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27 October 2019

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Hannah Wilke (1940-1993) used various media of pho

Hannah Wilke (1940-1993) used various media of photography, performance, sculpture, and video to examine and challenge prevailing notions of femininity, feminism, and sexuality. In the 1970s she began to use her own body in her work which she called 'performalist self-portraits'. These performances, captured on video and photos, confront (often erotic) stereotypes of women.
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Her most famous work is probably the 'S.O.S. Starification Object Series' (1974-1979). Here, Wilke posed half-naked with her face and torso covered with chewing gum shaped like vulvas. Wilke died in 1993 from lymphoma. Her last work, 'Intra-Venus' (1992–1993), is a posthumously published – and impressive – photographic record of her physical transformation and deterioration resulting from chemotherapy and bone marrow transplant.
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📸 1) Detail of S.O.S. Starification Object Series, (28) executed in 1974, printed in 1979. This work is an artist's proof. © Marsie, Emanuelle, Damon and Andrew Scharlatt, Hannah Wilke Collection & Archive, Los Angeles/Licensed by VAGA, New York. 2) Intra-Venus Series No. 5, June 10 and May 5, 1992, done in collaboration with Wilke’s husband, Donald Goddard, © Donald and Helen Goddard and Ronald Feldman Fine Arts.
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#hannahwilke #artist #feministartist #performanceartist #performanceart #performalist #contemporaryart #photography #sculpture #videoart #selfportraits #starificationobjectsseries #intravenus #feminism #feminist #1970s #arthistory #womenartist #greatwomenartists #curatorialstudies #artmustgrow

In the meantime, my literature review on six women

In the meantime, my literature review on six women artists performing in the 1970s (in the US) is almost finished. An excellent opportunity to bring two more artists to your attention. First, Joan Jonas (1936) – a true original whose approach to art has had a groundbreaking impact on the world of video and performance. Although she works as a performance artist, within this realm, she incorporates drawing, dance, and video, and at the same time introduces various sculptural objects, photographs, and props. Jonas is 84 years old and continues to be active as an artist. Nowadays, she often re-visits older performances and restages these in new locations, with new props, and with new performers.
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📸 1) Jonas in Robert Ashley’s Celestial Excursions, New York, 2009. ©️ Hiroyuki Ito/Getty Images. 2) On stage at New York venue the Kitchen in 2016, photo: Paula Court. 3) Delay Delay (1972), Jonas Jonas. Performance, Lower West Side, New York, 1972. Photo: Gianfrano Gorgoni, 1972; ©️ the artist and Gavin Brown’s enterprise.
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#JoanJonas #artist #greatwomenartists #Americanartist #contemporaryart #performanceart #performance #videoart #drawing #dance #objects #photography #curatorialstudies #fieldreview #literaturereview #1970s #artmustgrow

Learned about Lee Bontecou today. Sorry to say to

Learned about Lee Bontecou today. Sorry to say to have missed her 2017 exhibition @ the Kunstmuseum in The Hague and that I didn’t learn about her work up to now. But I will make up for it.
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As a child, the American Lee Bontecou (1931) used the sand that came out of her shoes after a walk on the beach for drawing on her grandmother’s wooden floor. A revelation: she could make anything she wanted, as long as she mastered the technology. She went to art school in the 1950s where she learned welding. In the 1960s, Bontecou saw much commercial success for her work. She was a notable and pioneer figure in the New York art scene. She is best known for sculptural work that challenged artistic conventions of both materials and presentation, e.g. by hanging sculptures on the wall. These sculptures consist of welded steel frames covered with recycled canvas and industrial materials and other found objects. In her drawings, she developed a process of using an oxyacetylene torch to produce a carbon spray from the flame, resulting in an ‘airbrushed’ look and deep saturated blacks that she later also used in her sculptural work.
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📸 Lee Bontecou in her Wooster Street studio, New York, 1964. Courtesy Archivio Ugo Mulas, Milano – Galleria Lia Rumma, Milano/Napoli, Photo: Ugo Mulas © Ugo Mulas Heirs.
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#LeeBontecou #Bontecou #pioneer #artist #sculptor #sculpture #drawing #USartist #NewYorkartist #womanartist #greatwomenartists #industrialmaterials #foundobjects #studiopractice #contemporaryart #art #artmustgrow #curatorialpractice #MAcuratorialstudies

Last week the digital publication of RE:Present #2

Last week the digital publication of RE:Present #2, We care a lot. (It's a dirty job, but someone’s gotta do it.) was launched online. The exhibition RE:Present #2 should have been the second in a series of three, titled RE: Present. Under this heading, lecturers and first-year students from the Frank Mohr Institute (@academieminerva) in Groningen investigated various ways to (re)present artworks. This research included questions such as: what happens to my artwork when it leaves the studio? How does the work communicate in an exhibition context or how does it relate to the work of other artists? In RE:Present, we explored these questions from three different approaches. - - - - - - - - - -
Link to the publication in my bio. - - - - - - - - - -
This second part of the project was about the curated exhibition. Since curating comes from the word ‘curare’, which translates as ‘taking care’, this was the topic. Caring for yourself, for someone, for something or for the world at large: to take care compels us to connect. While caring refers to a feeling of concern or interest, or to the act of attending to someone or something, it gives us responsibility and a sense of humanity. Due to the pandemic, the exhibition couldn’t take place, so we decided to turn it into a publication that is accessible for everyone online – believing that the subject is more relevant than ever. - - - - - - - - - -
Artists: Alan Ahued Naime (@alanahued), Dewi Brouwer (@kimchikameel), Ivana Deric (@ivana.deric), Cheuk Lam Tam, Christos Mavrodis (@christosmavrodis), Livia Ribichini (@frytto_misto), Marjolijn Rijks (@marjolijn_rijks), Jannemarein Renout, Jui-Tsz Shiu (@juitsz), Alexandra Subota (@yeahyeahinstayeah), Yu Wang (@@__yu__wang), Tianyi Zheng (@zheng_tianyi). Curated by me (@artmustgrow) & Gisanne Hendriks (@gisannehendriks). - - - - - - - - - - * The title is borrowed from the song We care a lot by Faith No More. - - - - - - - - - -
#represent #represent2 #wecarealot #totakecare #takingcare #curare #curating #exhibition #publication #contemporaryart #frankmohrinstitute #academieminerva #madtech #painting #researchgallery @researchgallery #Groningen #artmustgrow

Another artist in my research into performance art

Another artist in my research into performance art between 1965-1980 is Yoko Ono. She debuted with her legendary Cut Piece in Kyoto in 1964 and has since performed it in Tokyo, New York, London and, most recently, in Paris in 2003. In this early performance work, she invites audiences to cut off her clothing – an act that is brutal and intimate at the same time. Cut Piece is still an essential work within the Fluxus art movement today, due to the way it interacts with an artist's body, as well as the way it breaks the distinction between art and life.
In 2003, she brought a printed statement onto the stage declaring 'Cut Piece is my hope for world peace' and concluding with: 'Come and cut a piece of my clothing wherever you like, the size of less than a postcard, and send it to the one you love'. Who else than Yoko Ono can make a compelling relationship between political activism and art-making. 📸 Cut Piece (1964), performed March 21, 1965, Carnegie Recital Hall, NYC. © Yoko Ono, courtesy Galerie Lelong & Co. NY. Photo Minoru Niizuma.
🎥 Idem. Filmed by Albert and David Maysles.
📸 Performed by the artist on September 15, 2003 Theater Le Ranelagh, Paris, France. Photo Ken McKay.

#yokoono #yoko #ono #yokoonoart #cutpiece #contemporaryart #performanceart #performance #artist #performanceartist #activistart #conceptualart #artmovement #fluxus #womenartists #greatwomenartists #worldpeace #research #curatorialstudies #arthistory #artmustgrow

One of the artists included in my research into pe

One of the artists included in my research into performance art by women artists (1965-1980) is Adrian Piper. The images above belong to the series The Mythic Being that she made between 1973-1975. The project consists of photos, drawings and performances, and started with a series of seventeen advertisements in the Village Voice newspaper in New York. In every ad there is a photo of the artist dressed like a man, with wig and sunglasses, accompanied by a text that she wrote as a teenager. These texts became the personal mantras of the artist during this project. Also during her (street) performances she repeats the words: ‘re-experience it, research and analyse it’. Piper: ‘The experience of the Mythical Being thus becomes part of the audience's history and is no longer part of my own.’ In her earlier work, she used the conceptual movement's strategy to attack the blind spot of minimalism, which is the neglect of gender and color. 📸 1) The Mythic Being: I Embody Everything You Most Hate and Fear, 1975. Silver print, oil crayon. Private Collection. 2) The Mythic Being, Village Voice Ads 1973–75 3) The Mythic Being: Street Crossing, 1975 © Adrian Piper Research Archive Foundation Berlin. Please check out the performance on YouTube. It’s amazing. The advertisements are in the collection of the MOMA, NY.

#AdrianPiper #artist #philosopher #greatwomenartists #greatwomanartist #conceptualart #performance #performanceart #performanceartist #drawing #photography #documentation #themythicbeing #gender #color #curatorialstudies #research #artmustgrow

Happy 80th birthday VALIE EXPORT. Always urging ar

Happy 80th birthday VALIE EXPORT. Always urging artists to break the rules and make their own. Most of the pictures from her series, Körperkonfigurationen (Body Configurations), are shot in Vienna (the city I miss dearly.) 📸 Einkreisung (1976/80), Valie Export. Photo: Ben Westoby. Courtesy Galerie Thaddaeus Ropac, London, Paris, Salzburg; © Valie Export/Bildrecht 2019 #valieexport #artist #womenartists #greatwomenartists #contemporaryartist #performance #performanceart #filmmaker #architecture #artandarchitecture #contemporaryart #vienna #austrianartist #inspiration #artmustgrow

Something I also found during my research into wom

Something I also found during my research into women performance artists working in the 1960s/70s: ‘Dear de Appel, I’m a performance artist and am interested in doing some performances in Holland.’ Laurie Anderson wrote this in 1976 to de Appel in Amsterdam. Art centre de Appel was just one year old and focused mainly on installations, media art and performance (at that time not really accepted art forms in the Netherlands). In any case, Anderson performed in May 1977 – and it’s impressive. The registration of the performance can be seen on the Appel website, just look for her name and ‘For instants - Part 5’. Reportedly, 5 visitors were present during the performance. I saw that the flyer (first photo) of that event is now worth $400...
📸 Laurie Anderson, Songs for Lines/Songs for Waves, 1977, @de_appel, Amsterdam #laurieanderson #deappel #performance #performanceart #performanceartist #contemporaryart #music #contemporarymusic #inventions #talkingviolins #violinista #amsterdam #amsterdamart #greatwomenartists #greatwomanartist #1970s #research #curatorialstudies #artmustgrow.

While governments are recommending we stay 1.5 met

While governments are recommending we stay 1.5 metres away from each other, designed to limit the spread of the coronavirus, I can't help thinking of the body modifications by Rebbeca Horn. Rebecca Horn (1944) is a German artist often dealing with bodily and physical perceptions. Her 'uniforms' are outfitted with exaggerated extensions of the face, hands, and mouth. Hereby expanding the boundaries of the human body. In 1968 Horn produced her first body sculptures. These sculptures also play a role in several full-length films (e.g. Der Eintänzer from 1978). In these films, her objects become more and more independent characters, creating surrealist stories. 📸 1 & 2) Weisser Körperfächer/White Body Fan, 1972. 3) Finger Gloves, 1972 © Photo Rebecca Horn Collection, Rebecca Horn/ ProLitteris, Zurich. #rebeccahorn #artist #greatwomenartists #bodymodification #bodyextension #humanbody #bodyengineering #socialdistance #dereintanzer #weisserkorperfacher #fingergloves #contemporaryart #performance #performanceart #sculpture #extendedsculpture #arthistory #curating #artmustgrow

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