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Jean-Baptiste Bernadet
from “Benoit Plateus”
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Fritz Goro
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meta!
Maryanne Casasanta posted 3 of my images on wealltogether.org
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tk5:
Untitled (Triangle)
2010
Douglas Fir
Dimensions variable
Installation View
Mitchell-Innes & Nash, New York City, 2010 -
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Monique Mouton
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Jeremy R. Jansen
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taking notes
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jsbj:
Nicolas Poillot - extract from PICTURE SCULPTURE book
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oooh! good stack
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Me As Arbus, Gillian Wearing 2008
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Mythic Being: Getting Back No. 3 1975
IIn the mid-1970s, Adrian Piper began what has perhaps become her best-known series, The Mythic Being. As in the Catalysis series, Piper’s primary intention was to evoke a spontaneous response from an unknowing audience. For The Mythic Being, Piper took on the persona of a young, black male and went to public sites to experience attitudes and responses toward this socially contested figure, described best in the title of one of the series, I Embody Everything You Most Hate and Fear (1975).
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Sadamasa Motonaga (1977)
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The I and the You: Clothing/Body/Clothing, Lygia Clark 1967
A proposal made for a couple in which both the man and woman wear a plastic boiler suit. Each boiler suit contains within it a lining made up of different materials (plastic bag with water, vegetable spume, rubber etc.). Which gives the man a feminine sensation and a masculine sensation for a woman. A hood, made of the same plastic, blindfolds the eyes of the participants, and a rubber tube, like an umbilical cord, connects the two boiler suits. When they touch each other, the participants discover small openings in their boiler suits (six zips), which give access to the inner lining, translating them into the sensations felt by their partner. In this manner, the man finds himself in the woman, and she discovers herself in his body.
(in reflecting on this statement, I feel like same-sex participants could yield interesting results as well, along with pertaining who would wear the “man” suit and who would wear the “woman” etc.)
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How to Explain Pictures to a Dead Hare, Joseph Beuys 1965
How to Explain Pictures to a Dead Hare was performed as part of his first solo exhibition in November 1965. The audience watched the performance from the outside of the gallery through its large store front window.
With his face covered in honey and gold leaf Beuys cradled a dead hare in his arms and whispered quietly to it about the drawings on the walls of the gallery. Well known as regarding him self as a shamanic figure, Beuy’s work is dense with material and symbolic references. For example the honey is to represent the bee as being part of an ideal society of co-operation and brotherhood, whilst the gold is to connect himself to a masculine principle of strength and a synergy with earth.
“Gold and honey indicate a transformation of the head, and therefore, naturally and logically, the brain and our understanding of thought, consciousness and all the other levels necessary to explain pictures to a hare… The idea of explaining to an animal conveys a sense of the secrecy of the world and of existence that appeals to the imagination. Then, as I said, even a dead animal preserves more powers of intuition than some human beings with their stubborn rationality. “The problem lies in the word ‘understanding’ and its many levels which cannot be restricted to rational analysis. Imagination, inspiration, and longing all lead people to sense that these other levels also play a part in understanding. This must be the root of reactions to this action, and is why my technique has been to try and seek out the energy points in the human power field, rather than demanding specific knowledge or reactions on then part of the public. I try to bring to light the complexity of creative areas.“ -
Imponderabilia
At the opening of an exhibition in June 1977 at the Museum of the Galleria d’Arte Moderna Bologna, Abramovic/Ulay stood naked at the entrance opposite each other in such a way that the people streaming in had to squeeze singly through the gap between the two, unable to avoid physical contact. The crucial factor was that everybody had to decide whom to look at as they passed. In this performance, they are forming a physical frame, confronting the involuntary participants passing through the “birth canal” with the experience of touch, the decision which side to face, and exposing them all to an unfamiliar bodily sensation between shame and an awareness of their own bodies, and to close physical contact with another human being which is generally considered disturbing between strangers. The gap between the two protagonists constitutes the actual performance space in which the viewer plays an active part. It is fitting that this action is placed in a museum where people go as spectators, learning at the very entrance that they are involved themselves.
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that’s gold!
“Untitled No.4”
Vinyl Lettering on Wall
2011
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Jenny Holzer
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new work by Maryanne Casasanta
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Derek Franklin, A Complicated Relation
via together
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Stockholm, 1967
Ken Josephson
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New in store
Before Color by William Eggleston
$110
