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27 October 2019

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artmustgrow

At the moment, you can watch the documentary film

At the moment, you can watch the documentary film Body of Truth on the Dutch channel Doc2.nl. This film by Evelyn Schels is about how art relates to violence, war, pain and oppression. Based on the life and work of four artists: Marina Abramovic, Sigalit Landau, Shirin Neshat and Katharina Sieverding. What does using their own body in their work mean to them?

#documentary #film #EvelynSchels #MarinaAbramovic #SigalitLandau #ShirinNeshat #KatharinaSieverding #contemporaryart #art #body #violence #politicalart #thebodyispolitical #bodyoftruth #femalebody #artmustgrow #curatorialstudies #arthistory #herstory #feminist #womenartists #womanartist

📸 1) Sigalit Landau, DeadSea, 2005. (Purchase, Dov and Rachel Gottesman Fund, Tel Aviv and Geneva, The Israel Museum, Jerusalem. Photo © Sigalit Landau, courtesy of the artist) 2) Shirin Neshat, Untitled, from the series Women of Allah, 1996. (Photo ©Shirin Neshat, courtesy of the artist and Gladstone Gallery, New York and Brussels) 3) Katharina Sieverding, Testcut 11, 2012. 4) Marina Abramovic Star (from the portfolio ‘Dear Stieglitz’) 1994. (© Marina Abramovic. Courtesy of Marina Abramovic and Sean Kelly Gallery, New York. DACS 2018.)

Finally acquired my own copy of this interesting b

Finally acquired my own copy of this interesting book. It definitely made me look at performance documentation differently. Philip Auslander not only investigates what documentation is but also convinced me that the boundary between live performance and documentation is not as straightforward as we usually think. But mostly his ideas about how we reactivate a live event through its documentation are fascinating. He sees the documentation not merely as a secondary iteration of the original event, but as a way of giving us meaningful access to the performance itself as an artistic work. Moreover, it takes into account that most people experience a performance from its documentation. It includes some great examples too, which makes the book even more accessible.

#PhilipAuslander #WalterBenjamin #CaroleeSchneemann #VitoAcconci #YvesKlein #performance #performanceart #art #contemporaryart #performancedocumentation #documentation #Reactivations #studying #worthreading #curatorialstudies #MAarthistory #artmustgrow

Yes, I’m posting this work again. Because, durin

Yes, I’m posting this work again. Because, during this so-called Week of Life (or today the March for Life), conservative forces in The Netherlands are trying to deny us the right to safe abortion. This march against women's rights is happening NOW, in 2020. That women have to fight for safe abortion, AGAIN and AGAIN, is downright insulting and disrespectful. And it pisses me off. To my daughter and all the other women in this world, now and in the future, I would like to say: your body is yours and no one else's. Stop telling women what to do with their bodies. Our bodies are not your battleground. It is NOT a discussion. Stay out of our wombs! Stay out of our lives.

#barbarakruger #yourbodyisabattleground #contemporaryart #art #feministart #feminism #prochoice #marsvoorhetleven #womensrights #artmustgrow

📸 Barbara Kruger. Untitled (Your Body is a Battleground), 1989.

Carolee Schneemann (1939 – 2019) is one of the a

Carolee Schneemann (1939 – 2019) is one of the artists I was recently researching for a literature review about women performance artists in the 1970s in the US. She was also one of my heroines when I was doing performances in art school. As you probably know, Schneemann was an experimental artist, known for her works on the body, narrative, sexuality and gender. She began her career as a painter, stating: 'I'm a painter. I'm still a painter and I will die a painter. Everything that I have developed has to do with extending visual principles off the canvas.' Fed by feminist thinking of the 1960s and 1970s, she highlighted her own physical experience and point of view in her art.

The last few images are taken from her essential publication 'More than Meat Joy' which includes scripts, notebook fragments, images etc. from various performances. Unfortunately, nowadays, the book is difficult to obtain but available in the library of the Rijksuniversiteit Groningen.

📸 1) Carolee Schneemann, ‘Meat Joy’ (1964), Documentation of the performance at the Judson Dance Theater, Judson Memorial Church, New York, US, November 16-18, 1964 Image: Courtesy of C. Schneemann and P.P.O.W Gallery, New York, Photo: Al Giese © Carolee Schneemann, © Bildrecht, Wien, 2015. 2–5) From the publication ‘More than Meat Joy’, documentation of ‘Meat Joy’.

#CaroleeSchneemann #Schneemann #MeatJoy #MoreThanMeatJoy #Performance #PerformanceArt #Painting #Painter #Canvas #ContemporaryArt #FeministArt #Feminism #GreatWomenArtists #GreatWomanArtist #JudsonDanceTheater #LiteratureReview #CuratorialStudies #Research #ArtMustGrow

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

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