THE ARTIST's BODY EDITED by TRACEY WARR PREFACE TRACEY Wari|
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Heiser, Jörg. “Do It Again,” Frieze, Issue 94, October 2005
Heiser, Jörg. “Do it Again,” Frieze, Issue 94, October 2005. In conversation with Marina Abramovic Marina Abramovic: Monica, I really like your piece Hausfrau Swinging [1997] – a video that combines sculpture and performance. Have you ever performed this piece yourself? Monica Bonvicini: No, although my mother said, ‘you have to do it, Monica – you have to stand there naked wearing this house’. I replied, ‘I don’t think so’. In the piece a woman has a model of a house on her head and bangs it against a dry-wall corner; it’s related to a Louise Bourgeois drawing from the ‘Femme Maison’ series [Woman House, 1946–7], which I had a copy of in my studio for a long time. I actually first shot a video of myself doing the banging, but I didn’t like the result at all: I was too afraid of getting hurt. So I thought of a friend of mine who is an actor: she has a great, strong body – a little like the woman in the Louise Bourgeois drawing that inspired it – and I knew she would be able to do it the right way. Jörg Heiser: Monica, after you first showed Wall Fuckin’ in 1995 – a video installation that includes a static shot of a naked woman embracing a wall, with her head outside the picture frame – you told me one critic didn’t talk to you for two years because he was upset it wasn’t you. It’s an odd assumption that female artists should only use their own bodies. -
For Immediate Release: October 20, 1991
David Zwirner 43 Greene Street New York, NY 10013 Tel: 212/966-9074 Fax: 212/966-4952 FOR IMMEDIATE RELEASE: OCTOBER 20, 1991 EXHIBITION: "SAMPLER" - Southern California Video Collection 1970 - 1993 organized by Paul McCarthy DATES: November 5 -December 4, 1994 Gallery hours: Tuesday - Saturday 10:00 AM to 6:00 PM Opening on November 5th the gallery will show a selection of 35 single channel video tapes, all of which were produced by artists living and working in Southern California between the 1970 and 1993. The exhibition was organized by Los Angeles based artist Paul McCarthy who has been active in the Los Angeles art community since the late 60's, primarily as a performance and video artist. His recent installation in the exhibition "Helter Skelter" at the Los Angeles MOCA as well as his contributions to this years "Aperto" in Venice and to the critically acclaimed show "Post Human" in Lausanne have established Paul McCarthy as an important force in contemporary sculpture. The artists whose video tapes will be featured in this show are: Bas Jan Ader, Eleanor Antin, Skip Arnold, John Arvanities, John Baldessari, Meg Cranston, John Duncan, Allan Kaprow, Hilja Keading, Mike Kelley, The Kipper Kids, Peter Kirby, Paul McCarthy, Susan Mogul, Bruce Nauman, Tony Oursler, Raymond Pettibon, Patty Podesto, Allen Ruppersburg, Ilene Segalove, Jim Shaw, Nina Sobel, Wolfgang Stoerchle, Bruce and Norman Yonemoto. "The tape collection is by no means meant to appear or to be an anthology. This collection hardly scratches the surface of the number of video tapes made in Southern California. I was not concerned with creating a "video show" with a theme or a compiling a "gallery reel" of short concise tapes which would be directed at a conventional gallery situation. -
Gina PANE: Action Psyché
Gina PANE: Action Psyché 30 May – 22 June 2019 Private view: Wednesday 29 May, 6–8pm “If I open my ‘body’ so that you can see your blood therein, it is for the love of you: the Other.” – Gina PANE, 1973 Gina Pane was instrumental to the development of the international Body Art movement, establishing a unique and corporeal language marked by ritual, symbolism and catharsis. The body, most often the artist’s own physical form, remained at the heart of her artistic practice as a tool of expression and communication until her death in 1990. Coming from the archives of the Galerie Rodolphe Stadler, the Parisian gallery of Pane who were themselves revolutionary in their presentation of avant-garde performance art, her exhibition at Richard Saltoun Gallery celebrates the artist’s pioneering career with a focus on the actions for which she is best known. It provides the most comprehensive display of the artist’s work in London since the Tate’s presentation in 2002. Exploring universal themes such as love, pain, death, spirituality and the metaphorical power of art, Pane sought to reveal and transform the way we have been taught to experience our body in relation to the self and others. She defined the body as “a place of the pain and suffering, of cunning and hope, of despair and illusion.” Her actions strived to reconnect the forces of the subconscious with the collective memory of the human psyche, and the sacred or spiritual. In these highly choreographed events, Pane subjected herself to intense physical and mental trials, which ranged from desperately seeking to drink from a glass of milk whilst tied, breaking the glass and lapping at the shards with her mouth (Action Transfert, 1973); piercing her arm with a neat line of rose thorns (Action Sentimentale, 1973); to methodically cutting her eyelids and stomach with razor blades (Action Psyché, 1974);and boxing with herself in front of a mirror (Action Il Caso no. -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
VIPAW Wall Texts
3rd Venice International Performance Art Week, 2016 Ouch – Pain and Performance A screening programme curated by Live Art Development Agency, London “I see pain as an inevitable byproduct of interesting performance.” Dominic Johnson According to Wikipedia ‘pain’ is an “unpleasant feeling often caused by intense or damaging stimuli…(it) motivates the individual to withdraw from damaging situations and to avoid similar experiences in the future.” But for many artists and audiences the opposite is just as true, and pain within the context of performance is a challenging, exhilarating and profound experience. Ouch is a collection of documentation and artists’ films looking at pain and performance. The works are not necessarily performances about pain, but in some way involve or invoke pain in their making or reading or experience - both the pain artists cause themselves within the course of their work, whether intentional or not, and the experiences of audiences as they are invited to inflict pain on artists or are subjected to pain and discomfort themselves. The selected works feature eminent and ground breaking artists from around the world whose practices address provocative issues including the lived experiences of illness, the aging female body, cosmetic surgery, addiction, embodied public protest, animalistic impulses, blood letting, staged fights, acts of self harm and flagellation, and what can happen when you invite audiences to be complicit in performance actions. Ouch featured artists: Marina Abramovic, Ron Athey, Marcel.Li Antunez Roca, Franko B, Wafaa Bilal, Rocio Boliver, Cassils, Bob Flanagan, Regina Jose Galindo, jamie lewis hadley, Nicola Hunter & Ernst Fischer, Oleg Kulik, Martin O’Brien, Kira O’Reilly, ORLAN, Petr Pavlensky. -
The New York Times, Who Is Valie Export
http://nyti.ms/299CwWZ ART & DESIGN Who Is Valie Export? Just Look, and Please Touch By RANDY KENNEDY JUNE 29, 2016 In 1967, the Austrian artist Waltraud Hollinger jettisoned her family name and the last name her husband had given her and became Valie Export, a nom de guerre inspired by a popular brand of cigarettes. But late last week, at a hotel in the West Village where she was supposed to be staying, the front desk could find no record of a Valie Export having checked in. Marieluise Hessel, the art collector and benefactor of the Hessel Museum of Art at Bard College in Annandale-on-Hudson, N.Y. — which has just opened a show built around Ms. Export’s highly influential work — stared worriedly into the screen on her phone. “I checked her Wikipedia page,” she said. “I asked under her maiden name and her married name. She must be somewhere else.” But just then, Ms. Export, wearing a long translucent white jacket and fashionable tennis shoes, her hair dyed copper red, emerged from the elevator. Explaining her spectral existence, at least as far as hotel registers were concerned, she rolled her eyes. “I used to have Valie Export on my passport — for years,” she said. “Now I have to use my name with my second husband. Something about security, I guess. Can you believe it?” The comedy of the situation was not lost on her. Ms. Export’s performances and films were among the most radical feminist statements in Europe in the 1960s and 1970s, and her work, through feminism, delved deeply into systems of control that have become omnipresent in the 21st century: surveillance, information as power, unseen political machinations. -
Datebook-Esmaa-Mohamoud-Greta-Bratescu-20180215-Htmlstory.Html
http://www.latimes.com/entertainment/arts/miranda/la-et-cam-datebook-esmaa-mohamoud-greta-bratescu-20180215-htmlstory.html Datebook: Plays on gender and sport, a pioneering Romanian conceptualist, new abstraction By CAROLINA A. MIRANDA FEB 16, 2018 | 7:10 AM "One of the Boys," 2017, by Esmaa Mohamoud, at Ltd. Los Angeles. (Esmaa Mohamoud / Ltd. Los Angeles) Shows that toy with gender and others that take on comics. Plus a look at the life of a curatorial obsessive. Here are eight exhibitions and events to check out in the coming week: http://www.latimes.com/entertainment/arts/miranda/la-et-cam-datebook-esmaa-mohamoud-greta-bratescu-20180215-htmlstory.html Esmaa Mohamoud, “THREE-PEAT,” at Ltd. Los Angeles. The African Canadian artist employs a variety of media to look at the intersection of race, gender and sports. This includes creating an installation out 60 concrete basketballs and photographs of men wearing ball gowns inspired by team jerseys. This continues a theme she recently touched on at an exhibition at the Art Gallery of Ontario. Opens Friday at 6 p.m. and runs through March 24. 1119 S. La Brea Ave., Mid-Wilshire, Los Angeles, ltdlosangeles.com. Geta Brătescu, “The Leaps of Aesop,” at Hauser & Wirth. The 92- year-old Romanian conceptualist is having her first solo show in Los Angeles — consisting of more than 50 works drawn from throughout different periods of her career inspired by the Greek fabulist Aesop. The artist regards Aesop as a mischievous figure, a symbol of “everything that stood against totalitarianism,” one who parallels the subversive characters in Romanian folk tales. -
SKIP ARNOLD Born 1957 in Binghamton, NY Lives and Works in Los Angeles, CA
SKIP ARNOLD Born 1957 in Binghamton, NY Lives and works in Los Angeles, CA EDUCATION 1984 Master of Fine Arts, University of California, Los Angeles, CA 1980 Bachelor of Fine Arts, State University College, Buffalo, NY SOLO EXHIBITIONS 2014 Bout This, Greene Exhibitions, Los Angeles, CA 2013 Liquids and Gels, Window 24: Christine König Galerie, Vienna, Austria 2011 Skip Arnold: Portrait Paris December 2004 & Portrait #2 Paris December 2004, Pepin Moore Gallery, in conjunction with the third annual Perform! Now! Festival, Los Angeles, CA. 2007 Video Films 1983-2007, Christine Koenig Galerie, Vienna, Austria 2005 Skip Arnold Documents, University of Houston, Clear Lake, TX 2004 The Last Few Years…And Then Sum, Galerie Frederic Giroux, Paris, France Skip Arnold, Kunsthalle Wien, Video Wall, Vienna, Austria 2003 Human Speciman Male, Circa 2003, Tea Building, F-EST & Union Projects, London, UK 2002 Wall Piece, ACE Gallery, New York, NY An occurrence at Nové Zàmky, Nové Zàmky, Slovakia Gruezi, Art|33|Basel, Basel, Switzerland 2000 Details, Roberts and Tilton, Los Angeles, CA. Skip Arnold Performances/Videos/Photographs/Documents, Galerie MXM Prague, Czech Republic Documents and Videos 1982-2000, Shoshana Wayne Gallery, Santa Monica, CA Performances/Videos/Photographs/Documents, Aeroplastics, Brussels, Belgium 1999 Skip Arnold, Galerie Montenay-Giroux, Paris, France Skip Arnold, Spencer Brownstone Gallery, New York, NY 1997 The Evidentiary File, Spencer Brownstone Gallery, New York, NY 1996 Façade, Art & Public, 35 rue des Bains, Geneva, Switzerland -
Blood Rituals from Art to Murder
The Sacrificial Aesthetic: Blood Rituals from Art to Murder Dawn Perlmutter Department of Fine Arts Cheyney University of Pennsylvania Cheyney PA 19319-0200 [email protected] [Ed. note 2/2017: Many of the links in this article have become invalid and been removed] The concept of the “sacrificial esthetic” introduced in Eric Gans’s Chronicle No. 184 entitled “Sacrificing Culture” describes a situation in which aesthetic forms remain sacrificial but have evolved from a necessary feature of social organization to a psychological element of the human condition. Gans concludes that art’s sacrificial esthetic is essentially exhausted as a creative force and argues that the future lies with simulations, virtual realities in which the spectator plays a partially interactive role. His most significant claim is that “This end of the ability of the esthetic to discriminate between the sacrificial and the antisacrificial is not the end of art. On the contrary, it liberates the esthetic from the ethical end of justifying sacrifice.” The consequence of the liberation of the ethical justification of sacrifice is the main concern of this essay. Throughout the history of art we have encountered images of blood, from the representations of wounded animals in the cave paintings of Lascaux through century after century of brutal Biblical images, through history paintings depicting scenes of war, up through the many films of war, horror, and violence. Blood is now off the canvas, off the screen and sometimes literally in your face. It is no coincidence that this substance has intrigued artists throughout history. Blood is fascinating; it simultaneously represents purity and impurity, the sacred and the profane, life and death. -
Art and Vinyl — Artist Covers and Records Komposition René Pulfer Kuratoren: Søren Grammel, Philipp Selzer 17
Art and Vinyl — Artist Covers and Records Komposition René Pulfer Kuratoren: Søren Grammel, Philipp Selzer 17. November 2018 – 03. Februar 2019 Ausstellungsinformation Raumplan Wand 3 Wand 7 Wand 2 Wand 6 Wand 5 Wand 4 Wand 2 Wand 1 ARTIST WORKS for 33 1/3 and 45 rpm (revolutions per minute) Komposition René Pulfer Der Basler Künstler René Pulfer, einer der Pioniere der Schweizer Videokunst und Hochschulprofessor an der HGK Basel /FHNW bis 2015, hat sich seit den späten 1970 Jahren auch intensiv mit Sound Art, Kunst im Kontext von Musik (Covers, Booklets, Artist Editions in Mu- sic) interessiert und exemplarische Arbeiten von Künstlerinnen und Künstlern gesammelt. Die Ausstellung konzentriert sich auf Covers und Objekte, bei denen das künstlerische Bild in Form von Zeichnung, Malerei oder Fotografie im Vordergrund steht. Durch die eigenständige Präsenz der Bildwerke treten die üblichen Angaben zur musikalischen und künstlerischen Autorschaft in den Hintergrund. Die Sammlung umfasst historische und aktuelle Beispiele aus einem Zeitraum von über 50 Jahren mit geschichtlich unterschiedlich gewachsenen Kooperationsformen zwischen Kunst und Musik bis zu aktuellen Formen der Multimedialität mit fliessenden Grenzen, so wie bei Rodney Graham mit der offenen Fragestellung: „Am I a musician trapped in an artist's mind or an artist trapped in a musician's body?" ARTIST WORKS for 33 1/3 and 45 rpm (revolutions per minute) Composition René Pulfer The Basel-based artist René Pulfer, one of the pioneers of Swiss video- art and a university professor at the HGK Basel / FHNW until 2015, has been intensively involved with sound art in the context of music since the late 1970s (covers, booklets, artist editions in music ) and coll- ected exemplary works by artists. -
I – Introduction
QUEERING PERFORMATIVITY: THROUGH THE WORKS OF ANDY WARHOL AND PERFORMANCE ART by Claudia Martins Submitted to Central European University Department of Gender Studies In partial fulfillment for the degree of Master of Arts in Gender Studies CEU eTD Collection Budapest, Hungary 2008 I never fall apart, because I never fall together. Andy Warhol The Philosophy of Andy Warhol: From A to B and Back again CEU eTD Collection CONTENTS ILLUSTRATIONS..........................................................................................................iv ACKNOWLEDGMENTS.................................................................................................v ABSTRACT...................................................................................................................vi CHAPTER 1 - Introduction .............................................................................................7 CHAPTER 2 - Bringing the body into focus...................................................................13 CHAPTER 3 - XXI century: Era of (dis)embodiment......................................................17 Disembodiment in Virtual Spaces ..........................................................18 Embodiment Through Body Modification................................................19 CHAPTER 4 - Subculture: Resisting Ajustment ............................................................22 CHAPTER 5 - Sexually Deviant Bodies........................................................................24 CHAPTER 6 - Performing gender.................................................................................29 -
Bob Flanagan, Sheree Rose and Masochistic Art During the NEA Controversies
BRING THE PAIN: Bob Flanagan, Sheree Rose and Masochistic Art during the NEA Controversies by LAURA MACDONALD BFA., Concordia University, 2003 A THESIS SUBMITTED IN PARTIAL FULFILMENT GF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Art History, Visual Art and Theory UNIVERSITY OF BRITISH COLUMBIA SEPTEMBER 2005 © Laura MacDonald, 2005 Abstract Poet, performance/installation artist, self-proclaimed "supermasochist" and life-long Cystic Fibrosis sufferer, Bob Flanagan and his partner, dominatrix and fellow artist Sheree Rose created art derived from their personal explorations of sadomasochistic sex acts and relationships. This work used the lens of S/M practice to deal with issues of illness, death, gender and sex. Throughout most of their 15 year collaboration (late 1980- early 1996) Flanagan and Rose lived and worked in relative obscurity, their work being circulated mainly in small subcultural circles. It was during the years of controversies surrounding the National Endowment for the Arts (NEA), roughly 1989 to 1997, that Flanagan and Rose experienced unforeseen professional success and fame, propelling them from underground distribution in L.A. to the international art scene. These controversies arose from objections by various rightwing Christian politicians, individuals and groups who felt that the NEA had misused American tax dollars by awarding grants to artists who created and agencies that displayed "obscene" art. Flanagan and Rose were two such artists. This is a case study of the situation of Flanagan and Rose within these controversies, a situation in which there was opportunity, experimentation and heightened awareness despite (or perhaps because of) heated conflicts between opposing sets of ethics, aesthetics and lifestyle.