yourself. You have control over yourself but not those around you or how they perceive your work so find what you love most and follow through with it!
“Maybe you’re not such a hot rod”
The song finally embraces and accepts the change. It’s unabashedly confident and has a matter of fact tone with this statement, nevertheless, behind the lyrics, it can’t hide its playful beat. This embodies the act of aging; at each new stage of life we collect our youth within. Each person is a compilation of that kid, teenager, 20-something, etc that you’ve been, peeking out of our beings and coloring our worlds. Moreover, this line also challenges idealized perceptions and encourages a more genuine view of oneself and others.
“Do you break it? /
It feels like we’re breaking up”
This line immediately stuck out as it reminds me of Lanigan-Schmidt’s story: a moment of introspection and potential change in relationships and the idea of evolving connections and the impact on one’s sense of self.
“Upside Down” by Jack Johnson
Feeling: Playful, light-hearted, bouncy
The playful bop of Jack Johnson’s “Upside Down” encourages curiosity and openness to new possibilities that lay in our past, present, and future: our past as it captures the memories of childhood (for me and many others, it’s a reminder of watching Curious George when we were little), our present as it causes us to open out eyes to the world around with a new perspective, and our future, as we are told nothing’s impossible if we keep moving. This song embodies a carefree spirit, capturing the joy of living in the moment and seeing the world from different perspectives.
“I wanna turn the whole thing upside down /
I’ll find the things they say just can’t be found /
I’ll share this love I find with everyone”
These lines express a desire to challenge norms and explore new perspectives, resonating with the theme of living unapologetically by questioning conventional expectations and embracing curiosity.
“Who’s to say what’s impossible and can’t be found /
I don’t want this feeling to go away”
Johnson encourages a mindset of limitless possibilities and resilience in the face of perpetual change and growth in a dynamic and playful way. He prompts us to reflect on the importance of presence and connection, aligning with themes of identity and community.
Phase 3: Future, Hope, and Dreams
“Creature” by Half•Alive
Feeling: Reflective, mystical, dynamic
Bringing us into our final phase, Half•Alive’s unique sound propels us into a new world with its deviant tone. We start to question the end, the beginning, and the middle of everything we know again, but now, we have a stronger sense of self. With each line in this song, we make connections and comparisons to what we know and what we don’t yet see.
“Creature,” as explained by the band, is “in pursuit of a mystery.” It asks what is the human soul? Where no answers are concrete or certain. Where humans are fluid and dynamic– ever-so changing, moldable from day one.
“Death and resurrection, life”
Half•Alive creates an equation that produces life– the book ends that simplify our existence, capturing growth and transformation.
“My body is a sacred note / Sung between the flesh and hope / My dirt transformed within a breath”
It reflects the human experience and the pilgrimage towards self-understanding, tying into the exhibition’s exploration of selfhood. It’s our connection to the world that we feel rooted to, while we try to understand fresh uncertainties. It takes the intangible and gives us yin and yang comparisons, good and bad, this and that.
“Humanity is not alone / When Jesus Christ sits on the throne /
These hidden mirrors expose the mess / The selfish turns to selflessness”
To understand something we can’t comprehend, we can only relate it to what we already know and have- making links and creating a web of synonyms and comparisons we’ve lived, loved, and learned.
“Transcends to walking in the light /
And slowly I’m recovering /
The beauty of discovery”
In a way, the human soul is experience. In this exhibit we experience the souls of these artists via their life’s work that evolved into art: art as a vehicle to tell a story of identity, being alive, and still kicking!
“Learning To Fly” by Tom Petty and the Heartbreakers
Feeling: Uplifting, reflective, forward-focused
“Learning to Fly” pulls us into the metaphoric experience of a bird’s first journey from its nest that it’s known all its life but now is entering an unfamiliar world where it must learn again how to live.
“I’m learning to fly, but I ain’t got wings /
Coming down is the hardest thing”
These lines convey the idea of striving and growing despite limitations. It reflects on the challenges of returning to reality after moments of freedom or success, resonating with themes of resilience and transformation.
“The good old days may not return /
And the rocks might melt and the sea may burn”
Here we acknowledge the impermanence of the past which we’ve grown familiar with and the need to move forward to grow. This song speaks to the process of growth and the pursuit of dreams. Its hopeful and uplifting lyrics resonate with the themes of future and aspirations, encouraging listeners to keep reaching for their goals.
“Unbelievers” by Vampire Weekend
Feeling: Energetic, contemplative, questioning
There is something so powerful about religious imagery that has had a choke hold on this playlist and in mass amounts of art; the idea of “other” in both the sense of being outside of the societal norm and “other” as being greater than ourselves. Like this song, the use of religious imagery to convey the meaning of life’s ups and downs and past, presets and future, always for wider audiences to grasp the more nuanced details in art when comparing it to imagery many resonate with in various lights.
“Got a little soul /
The world is a cold, cold place to be /
Want a little warmth /
But who’s going to save a little warmth for me?”
These lines acknowledge the challenges of the world while emphasizing the importance of inner strength. They speak to the need for hope and belief in a better future.
“We know the fire awaits unbelievers /
All of the sinners the same”
The use of religious imagery here is to explore themes of belief, doubt, and consequence, adding depth to the exhibition’s exploration of identity and self-expression.
“I’m not excited, but should I be? /
Is this the fate that half of the world has planned for me?”
Being an unbeliever pulls at societal expectations and personal agency. It highlights the struggle between belief and doubt, resonating with the exhibition’s exploration of identity and the complexity of selfhood while looking at the infinite possibilities ahead.
“We know the fire awaits unbelievers /
All of the sinners the same /
Girl, you and I will die unbelievers”
This is a call to action and underscores the importance of sharing one’s beliefs, building or finding a community where you thrive and uplift one another to grow in the light.
“All Things End” by Hozier
Feeling: Reflective, somber, open-ended
As the playlist concludes with the somber voice of Hozier, we reflect on our journey full of vivid imagery of self-discovery, self-confidence, and self-reflection. Hozier leaves us with the comfort of being known.
“A two-tonne weight around my chest feels like /
It just dropped a 20 storey height”
Hozier expresses a deep emotional burden, reflecting on themes of struggle and acceptance after a long journey with oneself.
“All things end /
All that we intend is scrawled in sand or slips right through our hands”
We reflect on the impermanence of life and the inevitability of endings as we transform at every second that passes in our lives.
“This, too, shall pass, we’ll see it through /
And I won’t say goodbye until you’re ready to”
He speaks to resilience and the importance of supporting each other through difficult times, resonating with the exhibition’s themes of community and connection. The future is full of promise but not guarantees so we must keep on headset straight and be grateful for our present.
—Maria DiBari ’26, Miller Family Curatorial Intern