I have a deep love for the viewer; they are my imaginary friend. Washing, bathing, and eating are indulgent, self-loving acts, and in her destruction of her own image using these methods she explores the love/hate relationship that we have with ourselves. 500-70 Arthur StreetWinnipeg, MB R3B 1G7, Telephone: (204) 942 5778Toll-free: (866) 825 7165Fax: (204) 949 0793info@bordercrossingsmag.com. 2038 is a strangely moving variation on the theme of the pieta. Gone are the movements and markings of her own body. The first piece she made after graduating from Yale in 1989 was a set of negative wall imprints of her breast and nipple. Give me my belly, she says. I am interested in extreme acts that pull you in, as unconventional as they may be. Some have been successful, others have had trouble crossing over. Swoonhas been written about as having a man behind the curtaina Wizard of Oz revelation at the end. Dipping her hair in a bucket of dye, Antoni mopped the gallery floor on her hands and knees, pushing viewers out of the space as she coated the floor in color. . I cant claim that piece. 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. Why is the Buddha considered to have conventions of iconography? Janine Antoni,Slumber, 1994, performance: loom, yarn, bed, nightgown, EEG machine and artist's REM readings. The installation provoked a conversation between performance and object while exploring the idea of nothingness in art. WithSwoonI really tried to push that; the viewers experience creates the meaning. The little by-products are either desirable (the empty chocolate box so desirable all the chocolates have gone!) All photos courtesy of Luhring Augustine. JABeatrice Thomasis a weird sore thumb, and so isSwoon. Seen here is documentation of the artist's work, "Loving Care". . ] She calls my belly her belly. JAMy generation is much more self-conscious about documentation. In Loving Care, when you finish mopping and painting the floor with your hair, you leave the room and there are remnants of empty hair dye bottles and buckets. Nothing is predictable. I made that circle bigger and bigger withSlumber. ", "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. Janine Antoni's gnaw. The weird thing is that I never saw any of these performances. A lot of meaning comes out in the fight that I couldnt have known before starting. On the other side the rocks touch ever so gently. Usually the material resists me all the way. One Another came first. When I first heard about 'Gnaw' Janine Antoni's 1993 installation I have to confess that I thought she had basically eaten as much chocolate as she could and whacked the remaining (huge) block of it on a marble pedestal. May 4, 2012 - Janine Antoni: Loving Care & Lick and Lather. In your latest work what questions did you pose? Photograph by Geoffrey Clements. 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. If I look at an artists body of work that I really love, the works that I spend most time with are those rare works that didnt get as much attention, the works that dont have the finesse to sweep you away. In her installation Slumber (1994), Antoni slept in the gallery for 28 days and while she slept, an EEG machine recorded her REM patterns, which she then wove into a blanket from the night gown under which she slept. What is Unique About Janine Antoni's Gnaw? The chocolate can also be connected to stereotypical ideas of womanhood in its common consumption by women. What makes Janine Antoni's Gnaw unique compared to other sculptural pieces? Antoni states, "I didn't want to leave it as part of the piece because, for me, the licking was very important, in the sense that it was a very loving act, very different than Gnaw". by John Freeman. 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. Her large-scale, sculptural installations combine a wide range of materials and techniques to create a unique installation. Her work Crowned (2013) was inspired after her giving birth in 2004 to her daughter. Those serendipities often happen to you. As I worked, I realized one rock had parts that were harder than the other. I thought that this unsolicited collaboration was a freak occurrence, but it happened again at the Irish Museum of Modern Art and in Philadelphia at the ICA. Thats different from how we have traditionally learned to approach a conceptual work of art. We use cookies to personalize content and ads, and to analyze our traffic and improve our service. Its done when the work embodies this complex relationship. So it seems to be a recurring response. You have friends who are close enough to tell you they hate it, but you can still be friends. Until Antoni came along and started taking chunks out of those perfect cubes with her teeth. ' (: Janine Antoni; -19 1964) , , . , . Antoni created her scarring by biting into her sculptures. SHHow do you deal with people looking at you, the fear that they have expectations about the work? [2] A sculpture of a wall with plaster crown moulding, that has two plaster pelvic bones protruding from the wall and is framed by plaster splashed around the objects. She is known for transforming materials like chocolate, soap, limestone, cowhide, and clay by using unusual art-making processes such as eating, bathing, grinding, mopping, and sleeping. Janine Antoni, left:Gnaw, 1992, 600 pounds of chocolate, gnawed by the artist, 24 24 24 inches; right:Gnaw, 1992, 600 pounds of lard before biting. I thought it will be great to be so high, but when I actually got out there, the wind was terrifying. At those moments when 'the creation stands between the observer and the artist's creativity,' it might be best, as D. W. Winnicott suggests, to focus on 'the creative impulse itself.'" 1 In September 2015, when Janine Antoni arrived at the conference "Afterlives: The Persistence of Performance . And in Greece, the public made a connection between the loom and Penelope. Here came the Janine; there went the Judd. If you are unfamiliar with Janine Antonis gnaw cube and gnaw toy, this article will provide an overview. She lived with us and Alvin lived with us. Another article talked about Stendahls Syndromehow this teenager was so overcome by beauty she couldnt help herself. Through dying hair and mopping, Loving Care shows the desire to become a social subject, a woman. Gnaw (1992) - Janine Antoni Heart shaped packages and Lipsticks "I feel it's not chocolate without fat," she says. Slumberhas had six incarnations andLick and Latherhas been widely shown. Her desire to create sculptures without human hands and use the textures of materials she uses in her work was so strong that she began chewing on these sculptures herself. The viewers can be analytical, but about their own responses. Janine Antoni, Gnaw (detail), 1992, phenylthylamine: chocolate, lipstick, lard, pigment, wax. And then there were the more specific questions, such as with Conduit, which includes an apparatus that allows a woman to pee standing up, I asked myself if Im going to pee through an object, what material should it be made of? JAThe first time it happened was in Venice. Janine Antoni Gnaw 1992 Lipstick display; lipstick made with pigment, beeswax and chewed lard removed from lard Gnaw, and heart-shaped packaging tray for chocolates made from chewed chocolate removed from chocolate Gnaw Collection of the Museum of Modern Art, New York Photo by John Bessler Courtesy the artist and Luhring Augustine What I remember is that she was able to get away with it because she had an apparatus for peeing while standing up. But there are times when the best way to keep people in that place, which for me is so alive and pertinent, is to show the process or the making. By setting up situations that force her lithe body into contact with malleable materials and spaces, she establishes tongue, eyelashes, and hair as evocative replacements for chisels, pencils, and brushes. Hear about the latest news and whats coming next from Border Crossings. There is a point where Im actually feeling the repercussions of the object on my body. Gnaw, however, is as much a work of art about art his-tory as it is about desire. In the way that weve claimed some of these seminal performance pieces from 30-odd years ago, and used them to empower us. SHAll of the pieces are like hosts for projection of true or false narrative. She was the first woman artist to have a retrospective at the MoMA in 1982. I also became half man and half woman. (61 x 50.8 cm.) I wanted to work with an evolution that begins with the body and works its way into the culture. Gnaw was a multi-tasker; it touched on consumer culture, the cult of beauty and art history, all neatly packaged in a single installation. Conceptually her response was in keeping, and I had to make a decision of whether I should leave her marks. In the end room, all is revealed, but its backwards and Im aware that it is a construction. For one, I became part pirate or lion. I was very cavalier because Im a tightrope walker and have good balance. What is the impetus behind it? As a mother, you have to be flexible, spontaneous and responsive in the moment. . Antoni refers to it as a mouth-made ready-made. Her logic in this early work was simple: if her mouth was the hammer and chisel in Gnaw, then in Loving Care her hair could be a paintbrush. But there was no need for anything like that in Madrid. Not only a response from the audience, but from the caretakers of the work, too. Ive thought about how these pieces become props for storytelling. JAI dont know. Janine Antoni was born in Freeport, Bahamas in 1964. In a way what she did was an extension of my work. [5] She received a M.F.A. greenish-blue finish on bronze or copper due to oxidation. Combining performance and sculpture, she investigates such everyday activities as eating and sleeping. It was a piece that did double duty. In particular, that there is always something missing. Janine Antonis distinctive style blurs the line between sculpture and performance art, using the body as a medium and everyday activity as artistic processes. SHThinking about work that doesnt use your body as an instrument, how do you plan to make future pieces? Janine Antoni. Antoni's work is in various public museum collections, including the San Francisco Museum of Modern Art (SFMoMA),[14] National Gallery of Art,[15] the Solomon R. Guggenheim Museum,[16] The Broad,[17] the Metropolitan Museum of Art,[18] among others. All images Janine Antoni. I am tapping into stories that, as a young girl, conditioned me or were the stories I fantasized about and to go back and face them, reconstruct them in some way. 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. I would say that I start with setting an intention and then pay close attention to what is happening. These are the works that I really cherish. In the work, she chewed 600-pound cubes of chocolate, then the same quantity of lard, until she was too exhausted to continue. In it, she sculpted 600-pound cubes of lard and chocolate using her mouth as a tool. Patina. Sign up to be the first to know about my online talks, gallery visits and events. What does it mean to both hold space and get out of the way at the same time? . In her 1993 work Lick & Lather, Antoni made a . He really believed that art could solve all the problems . One, the idea that you give yourself an experience. That you structure a project around the desire to go through something, to give yourself that which you cant think through entirely to satisfaction. What does it do to your sense of failure or risk? She arrived on the scene withGnaw, two 600 pound minimal cubes (one chocolate, one lard) that she aggressively bit into eroded architectural fragments, using the mouthfuls to generate other objects (45 heart-shaped chocolate packages, and 400 pigmented lipsticks). She received her BA from Sarah Lawrence College in New York, and earned her MFA from the Rhode Island School of Design in 1989. 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. Today, BOMB is a nonprofit, multi-platform publishing house that creates, disseminates, and preserves artist-generated content from interviews to artists essays to new literature. Antoni explains this desire to be involved in the viewer's experience when she writes: [Performance] wasn't something that I intended to do. [26], Slumber is a performance piece which stretched over the course of many weeks. The same way one thinks of your face in the bathtub being washed away or the residue of yourself on your tongue. Unauthorized use is prohibited. You want to what! A similar thing happened at the Guggenheim when I was performingSlumber. You have a post-studio practice; things dont evolve out of a daily ritual. Im always interviewing those around me; and trying to understand how people see the work. Gnaw began life as a pair of large cubes, one of chocolate, one of lard, each weighing in at 600 pounds . SHWhere does the interest or focus on empathy come from? The thing not there was the thing most present. of lard gnawed by the artist; display with 130 lipsticks made with pigment, beeswax, and chewed lard removed from the lard cube; 27 heart-shaped packages made from the chewed chocolate removed from the chocolate cube. [20], In Loving Care (1993), Antoni used her hair as a paintbrush and Loving Care hair dye as her paint. I really count on them. JANINE ANTONI: Yes, but this was Maria JUDITH RICHARDS: Oh, okay. This studio-sculpture, which has been performed/shown several times around the world, is classic Antoni; a charged relay from mind to body in private and public. SHBecause when I think of performance and installation art from the past 20, 30 years, I think of work that is much more hostile towards the audienceBruce Nauman, Vito Acconcithe desire to push the audience to an extreme. Works by artists such as Donald Judd and Robert Morris were all about the cube. 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. Shthinking about work that doesnt use your body as an instrument, how do you deal with people looking you! Chocolate can also be connected to stereotypical ideas of womanhood in its common consumption by women to hold. 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