In the idea of erasing, there is an element of destruction. The video of this episode can be viewedhere. These are displayed in cabinets near the sculptures. JAArticulating a relationship. When in any of these pieces, did the thing tell you something that you might not have predicted at the get-go? It consists of two enormous cubes made of lard and chocolate. Born in the Bahamas, Janine Antoni studied art in the United States at Sarah Lawrence College before going to the Rhode Island School of Design for her MFA. Its not entirely clear whether we should regard her as the weaver of her own suspending web, or as a victim caught in the filaments of its harness strings. . Then I get into the final room which reveals how everything is functioning, but there is only one place where the dance is pure, and its in the projection mirror. The two cubes were displayed in an evocative room filled with mirrored shelves. It exists in this vapor and everything else is information at the edges of it. But what the Loving Care photographs dont show is that she was also driving out of the performance space the crowd that had gathered to watch a woman, in a vulnerable position, enacting a laborious and inexplicable ritual. She was born in Freeport, Bahamas, and later moved to Florida in 1977 to attend boarding school. Would you want to put something chewed by a stranger in or near your mouth? SHWhat have you learned from repeatedly showing and performing some of these pieces? But in Zurich, the people were incredibly shy. What are the benefits of giving supplements to your pets? Halfway into the show, a young woman, a teenager from Czechoslovakia who was there with her parents on vacation, bit three noses off my chocolate heads! "[12], Antoni has cited Louise Bourgeois as a strong artistic influence, referring to Bourgeois as her 'art mother.'[13]. As I worked, I realized one rock had parts that were harder than the other. JAThats funny. The artist uses her mouth instead of tools to cut away materials. JANINE ANTONI: Yes, but this was Maria JUDITH RICHARDS: Oh, okay. But the effect of the materials she uses, and what she does with them, resonates in her audience like memory and blood. Like so much of her subsequent work, Loving Care was simultaneously about being in danger and being defiant. My mom told me that when my brother was young they were by the pool at a Holiday Inn, and he walked to the end of the diving board and peed. by John Freeman. Then a patron of the arts who happens to have access to the Chrysler Building made it happen for me. Janine Antoni ("Gnaw") Bring supplies for plaster on Wed 8/31: small containers for pouring plaster forms, i.e., conical, rectangular, circular, cube, etc., small jar of petroleum jelly, junky clothing, ----- Prepare for critique: modify and improve your Janine Antoni, Gnaw, 1992, installed at Luhring Augustine Gallery, New York. [28][29] The intention of this project was to leave the viewer to interpret the psychological reaction of danger. Even now, at five, she still likes to sleep with her finger in it. Its hard to get access because no one wants you on their roof, so I got turned down a lot. I start out with an idea of what I want the object to be, and I try to impose it on the material. However, it isnt a true transitional object because she replaced my breasts with my belly button, as opposed to a teddy bear or a blanket. its really a pretty complex relationship. JAI like this idea of the thing that is missing and I agree that it is consistent in all the work. Loving care, 1993, performancing with Loving Care hair dye Natural Black, dimensions vaiable. Motherhood is the larger story that connects the work in Up Against to her earlier production. Using materials related to feminism, chocolate is a desirable fat, while lard is a feared one. Theres a great familiarity and at the same time a great distance. It is in those works that you fully see the artists vision, even if it is raw and clunky. JAThe work has become more and more about myself as a way to protect myself. Unauthorized use is prohibited. Also, to work in a variety of contexts so that I reach different audiences. You told me once that you feel like you have to hit a home run every time. What does it do to your sense of failure or risk? SHI was thinking about the artists you are historically linked to Hannah Wilke, Carolee Schneeman, Ana Mendietapeople who politicized their naked bodies in dance, performance, and photo pieces. Likewise with the Shakers, I got into territory I had never been in before. Fortunately, we had the image by then. Ive thought about how these pieces become props for storytelling. After studying art in Paris, she moved to New York in 1938 with her husband Robert Goldwater and became active in the feminist movement. The chocolate fragments, blended with spit, were melted down and cast into 27 heart-shaped packages for chocolates, while the lard residue was combined with wax and bright red pigment to create 135 tubes of lipstick. Founded in 1893, University of California Press, Journals and Digital Publishing Division, disseminates scholarship of enduring value. ", "Artist Janine Antoni Takes on Childbirth and the Female Body in Two New Shows", "Collection Online | Janine Antoni - Guggenheim Museum", "Janine Antoni Biography Janine Antoni on artnet", "Alum Wins Guggenheim for Body-Generated Art", "UTOPIAN STRATEGIES: Artists Anticipate their Audiences", "Janine Antoni, Lick and Lather, 1993-1994", "Collection - Lick and Lather, 1993-1994, Janine Antoni", "The Collection, Janine Antoni. Its interesting to think about it in that way. Her large-scale, sculptural installations combine a wide range of materials and techniques to create a unique installation. JAThe first time I didLoving Care, it was not a performance; I did it as a relic and I showed it that way. SHHow do you deal with success? We spent several days using Photoshop to superimpose images of me onto pictures taken from the building. The context surrounding Harlem pushed me into a place that I would have never gone. BOMB includes a quarterly print magazine, a daily online publication, and a digital archive of its previously published content from 1981 onward. Her work Crowned (2013) was inspired after her giving birth in 2004 to her daughter. Installed at the Sandra Gering Gallery in 1992, Janine Antoni's Gnaw was the artist's first solo exhibition. 1992. Its a crazy thingto remove in an effort to connectbut Im interested in that fine line between how much information I give and how much information I withhold, and my whole body of work plays with that. It was both a conversation and a show-and-tell, as Antoni brought a collection of props, pictures, objects and images for us to better understand the meaning and making of her captivating art. Theres this core meaning which is in the object, and the peripheral information that informs the object. It is like choosing the kitchen of Beatrice Thomas for restoration. Works includingLoving Care,Lick and Lather, andSlumbereach use Antoni herself as the primary tool, engaged in arduous, repetitive tasks carried out either in eroticized private or candidly public ways. Context encourages me to make different kinds of work; its another way to stretch. pliable material is shaped into a three-dimensional form. Janine Antonis distinctive style blurs the line between sculpture and performance art, using the body as a medium and everyday activity as artistic processes. Courtesy of the artist and Luhring Augustine, New York. Task: Determining the Content Make a list of words that you associate with Gnaw. Dont listen to the corresponding Elevenses with Lynne to find out how to pronounce it though!! His is the notion of the good enough mother, which Im really interested in. 1964) Mom and Dad mother, father and make-up--Cibachrome print mounted to board, in three parts each: 24 x 20 in. The viewers can be analytical, but about their own responses. In a way what she did was an extension of my work. [5] She received a M.F.A. JAI learn a lot from the guards. My goal is to work in the broadest way possible, so that people wont have expectations as to what material or form I work with. If I can stay open and have the courage not to hang on to my original idea, the material starts to speak back and tell me what it wants to be. [25] In an interview in 1996 with Amy Jinkner-Lloyd, Antoni discusses the defacing of the chocolate bust in installation, as somebody had bitten the nose off. Antoni is known for her unusual processes, using her body as both a tool and a source of meaning within the conceptual framework of her practice. In it, she sculpted 600-pound cubes of lard and chocolate using her mouth as a tool. Janine Antoni, Gnaw, 1992. Then I showed the piece in Zurich and the focus was on Jung and archetypal symbols. of Lard 600 lbs. The separation clearly hasnt happened yet. I didnt want to make people feel uncomfortable, so I had lots of little ideas about how to put them at ease. SHHow do you deal with people looking at you, the fear that they have expectations about the work? I do these extreme acts because I feel that viewers can relate to them through their bodies. We only had one day to get the photo; we were trying to compose an image before we got up on the Chrysler Building. We have a better understanding of how information makes its way into the world. [21] She collected the removed pieces of chocolate and lard to create a separate mock store front display which she called Lipstick/Phenylthylamine Display, consisting of heart-shaped boxes made of chocolate and lipstick tubes filled with a "lard, pigment, and beeswax". Please note that Crafts default cookies do not collect any personal or sensitive information. Request Permissions, Published By: University of California Press. [20] Antoni made a statement about her work saying "Lard is a stand-in for the female body, a feminine material, since females typically have a higher fat content than males, making the work somewhat cannibalistic". Her large-scale, sculptural installations combine a wide range of materials and techniques to create a unique installation. In the way that weve claimed some of these seminal performance pieces from 30-odd years ago, and used them to empower us. The relationship is so dynamic, so full of potential, and much more visually interesting than two flat surfaces. Sign up to be the first to know about my online talks, gallery visits and events. Every piece is a kind of collaboration. All photos courtesy of Luhring Augustine. SHIt sounds very much like the dancers inSwoon. . French-born American sculptor, born in 1911. Janine Antoni (American, born January 19, 1964) is a sculptor, photographer, performance artist, and installation artist. JAWeanwas my first major breakthrough. Seen here is documentation of the artist's work, "Loving Care". Conceptually her response was in keeping, and I had to make a decision of whether I should leave her marks. Janine Antonis gnawed reveals how she reconciled the notion of sculptural object and performance. The most fascinating was how self-revelatory people were. BOMB's Oral History Project is dedicated to collecting, documenting, and preserving the stories of distinguished visual artists of the African Diaspora. [26], Slumber is a performance piece which stretched over the course of many weeks. [It was an important part of my upbringing to live with my grandparents.] Janine Antoni (born January 19, 1964) is a Bahamianborn American artist, who creates contemporary work in performance art, sculpture, and photography. But its one of those pieces likeSwoonin which your trace is not evident, a directorial piece that youre responsible for, but its not so obvious who helped, or how. JAFor me, that removal is a generous act, in the sense that it creates a place for the viewer. When I was a little girl, my brother was reading a book about pirates and it mentioned Anne Bonnet. We called her Maina. There is no documentation of me biting the chocolate inGnaw, but there are other processes which I do put out there. Photographed by Prudence Cumming Associates at Anthony dOffay Gallery, London, 1993. Called Wean, 1990, it drew attention to her interest in finding ways to represent the various stages of separation from her own mother, and to articulate that relationship through a form of absence. Swoonhas been written about as having a man behind the curtaina Wizard of Oz revelation at the end. The gesture in this photograph first happened when Indra was learning to feed herself. Antoni has a deep love for her viewers, and they seem to love her, as well. Religion Which are aspects of form? Antoni's works focus mostly on process and the transitions between the making and finished product. For me, each discreet room is incomplete, and all of them are different. Some of her earliest worksGnaw (1992), Loving Care and Slumber . "Interdependence: The Live Tableaux of Suzanne Lacy, Janine Antoni, and Marina Abramovi. Gnaw was a multi-tasker; it touched on consumer culture, the cult of beauty and art history, all neatly packaged in a single installation. I wasnt going to have my face in it. I had an opportunity to work with a home for the elderly, and I decided I was going to interview all the women there and ask them if they had any advice on how to be a good mother. Antoni's work blurs the distinction between performance art and sculpture. (She was also referencing Yves Kleins use of his models as paintbrushes with the transformative difference that in her enactment she was both model and master). "By the time you take out the fat and the sugar, you might as well make it a bronze." -Janine Antoni- The End 600 lbs. The information they store is not sent to Pixel & Tonic or any 3rd parties. Listed below are some of the works unique qualities and features. So its clear that Antoni has a message here, and to me shes asking questions about what it means to be a woman both with desires and who is, and wants to be, desired. It depends on what you mean by intentional. So I turn around, the music swells and Im stuck looking at myself in a floor-to-ceiling mirror, and I want to see what is behind me, and, of course, Im getting in my own way. Minimalist, machine cut, intellectual in tone and above all, clean, they had no relationship to the messy, visceral performance art that was generally the domain of female artists often with a feminist agenda. of chocolate gnawed by the artist; 600 lbs. Photograph by Geoffrey Clements. [4] She graduated from Sarah Lawrence College in 1986 with a B.A.degree. Coutesy of the artist and Luhring Augustine, New York. All three pushed me so far from myself that I felt vulnerable. Coutesy of the artist and Luhring Augustine, New York. Gnaw comprises two 600-pound cubes - one of chocolate, the other of lard - and a three-paneled, mirrored cosmetic display case. The works that I really love are things like Carolee SchneemannsMeat Joyor Joseph BeuyssI Love America and America Loves Me, or Chris Burden having himself shot. Once the child isnt hurting herself or anyone else, you have to trust the process to unfold naturally and in its own time. WithSwoonI really tried to push that; the viewers experience creates the meaning. Janine Antoni was born in Freeport, Bahamas, in 1964. I liked the fact that it was a teenage woman. There is a point where Im actually feeling the repercussions of the object on my body. JABeatrice Thomasis a weird sore thumb, and so isSwoon. Im not sure the work promises answers but it definitely asks questions. Variety of contexts so that I felt vulnerable jabeatrice Thomasis a weird sore,. And so isSwoon, my brother was reading a book about pirates and it Anne! 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