#Marina Abramovic x Ulay

[whileiamdying]

El cuerpo infinito de Marina Abramovic

El uso de su cuerpo como acto de liberación de su rígida educación filial, y como instrumento de creación, convirtieron a la artista en una pionera dentro de este campo, y en la actualidad se le adjudica el sobrenombre de “la abuela de la performance”

Por Ella Fontanals-Cisneros February 14, 2021

Rhythm 0, 1974 (publicación 1994). Fotografía en blanco y negro, panel con texto mecanografiado. 100 x 97 cm | Cortesía de la Colección Ella Fontanals-Cisneros, Miami

Marina Abramovic es una personalidad medular para el devenir del arte performático y conceptual del último medio siglo. Esta mujer extraordinaria nació en Serbia, en el año 1946, apenas un año después de la consolidación del régimen comunista en la antigua Yugoslavia, de la cual Serbia formaba parte. Su familia estuvo íntimamente vinculada a este proceso, y se considera que formó parte de una suerte de “élite roja”. Esta vinculación política se tradujo en una educación casi militar en su hogar, y en un estricto control sobre su educación y accionar en su primera juventud, y hasta avanzados sus 20.

Entre 1965 y 1970 estudió en la Academia de Bellas Artes de Belgrado, Serbia y posteriormente en la Academia de Bellas Artes de Zagreb en Croacia. Enseguida se decantó por la performance, antes que cualquier otra manifestación artística. El uso de su cuerpo como acto de liberación de su rígida educación filial, y como instrumento de creación, convirtieron a Marina Abramovic en una pionera en el mundo dentro de este campo, y en la actualidad se le adjudica el sobrenombre de “la abuela de la performance”.

A principios de los años 70 protagonizó una serie de actuaciones nombradas Rhytms (Ritmos), en distintas galerías europeas. Estas obras poseían un componente de reflexión esencial sobre su propia persona, y también aspectos de interacción social. En 1974 realizó su obra Rhythm 0[1] en una galería napolitana. Colocó una serie de objetos, cuidadosamente seleccionados, sobre un mesón dentro de la galería. A los asistentes del público les dejó escritas las siguientes instrucciones “hay 72 objetos sobre la mesa que puede usar en mí como desee. Yo soy el objeto. Durante este tiempo yo asumo cualquier responsabilidad”. Había objetos tan diversos como una pluma, aceite de oliva, una rosa, un peine, una cámara polaroid, un bolígrafo, un espejo…, así como una única bala y un revólver. Ella en el centro de la galería, como un objeto pasivo, solo se limitó a resistir impasible las acciones que el público infligió sobre ella utilizando los diversos objetos. Algunas reacciones fueron positivas y hasta graciosas, empleando objetos inofensivos. Pero también hubo actos de agresión e incluso un asistente del público llegó a apuntarle con el revólver.

Entre las múltiples ideas que motivaron esta obra de Marina estuvo la de reflexionar sobre la diversidad de reacciones que podría desencadenar en un ser humano el tener poder ilimitado y sin consecuencias sobre otro. En algunos sacó lo peor de nuestra especie, mas no de inmediato, sino a través de un proceso gradual, al principio con timidez, y después con más seguridad y hasta crueldad en ciertos casos.

Sin embargo, su obra en general llama la atención sobre algo mucho más íntimo. Esto es el enfrentamiento y resistencia del individuo ante fenómenos inevitables de la existencia, como las limitaciones del cuerpo o nuestra aceptación de la muerte como una parte inseparable de la vida.

En 1976 se marchó a Amsterdam, donde conoció a Ulay, quien sería su pareja sentimental y profesional durante más de 10 años. Junto a Ulay trabajó como una sola persona-artista, y su obra se diversificó a otros temas, tales como los componentes del ego, la individualidad, el espacio personal y la libertad. El cuerpo obviamente en una categoría protagónica, pero inmerso por aquellos años en otro tipo de búsquedas. Incluso su ruptura con Ulay en el año 1988 fue convertida por decisión de ambos en una performance. Caminaron cientos de kilómetros, cada uno desde un punto de partida opuesto, despedirse al encontrarse en el medio, y continuar su camino.

Posteriormente, Marina -quien se mantiene en activo hasta el día de hoy- ha seguido trabajando en sus teorías relacionadas con el auto-conocimiento, la espiritualidad y la meditación como actos creativos inherentes a su existencia. Esto ha dado en llamarse el “método Abramovic”, a cuya divulgación y enseñanza ha contribuido el Marina Abramovic Institute, creado por ella en el año 2007.

Sobre ella y otros artistas de la performance le invito a conocer más a través de mi canal de YouTube y mi website.

[1]La obra fue documentada en su momento, y en 1994 (20 años después) se publicó una edición limitada que incluía una fotografía de la artista durante la performance, el listado mecanografiado de los 72 objetos y las instrucciones escritas al público. La propia Marina me obsequió en el 2007 una de sus pruebas de autor, que hoy forma parte de mi colección.  

#marina abramovic #marina abramović #ella fontanals-cisneros #el nacional #venezuela #rhythm 0

[myfspaceblog]

Ulay (1943 - 2020) https://www.artbasel.com/catalog/artwork/18821/Ulay-Retouching-Bruises German Based Artists based in Amsterdam and Ljubljana Best recognised for his polaroid art and collaborative performance art with longtime companion Marine Avramovic The main concepts explored by Ulay and Avramovic explored in their work were ego and artistic identity. Created “relation works” - characterised by constant movement, change, process and “art vital” expressed in their Relation Works (1976 - 1988) manifesto: ‘Art Vital” No fixed living place, permanent movement, direct contact, local relation, self-selection, passing limitations, taking risks, mobile energy.” The work of Ulay and Abramovic tested the physical limitations of the body, exploring male and female principle, physic energy, transcendental meditation as well as non verbal communication Retouching Bruises, 1975 100 pieces, Polaroid Photography, Each 8.5 x 108. Unframed A collaboration with Marina Abramovic Combines performance art with photography The series capture an intimate series of action in which Ulay and Abramovic mark each others flesh with ink — a finger on the collarbone, a grasp on the thing A dark fingertip onto the skin, a gesture that maps one identity on top of another. Reiterating the exchange, the transfer of fingertip onto the Polaroid photographs themselves, helps to reassert the immediacy of both the action and the medium. Ulay used his body as the starting point and as a means of expression because of its immediacy, photography was logically his medium. His work is an offering, thus for him, his project is about ‘ an exchange of gift’ including aspects of himself portrayed through his performance and self images Polaroid camera which takes uniques images that themselves become objects of exchange (‘bodies’ to be fondled”) The pictures hurt. But they also sing of possible love, of a love that marks and potentially harms, while also stroking, soothing, adoring. The love imprints but also grasps (the beloved body, the surface of the Polaroid) https://stedelijkstudies.com/wp-content/uploads/2016/03/Stedelijk-Studies_Retouching-Bruises_Long_PDF.pdf Marks argues that such haptically visual experiences imply a mourning of an absent or lost object, in contrast to optical visuality, which presents the visual image as a way of resuscitating what is lost by making it appear to be whole Ulays vulnerability and fearlessness is in exploring what we might imagine to be his own radical sense of loss and alterity — vulnerability in the face of the assaults, large and small that characterize contemporary existence Proves that relationships are never static, completely balanced or free from the potential of hurt and loss. In each picture of the Retouching Bruises series, the flesh is marked by fingerprints, or shown to be in the grip of this act of marking, which is also a touching or holding or gripping or pinching. We see a male hand on a woman’s body and a female hand on a man’s body —there is an explicit eroticism as the bodies are naked, malleable, even shown as sensitive to touch and temperature, with hairs raised. The skin of each photograph —its thick emulsion surface —is also tattooed by fingerprints, which touch again: skin, surface, touch are doubled in an abyss of performative action and representation. There is this complexity to Polaroid — emulsion weighing them down, creating a density and a chemical smell that allows them to be objects in their own right. “I think of a photograph as an emulsion, as a microscopically thin, light sensitive skin, adhered to a sheet of paper and wanting to show something. [Also, for me photography is an intimate object, an image on paper that can fit in your hand and be passed around.” Retouching bruises evoke relations of what Laura U. Marks in her book ‘The Skin of the Film’ described as “haptic visuality”: the tactile qualities of skin suggested through the visual texture and depth of photographic imagery.

https://www.artbasel.com/catalog/artwork/18823/Ulay-Retouchin

[samybabytattoo]

Marina Abramovic and Ulay "Impoderabilia" (1977) New still life tattoo featuring #marinaabramovic and #ulay depicted on vessels standing naked in the main entrance of a museum, facing each other while the audience passes sideways through the small space. 🌹 x o x o 🌹#ignorantstyletattoo #lineworktattoo #underground #stilllife #tattoo #flashworkers #queer #queerart #queerartist #queertattoo #contemporarytattooing #хоумтату #qttr #ignorantstyletattoo #wtt #tattrx #taot #tttism #ladytattooers #tattoos done at @theblackforesttattoo (at Carlton, Victoria, Australia) https://www.instagram.com/p/Bwk3x50B9Yr/?utm_source=ig_tumblr_share&igshid=fx3p3gh4ahs5

#marinaabramovic #ulay #ignorantstyletattoo #lineworktattoo #underground #stilllife #tattoo #flashworkers #queer #queerart #queerartist #queertattoo #contemporarytattooing #хоумтату #qttr #wtt #tattrx #taot #tttism #ladytattooers #tattoos

[mwccc2]

Rosalyn Driscoll

The work of Rosalyn Driscoll explores the terrain of her body—not the visible body, but the inner body, translating her discoveries into sculpture, instillations, collage and photographs.

Uses materials such as wood, steer, paper, rope and cloth, often combined with materials such as rawhide, a powerful malleable material that evokes life, death and transformation.

Infuses the translucent rawhide with neon lights and videos as a way to dematerialize the sculptures and amplify peoples somatic response and convey impermanence.

Collaborates with dancers, filmmakers, scientists, theater artists and phenomenologists to explore the interaction of the forces of body, nature and spirituality.

Consider her work as relational fields that connect to the senses, bodies and lives of the people they touch and to the nature of the palace they inhabit.

Moving Water

https://vimeo.com/108765276

Moving Water offers a moving, embodied sensory experience of our biological, psychological, cultural understanding of water through handling sculptural vessels that contain water.

Made from sensuous materials such as glass, rawhide, metal and clay.

The vessels containing water were exchanged among audience members in an individual and collective exploration.

The attention and empathy conveyed through these actions conveys a poetic narrative about water qualities, ubiquity, use and loss.

Ulay (1943 - 2020)

https://www.artbasel.com/catalog/artwork/18821/Ulay-Retouching-Bruises

German Based Artists based in Amsterdam and Ljubljana 

Best recognised for his polaroid art and collaborative performance art with longtime companion Marine Avramovic

The main concepts explored by Ulay and Avramovic explored in their work were ego and artistic identity.

Created “relation works” - characterised by constant movement, change, process and “art vital” expressed in their Relation Works (1976 - 1988) manifesto: ‘Art Vital” No fixed living place, permanent movement, direct contact, local relation, self-selection, passing limitations, taking risks, mobile energy.”

The work of Ulay and Abramovic tested the physical limitations of the body, exploring male and female principle, physic energy, transcendental meditation as well as non verbal communication

Retouching Bruises, 1975

100 pieces, Polaroid Photography, Each 8.5 x 108. Unframed

A collaboration with Marina Abramovic

Combines performance art with photography

The series capture an intimate series of action in which Ulay and Abramovic mark each others flesh with ink — a finger on the collarbone, a grasp on the thing

A dark fingertip onto the skin, a gesture that maps one identity on top of another.

Reiterating the exchange, the transfer of fingertip onto the Polaroid photographs themselves, helps to reassert  the immediacy of both the action and the medium.

Ulay used his body as the starting point and as a means of expression because of its immediacy, photography was logically his medium.

His work is an offering, thus for him, his project is about ‘ an exchange of gift’ including aspects of himself portrayed through his performance and self images

Polaroid camera which takes uniques images that themselves become objects of exchange (‘bodies’ to be fondled”)

The pictures hurt. But they also sing of possible love, of a love that marks and potentially harms, while also stroking, soothing, adoring. The love imprints but also grasps (the beloved body, the surface of the Polaroid)

https://stedelijkstudies.com/wp-content/uploads/2016/03/Stedelijk-Studies_Retouching-Bruises_Long_PDF.pdf

Marks argues that such haptically visual experiences imply a mourning of an absent or lost object, in contrast to optical visuality, which presents the visual image as a way of resuscitating what is lost by making it appear to be whole

Ulays vulnerability and fearlessness is in exploring what we might imagine to be his own radical sense of loss and alterity — vulnerability in the face of the assaults, large and small that characterize  contemporary existence

Proves that relationships are never static, completely balanced or free from the potential of hurt and loss.

In each picture of the Retouching Bruises series, the flesh is marked by fingerprints, or shown to be in the grip of this act of marking, which is also a touching or holding or gripping or pinching. We see a male hand on a woman’s body and a female hand on a man’s body —there is an explicit eroticism as the bodies are naked, malleable, even shown as sensitive to touch and temperature, with hairs raised.

The skin of each photograph —its thick emulsion surface —is also tattooed by fingerprints, which touch again: skin, surface, touch are doubled in an abyss of performative action and representation.

There is this complexity to Polaroid —  emulsion weighing them down, creating a density and a chemical smell that allows them to be objects in their own right.

“I think of a photograph as an emulsion, as a microscopically thin, light sensitive skin, adhered to a sheet of paper and wanting to show something. [Also, for me photography is an intimate object, an image on paper that can fit in your hand and be passed around.”

Retouching bruises evoke relations of what Laura U. Marks in her book ‘The Skin of the Film’ described as “haptic visuality”: the tactile qualities of skin suggested through the visual texture and depth of photographic imagery.

But as Ulay suggests, the Polaroids have another dimension of tactility —that of their objecthood — they beg to be held, smelled and experienced through our own touching and feeling.

https://www.artbasel.com/catalog/artwork/18823/Ulay-Retouching-Bruise

[annadelveys]

you know that marina abramovic x ulay performance where they were just breathing from each others mouths till they passed out? apparently thats what my cat thinks we’re doing because he wakes me up by stuffing his entire nose into my nostril 

[yagodichjagodic]

I’m so proud of my newest pin drops! Jean Michel Basquiat x Andy Warhol. Marina Abramovic & Ulay, ‘Relation in Time’. Lady Pink x Jenny Holzer. IG: theidolcollective Twitter: idol_collective Shop: theidolcollective.bigcartel.com

#lapel pin #enamel pin #the idol collective #jean michel basquiat #Basquiat #marina abramovic #ulay #relation in time #jenny holzer #lady Pink #street artist #Andy Warhol #modern art #art history #feminism #feminist

[mayssamayssamayssa]

Marina Abramovic 5/5

Homage to Frida Kahlo (Portrait with Scorpion), 2014, Silkscreen on 100% Scarf/ Shawl, 35.4 x 35.4 in 

The Onion , 1996, Video (Color and Sound), Looped 

Delusional, 1994, Vintage gelatin silver print, 21.06 x 13.78 in 

Collab w/ Ulay, Friday/Saturday Series(7 Works) , 1986, Polaroid, 24 x 20 in

Ecstasy III , 2012, C-Print, 62.2 in x 62.2 in 

#ART2701C #Beginning Sculpture #5 Artists

[muisstil]

3, 13 en 24 :) x

Thanks, you x

3. If your boyfriend or girlfriend was into drugs, would you care?Ofc, i’d like my significant other to be as healthy as possible, simple as that.

13. Do you think relationships are hard?Relationships need commitment, communication,  ... -a ton of other values you want to put into them-. They simply are a lot of ‘work’, but therefore, needless to say, not hard when you really want to make it work. It all flows.

24. Have you ever considered getting a tattoo?Yeah but i feel like i kinda grew out of that? If i ever get one it’d be an image of Marina Abramovic & Ulay’s Rest Energy

[ummaannex]

Famous (and Infamous) Couples in Art

There’s a quote by American essayist Chuck Klosterman saying, “art and love are the same thing: It’s the process of seeing yourself in things that are not you.” If art and love are the same, it makes sense that so many of the world’s famous artists end up in relationships with other artists, for they share the same overlapping of passions. In honor of Valentine’s Day, we’re highlighting both the famous and infamous, the devoted and disastrous - the couples in art who have both remained steadfastly together, or have quickly fizzled out.

Alfred Stieglitz and Georgia O’Keeffe (x)

Stieglitz, a photographer, and O’Keeffe, a painter, met while his career was flourishing and before her’s had taken off. He used his own artistic prestige to promote her work. She served as the subject of many of his portraits, and while they eventually separated, their relationship remains preserved in their many ardent letters and artwork.

Frida and Diego Rivera (1931) by Frida Kahlo

The notoriously tumultuous and passionate relationship between painters Frida Kahlo and Diego Rivera remains one of art history’s most infamous. The gap in both age and size between the two artists, as well as Rivera’s multiple relationships, caused some scandal. The couple married twice; it was said in a letter that besides Kahlo, Rivera had two great loves: painting and women in general.

Light Headed (1991) by Gilbert & George

Gilbert Prousch and George Passmore, are more commonly referred to by their artistic title of Gilbert & George. The couple met in 1967 after what “was love at first sight”. Their collaborative body of work heavily features self-portraits of the two.

Margaret and Walter Keane (x)

While it’s more than a stretch to call it romantic, the relationship of Margaret and Walter Keane is infamous within the art world. For much of the 1960s, Walter passed off Margaret’s work - distinct for their “big eyes” - as his own, achieving fame through her work. It wasn’t until 1970 and a court-ordered paint off that the truth behind the painter was revealed.

Rest Energy (1980) by Marina Abramovic and Ulay (x)

Marina Abramovic and Ulay were collaborating performance artists. Though their relationship ended, the unique and daring performance artists could hardly do so in a traditional manner. Starting from opposite sides of the Great Wall of China, they walked until they met in the middle to formally end their relationship. If you’re interested in watching them reunited in the most artistic and vaguely uncomfortable manner that still gives you all the feelings, check out her 2010 performance piece, “The Artist is Present” at MoMA here.

Though the passions necessary to create renowned works of art don’t always harmonize within one’s personal life, they seem to create the environment for the brilliantly tumultuous and emotive pieces that we fall in love with today.

#valentines day #artists #couple #relationship #frida kahlo #diego rivera #o'keeffe

[mykhiotime-blog]

7 January 2019

Writing class with Line Ulekleiv.

Wrote the following text:

One of these days I should sit down and think through the reasons why I resist so much declaring my references. It must be somehow related to my predilection for independent thinking and complexity, as opposed to any form of unconditioned admiration, personality cult and reductivism. At the same time I must admit I get a certain amount of pleasure in contradicting myself.

A while ago, a friend sent me a link to an interesting website. After a first quick look, I decided I definitely had to set time aside in order to study it in depth. As often happens, it slipped my mind shortly after, but it popped into my head on several occasions later on. I really must take a deeper look at that, I reminded myself at each time, and then again it slipped my mind.

I’ve just found the link and clicked on it. Actually the website’s name is quite easy to remember. Everybodystoolbox.net. From now on I shall remember it. It has been set up in 2006 as a wiki, an internet content pool that anyone can freely edit, by an open group based on interest and named Everybodys. It is a platform for the exchange of works, methodologies and production models, that focuses on the development and dissemination of tools and discourses that exist within the performing arts. The website includes a “Workshop Kit” composed of different sections. In one of them, a set of “Games” based on precise yet open instructions or rules, can be used to develop ideas or works. “Scores and descriptions” proposes to put in relation different forms of notation, such as existing or purpose-written scores and descriptions of performances, as a way to expand the possible understandings of a piece but also to develop new works. The section “Interviews” includes the instructions to conduct individual or group self interview, as well as examples contributed by a number of artists.

Sometimes I include written instructions in my work, while with other projects I use recognisable structures, frames or predefined models within which I let things happen, therefore allowing for a high degree of freedom and unpredictability. Such frames or models can be seen as forms of regulation hence, in my point of view, as a chance to find alternative solutions, a pretext to develop different approaches and practices by turning obstructions and limitations into resources.

Rules and instructions regulate the way things should be done within a defined context, a set of limitations and parameters that require a common acknowledgement but can also be interpreted and adapted according to the individual’s level of engagement. I am interested in the tension between rules as regulatory statements, and the discrepancies produced when interpreted and translated into practice. Such discrepancies can be accidentally or deliberately produced, and used in a transformative way. If rules define limitations and restrictions, they can also foster processes of adaptation, interpretation and transformation. Playing by the rules, playing with the rules, changing the rules or breaking the rules are options at the players’ disposal, some more suitable than others in challenging the rigidity of the game.

One of these days I should sit down and think through the specificities of the contexts I want to address, each one with its own implicit or explicit regulations, frames and models. One of these days I should sit down and define which game I want to play, which rules to keep, which rules to add, which rules to improve and which rules to dump.

I run out of time. I must suspend writing due to family obligations but I promise I will resume at a later time. I won’t forget this time. You know what? I am going to add it to my reference book! My reference book is an address book with alphabetical index tabs that I fill with names of artists, works, writers, books, films and so on. These references have been recommended to me by friends and colleagues after I showed them one or more projects I have done. Some references are relevant and on point, while other not as much...Unluckily I have not been very consistent with taking note of all the names and works that have been recommended to me throughout the years. Moreover, I forget to thoroughly study the names and works that made to those pages...I should definitely set time aside for this.

In the meanwhile, here is the current list: A-B Bernadette Corporation, Francis Alys’s Fabiola, Sven Augustijnen’s Spectres, Guillaume Bijl’s Souvenirs of the 20th Century, Ricardo Grey, George Bataille’s De la Part Maudite, Giorgio Agamben’s Note sul Gesto, Cezary Bodzianowski, Stanley Brown’s A Short Manifesto, Conrad Bakker, Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction and Theses on the Philosophy of History, Hans Belting’s An Anthropology of Images: Picture, Medium, Body and The End of the History of Art?, Judith Butler, Roland Barthes’s Mythologies and La Mort de l'Auteur and La Chamber Claire and Éléments de Sémiologie, Marina Abramovic’s The Artist is Present, Roy Andersson, Louis Borges, Alain Badiou, Boyle Family, Baktruppen, Pierre Bismuth’s Where is Rocky?; C-D Adam Curtis’s The Century of the Self, the exhibition Correspondences at Espace Culturel Louis Vuitton, DreamWorks Animation’s Chicken Run, Stefaan Dheedene, Tacita Dean, Régis Debray’s Transmettre, Sophie Calle, Koenraad Dedobbeleer, Martin Creed, Marquis De Sade, Nico Doxx, Dizionario di Retorica e Stilistica, Jacques Derrida’s Plato's Pharmacy, Gabriele Di Matteo; E-F Harun Farocki, James Ensor, Hans Peter Feldmann, De Appel Curatorial Program Fluiten In Het Donker, Olivier Foulon’s Isa Genzken’s Ring, Sigmund Freud’s Mourning and Melancholia and the concept of Polymorphous Perversity, Emilio Fantin, Robert Filliou, Andrea Frazer; G-H Hitchcock’s MacGuffin, Kristján Guðmundsson, Robert Pogue Harrison’s The Dominion of the Dead, Douglas Hubler, Sigurður Guðmundsson’s Pavement, Street, Tibor Gyenis’ Ten Superflous Gestures, Witold Gombrowicz, the term Happenstance, Ane Hjort Guttu’s How to Become a Non- Artist, Roger Hiorns, René Girard’s Théorie Mimétique; I-J Jasper John’s writings, Jean-Yves Jouannais’ Artistes sans œuvres, Christian Jankowski; K-L Komar and Melamid, Akira Kurosawa’s Rashomon, Michael Landy’s Break Down, Joshua Knelman’s Hot Art, Kris Kimpe’s exhibition design, Marijn Van Kreij, Andrei Kuzkin, Joachim Koester, We communicate only through our shared dismissal of the pre- linguistic: fourteen analyses (1995) in Mike Kelley : minor histories--statements, conversations, proposals, Valery Konevin, Martin Kippenberger’s Lieber maler male mir, Shaurya Kumar’s The Lost Museum, Paul Klee’s drawings, Sherrie Levine, Rafael Lozano and Susie Ramsay’s Ok Art Manifesto; M-N: Kobe Matthys’ Agentshap, Ivan Moudov, Brussels’ Musée de la Police, Matt Mullican’s That Person, Paul McCarthy’s On the figure of the artist; O-P Nicolas Provost’s Plot Point, Ola Pehrson’s Hunt for the Unabomber, George Perec’s Life, a manual; Q-R Kurt Ryslavy, Alain Resnais’ Les statues meurent aussi, Ugo Rondinone’s Your Age and my Age and the Age of the Sun, Robert Rauschenberg’s Erased De Kooning Drawing, Gert Robyns, Michael Rakowitz, S-T Harald Szeeman’s Les Machines Celibataires, Edward Steichen’s The Family of Man, Taryin Simon’s Contraband, Adam Parker Smith’s Thanks, Schrodinger’s cat paradox, Simon Starling, Wolfgang Tillmans, SI-LA-GI’s Apology, Bálint Szombathy’s Lenin in Budapest, Koki Tanaka; U-V Van Eyek Mystic Lamb lost panel at STAM Museum in Ghent, Anton Vidockle’s Art without market, art without education: political economy of art, Enrique Vila-Matas’ Bartleby & Co, Ulay at Neuenationalgalerie in Berlin, Franco Vaccari, Paul Virilio’s L’accident original, Paul Valery, Mierle Laderman Ukuleles’ Maintenance Art Performances, Alex Villar; W-X David Foster Wallace’s A supposedly fun thing I’ll never do again, Peter Watkins’ La Commune, Stephen Willats; Y-Z Snorre Ytterstad.

Andrea Galiazzo

[art-research-journal]

A Book:

Marcia Tucker | Choices: Making an Art of Everyday Life

February 1 – March 30, 1986, The New Museum of Contemporary Art

PDF: https://d2b8urneelikat.cloudfront.net/media/collectiveaccess/images/1/3/3/1814_ca_object_representations_media_13383_original.pdf

This book is an exhibition catalogue for the 1986 exhibition, ‘Choices: Making an Art of Everyday Life’ at the New Museum of Contemporary art in New York. The book was published by Eastern Press, it is a paperback measuring around 21.5 x 15.3cm, with 120 pages and 54 black & white illustrations. The South Australian College of Advanced Education in Underdale bought the book on February 23, 1987 for $10.65 The cover is a textured black cardstock, I think at one time there may have been a red ribbon or a graphic of a red ribbon with gold text reading: ‘Choices’ on the cover but this copy is just black. This copy is also covered in clear contact, two triangles of contact also reinforce the join between cover and title page. Stuck to the title page is a clump of greyish acrylic paint, presumably from the artwork of a prior borrower. The book is relatively worn; at some point the book must’ve come into contact with moisture with the coloured edges of the paper (like gilding but black) and has bled, staining the bottom of many pages a watery-blue. Many of the page edges and corners are bent or otherwise worn, some pages loose. This is interesting given the book is only recorded as having been borrowed seven times in 14 years (1987-2001) assuming the book continued to be at least equally popular it would only have been borrowed another 8-10 times since they stopped stamping the dates (if that – it must be a fairly niche interest book).

In terms of content, the book contains a preface, a four-part essay by director of the exhibition, Marcia Tucker, interviews with artists, and a biographical compendium with information on each of the artists featured in the exhibition. The Artists are: Marina Abramovic and Ulay, James Lee Byars, Spalding Gray, Alex Grey, Tehching Hsieh, Linda Montano, Morgan O’Hara, Michael Osterhout, United Art Contractors, and Ian Wilson. In the essay, Tucker explains the motivation behind the exhibition, describing it as an, “exhibition of work which attempts to remove the barriers between art and life.”[1] Tucker goes on to say that the art shown is not about art objects or objects at all, but that the art is concerned with addressing the “distinction between art and non-art, commodity and gift, art and religious practice, theater and art activity, intentionality and accident, audience and unwitting participation, artistic discipline and obsessive behavior, and the question of morality as a function of art making – all of which may help to redefine, for the public, the nature and parameters of artistic endeavor in general.”[2] Tucker acknowledges that this work, for some, falls outside of the realm of art and, polarising, will no doubt spark heated debates. These opposites and ideas are ones that I have been having with myself throughout this research, not so much in terms of the art’s validity but certainly in terms of trying to extract and define the kind of artistic practice or production that grabs me instinctively. In this way the exhibition overlaps a lot with my research area. Throughout the essay Tucker makes reference to and discusses works both in the exhibition and those that inform the ideas of the exhibition. The latter including pieces such as ‘Leap into the Void’ (1960) by Yves Klein, ‘I Like America and America Likes Me’ (1974) by Joseph Beuys, and Alan Kaprow’s, ‘Household’ (1964). Some of these works I was already familiar with and certainly I can see how they are precursors to the later conceptual work of similar intent. Other works I was not familiar with, in fact, most of the artists included in the exhibition were new to me. Though all of the pieces are of course valid in their own right, not all of them fit the (now slightly better defined) focus of my research. The artists who did end up being of interest for this purpose were Morgan O’Hara (with her obsessive recording of her daily events)[3] and Linda Montano (for her commitment to a seven-year art piece comprised of many daily components (such as listening to one pitch for seven hours each day). Though her interest in ‘energy centers in the body’ and other such ‘spiritual’ ideas do not interest me, nor does it, in my opinion, speak to the everyday)[4]. In terms of the content of this book/catalogue (really more of a book (Tucker actually notes in the preface that many people suggested the exhibition would be better as a book)), I think it helped to support my sense of what I am researching and interested in by promoting works that both fit and do not fit my area of interest. Making the idea clearer by sorting the works into those categories; giving the idea shape through the boundary between the categories.

To return to the book’s physical attributes I think there is a nice nod to the everyday/art in its design. This book is not the shiny-colour-coffee-table catalogue we’re used to seeing from galleries, but an unassuming, plain black paperback one can comfortably hold with one hand, even bend into a big jacket pocket. This book could easily share a shelf with dry theses, bound at low-budget or some bureaucratic annual report (truly everyday). At the same time, the simplicity and subtlety of its design makes a statement. The book’s characteristics are quite comparable to the documentation of the artworks that have been discussed – straightforward, factual, black & white, but undoubtedly stylish, pleasing to the eye. There’s a funny, unacknowledged, maybe even reluctant upholding of aesthetic values to all of this work, this book is no exception.

[1] Marcia Tucker, ‘Choices: Making an Art of Everyday Life’, The New Museum of Contemporary Art, (New York; Eastern Press, 1986). 17.

[2] Ibid. 17-18.

[3] Ibid. 54, 68-69, 108.

[4] Ibid. 108.

[diyloloylautitxt]

ARTE EN ACCIÓN, LA PERFORMANCE GANA ESPACIO EN ARTEBA por Celina Chatruc para La Nación Revista, mayo 2018

¿Tenés perfil en Tinder, Happn o Grindr? ¿Estás dispuesto a participar de una performance en arteBA? Lolo y Lauti están a punto de conectar las respuestas a ambas preguntas. Son los mismos artistas que el año pasado, en el Barrio Joven de la feria, recreaban ante el público las escenas sexuales que veían con sus cascos de realidad virtual. Los mismos que, meses antes en el lanzamiento de arteBA Focus, habían exhibido el inquietante espectáculo de sus espermatozoides "bailando hasta morir".

Ahora será el turno del público, invitado a protagonizar una "feria del amor". Esta vez, el cuerpo lo pondrá el espectador: al usar el casco virtual, podrá recorrer la "oferta" de las personas que tengan activas sus cuentas de apps de citas dentro de la Rural, del jueves al domingo próximos. Otro tipo de mercado, en una dimensión paralela.

Esta será apenas una de las propuestas que potenciarán este año la experiencia de visitar arteBA. El Barrio Joven estrenará un lugar central para la performance, con una programación diaria. Se sumará así a Performance Box, espacio inaugurado el año pasado en el marco de la segunda Bienal de Performance, con acciones de artistas en vivo y una selección de videos. Allí se encontrarán, incluso, obras presentadas por los curadores de las secciones U-Turn Project Rooms e Isla de Ediciones. En ambos casos, los artistas realizarán acciones efímeras en tiempo real y convocarán al público a hacer lo propio, con la intención de cambiar la forma de consumo cultural en el corazón del mercado.

"La performance está comenzando a ocupar un lugar central. Ya no es algo de color, secundario a las otras disciplinas", dicen a coro Lolo y Bauti. Saben de lo que hablan: trabajan juntos en esto desde hace ocho años, e impulsan el festival Perfuch en el espacio UV Estudios, en Villa Crespo. La primera edición convocó a 50 artistas de varias provincias; la segunda, en diciembre último, el doble.

Poner el cuerpo para vivir una situación transformadora en público es la esencia de la performance, que tuvo su auge en las décadas de 1960 y 1970 y se expandió con renovada vitalidad en los últimos años. En la Argentina, tiene desde 2015 su propia bienal; fue inaugurada nada menos que por la artista serbia Marina Abramovic, "la abuela de la performance".

¿A qué se debe este renacimiento? "La performance tiene algo muy punk -opina Lolo-. Crea un proceso de identificación con el público, la sensación de que cualquiera puede hacer arte. Porque para hacer performance no tengo que ser actor; tengo que estar vivo. Uno es su propia obra y el cuerpo, las acciones, la vida son arte".

La misma palabra, "punk" usó la periodista chilena Alejandra Villasmil para describir la performance de Belleza y Felicidad Fiorito, impulsada por Fernanda Laguna e Isolina Silva, el año pasado en el Espacio Dixit de arteBA. "La acción consistió en un desfile de pasarela, donde un grupo de mujeres iba mostrando camisetas confeccionadas en talleres de costura ubicados en la zona de Fiorito -agregó la directora de la revista virtual Artishock-. Cada remera portaba un mensaje, directo y claro: 'Estado ausente', 'Humo tóxico', 'Ni una menos'... Un performance de alto contenido social, imprescindible en estos tiempos, cuyo impacto superará al del contexto de esta feria".

Ese espíritu independiente y contracultural logró atravesar incluso las paredes de los museos. El año pasado, el registro del desfile de Belleza y Felicidad Fiorito fue exhibido en el museo Lacma, en Los Ángeles, como parte de una muestra colectiva que integró el proyecto Pacific Standard Time LA/LA. Algo similar había ocurrido en 2014 con Osías Yanov, cuando el Museo de Arte Moderno de Buenos Aires adquirió en arteBA una escultura/performance realizada en los pasillos de la feria. Al año siguiente, una producción aún más ambiciosa del artista se desplegaba en la planta baja del Malba, en el marco de la Bienal de Performance. Y otra más integra desde hace unos meses la colección del Museo Reina Sofía, de España, gracias a una donación de la coleccionista venezolana Patricia Phelps de Cisneros.

Abramovic, invitada especial de aquella primera edición de la bienal, había marcado un hito en 2010 al presentar una retrospectiva en el Museo de Arte Moderno de Nueva York. La artista está presente no solo reunió cincuenta trabajos performáticos realizados durante cuatro décadas; también incluyó su propuesta de recibir allí al público durante 700 horas para mirar a los ojos a cualquiera que se sentara enfrente suyo. Incluido Ulay, su expareja durante una década en la vida y en el arte, cuya sorpresiva presencia la hizo llorar mientras él la observaba con ternura y gestos de dolor.

EL CUERPO AL LÍMITE

Provocadora y disruptiva, antielitista y anticonsumista, la performance suele apelar a la emoción y a la conexión real en el tiempo presente, en el que cualquier cosa puede pasar. Invitado a abandonar su rol de mero "espectador", el público puede llegar a participar de situaciones confusas e incómodas. De esa forma, se lo incentiva a desafiar sus propios límites para modificar su manera de ver la vida.

En 1974, Abramovic realizó Ritmo 0, una de sus obras más extremas. En una galería de Belgrado puso su cuerpo a disposición del público durante seis horas junto a una mesa con 72 objetos y la siguiente instrucción: "Soy un objeto. Podés hacer conmigo lo que quieras". Entre ellos había una rosa, un perfume, un pedazo de pan, una tijera, agujas y un arma cargada con una bala. ¿Qué hicieron con ella? Cortaron su cuello y bebieron su sangre. Abrieron sus piernas y colocaron entre ellas un cuchillo. Rompieron su ropa y lastimaron su piel con las espinas de la rosa. Una persona apuntó el arma sobre su cuello y la desafió a apretar el gatillo con sus propios dedos.

"Puse mi cuerpo al límite no porque estuviera interesada en morir, sino en ver hasta qué punto podés llevar la energía del cuerpo humano. No se trata del cuerpo sino de la mente, que te empuja a límites que jamás hubieras imaginado", explicó años más tarde Abramovic, impulsora de un método que invita a conectarse con uno mismo y con los demás. Agregó que, hasta entonces, "el arte de performance era ridiculizado. Se pensaba que era enfermo, exhibicionista y masoquista. Estaba muy cansada de este tipo de atención y dije: voy a hacer una pieza para ver hasta qué punto llega el público si el artista no hace nada".

Una experiencia similar había vivido una década antes Yoko Ono, otra pionera de la performance, cuando presentó por primera vez en Kyoto la pieza Corta. La artista se sentó vestida junto a una tijera e invitó al público a recortar trozos de su ropa y llevárselos. "Fue una suerte de crítica a los artistas, que siempre dan lo que quieren -sostuvo la legendaria pareja de John Lennon-. Quise que la gente se llevara lo que quisiera. Es una forma de entrega que tiene mucho que ver con el budismo... Una forma de entrega total".

Por ese entonces, Marta Minujín acababa de realizar en París su primer happening, en el que destruyó todas las obras que había producido en la capital francesa. En 1985, la reina argentina del Pop le pagaría simbólicamente a Andy Warhol la deuda externa argentina en Nueva York con choclos, el "oro latinoamericano". Y el año pasado realizó una acción similar en Atenas, en la inauguración de la Documenta 14, al saldar con aceitunas la deuda externa de Grecia a una doble de la canciller alemana Angela Merkel.

El registro de esta última fue exhibido semanas después en Performance Box, espacio de arteBA auspiciado por la Arte x Arte-Fundación Alfonso y Luz Castillo, curado por Graciela Casabé y Rodrigo Alonso. Una de las novedades de este año será la presentación en vivo de tres artistas provenientes de distintas disciplinas (danza, teatro y artes visuales); cada uno interpelará a los visitantes de la feria, invitándolos a detenerse y participar de "un instante de intensidad".

"Con obras breves, la performance aporta sorpresa al recorrido de arteBA y modifica la experiencia de la feria. Introduce un ámbito menos comercial que ayuda a construir un gusto por la contemporaneidad", opina Alonso, quien asegura que esta alianza con la Bienal de Performance "demostró ser mucho más productiva de lo imaginado". Y destaca que Performance Box es "un lugar de mayor libertad" respecto de otros montados bajo el mismo techo de la Rural, ya que las acciones realizadas allí "no necesariamente tienen que estar a la venta".

"El discurso de la performance cambió respecto de las de la primera época, que tenían que ver con el cuerpo de la mujer. Ahora la temática es más amplia", señala por su parte Casabé, directora además de la Bienal de Performance. Según ella, el lenguaje de la performance contemporánea "reúne el deseo de protagonismo de cada individuo. Pone al espectador en un lugar de acción".

En ese sentido, Casabé cita la obra de otro pionero: David Lamelas. Su primera performance, Time (1970), fue adquirida por la Tate Gallery de Londres y recreada semanas atrás en el Malba. Unas veinte personas del público solo recibieron un par de indicaciones del artista argentino: formar una fila y controlar el tiempo durante 60 segundos, antes de pasárselo al siguiente. "Hacían lo que querían con ese minuto, y todos reaccionaron de manera muy diferente -observa Casabé-. Es un ejemplo de lo que es una performance, que tiene que ver con el lugar de cada uno, con la participación, con involucrarse."

Una idea similar inspira la performance que realizará Laura Kalauz en el Barrio Joven de arteBA. Para realizar La felicidad de consumir, ella decidió poner a la venta en Mercado Libre cada minuto de la media hora que tiene a su disposición. De esta manera, quien pague por esos minutos (ofrecidos por 100 pesos cada uno, a pagar en doce cuotas con tarjeta) podrá "alquilar" un espacio expositivo en una de las ferias más importantes de América Latina, e incluso organizar un vernissage para inaugurar su muestra si así lo desea.

Con este proyecto, Kalauz propone "una estrategia para subvertir la ecuación del mercado del arte y la lógica que lo rige. El artista se convierte en dealer. El inquilino lleva adelante su deseo de ser visto en arteBA y trabaja al mismo tiempo para el artista, ya que ahora es quien produce la obra de arte. E incluso paga para trabajar. La obra de arte se convierte en una serie aleatoria de expresiones de personas diversas, que el artista ya no controla".

ESPÍRITU IRREVERENTE

"La idea es: ¿qué mostrarías si pudieras estar en arteBA?", dice el artista Jair Jesús Toledo, integrante del Staff de UV Estudios, quien convocó a Kalauz y a otros colegas para participar en el Barrio Joven.

Con sede en una vieja casa de una esquina de Villa Crespo, UV Estudios le debe gran parte de su crecimiento a esta sección de la feria. Allí ganó en 2016 el Premio En Obra al mejor proyecto, que en ese momento consistía en 65.000 pesos. El mismo monto fue repartido entre tres integrantes de su staff -Guzmán Paz, Emilio Bianchic y Luciano Demarco, del colectivo Basica TV-, distinguidos como los mejores artistas del Barrio Joven.

"Nos sirvió para pagar deudas y producir obra", dice Violeta Mansilla, directora del espacio, mientras realiza una visita guiada por la casa de Humboldt y Padilla, que funciona como usina creativa y residencia de artistas. Entre ellos Toledo, cordobés de 31 años, llegado a Buenos Aires en 2008 desde Villa María. En su cuarto con vista al Club Atlético Atlanta realizó en diciembre Disidente, un "contrafestival" de performance que funcionó en el corazón del festival Perfuch impulsado por Lolo y Lauti, y que ahora reproducirá en arteBA.

En esta misma sede, la pareja que ilustra con humor la tapa de este número exhibe hasta el 2 de junio una muestra de videos inspirada en Mafalda, el célebre personaje creado por Quino, protagonizado para la ocasión por Fernanda Laguna. Aquí parece habitar el espíritu irreverente y tierno de Belleza y Felicidad, mítico espacio impulsado por Laguna y Cecilia Pavón, que funcionó en Almagro como refugio creativo durante el difícil cambio de milenio. Pese a su aparente humildad, la fuerza de su voz encuentra eco en otros países de América Latina: en paralelo a arteBA se exhibirán en la terraza obras traídas por las galerías El Dorado (Bogotá), Sagrada Mercancía (Santiago de Chile) y Km 2.0 (Puerto Rico), que también participan en la feria.

Tras recorrer las habitaciones semivacías, con un dejo kitsch y trash, queda en el aire flotando la pregunta: ¿De qué viven estos artistas? De algunas performances se vende su registro en fotografía o video, y en otros casos solo las instrucciones para que las activen otros performers. "El fuerte de UV son los videos. El año pasado vendimos muy bien en arteBA", responde Mansilla. Y aclara que el truco es hacer que esos videos sean mucho más elaborados "que el registro aburrido de una performance, como si se filmara una obra de teatro".

Así quedó demostrado en la 26a edición de la feria, donde UV Estudios montó uno de los stands más atractivos del Barrio Joven. "El año pasado, las galerías comenzaron a presentar propuestas vivas dentro de los límites del stand", recuerda el curador peruano Miguel Ángel López, que estuvo entonces a cargo de la sección junto con Raúl Flores. Este año comparte esa tarea con Santiago Villanueva, y ambos decidieron darle a ese tipo de acciones un lugar independiente y más protagónico. Entre las propuestas de tres artistas que presentará la galería Quadro, por ejemplo, se incluye una de Leonardo Cavalcante inspirada en un video hipnótico realizado por Marcel Duchamp en 1926.

"Es un experimento de mucha libertad que permitirá incorporar algo fundamental: el contacto físico -agrega López-. Es la forma en la cual los artistas se organizan, su forma de operar. Les sale orgánicamente de las entrañas". De esta manera, seguramente, el Barrio Joven recuperará el espíritu rockero y lúdico que lo caracterizaba hasta que comenzó a intentar parecerse demasiado a la sección principal de arteBA, donde las galerías consagradas venden las obras más caras de la feria.

"Quisimos darle un espacio a algo que estaba sucediendo. Hoy muchos artistas trabajan con performance y en varios lugares del mundo hay espacios especializados, que se distancian de las experiencias pasadas", dice Villanueva. Según él, es probable que las retrospectivas de los últimos años de algunos de los pioneros de la performance en los museos más importantes del planeta -como las de Abramovic en el MoMA y la de Joan Jonas en la Tate- hayan generado cierta "empatía" con las generaciones más jóvenes.

¿Con qué se identifican? La performance demuestra que "no somos solamente espectadores, somos actores sociales con el potencial de intervenir y responderle al poder", escribe Diana Taylor en su libro Performance (Asunto Impreso, 2012). La académica estadounidense recuerda que este tipo de arte vivo surgió como un movimiento en las décadas de 1960 y 1970, "como un reclamo en contra de la ausencia del cuerpo en el arte". Y aclara que algunos estudiosos establecen sus antecedentes décadas antes, en las prácticas de los futuristas, dadaístas y surrealistas, "que se enfocaban más en el proceso creativo que en el producto final."

"El arte de performance -observa Taylor- jugó un papel importante al romper los lazos políticos, institucionales y económicos que excluían a artistas sin acceso a teatros, galerías, museos, o espacios oficiales, elitistas o comerciales de arte. De repente, una performance podía surgir en cualquier sitio, en cualquier momento. El artista solo necesitaba su cuerpo, sus palabras, su imaginación, para expresarse frente a un público que se veía, a veces, interpelado por el evento de manera involuntaria o inesperada. Los espacios y tiempos de la performance borraron las fronteras entre vida y arte, entre público y espectador".

Según la artista mexicana Jesusa Rodríguez, lo importante de la performance es que enfrenta a este último con "su propia capacidad de transformación en hombre, mujer, pájaro, bruja, zapato o lo que sea. Lo mejor del ser humano es que puede asumir, como los camaleones, las infinitas posibilidades del ser y transformarse en todos y en todo y sin siquiera abandonar su propia esencia, porque lo esencial de un ser humano es que lleva en sí la posibilidad de transformarse en todos los demás".

LINK

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Hyperallergic: Art Movements

A pencil sketch newly attributed to Alberto Giacometti. The work was authenticated by the Giacometti Foundation and added to the artist’s catalogue raisonné. (courtesy Cheffins)

Art Movements is a weekly collection of news, developments, and stirrings in the art world. Subscribe to receive these posts as a weekly newsletter.

Drawings attributed to Alberto Giacometti were recovered from the collection of the late antiques dealer Eila Grahame. The sketches, which were made on both sides of a single sheet of paper, will be sold on October 12 at Cheffins auction house, with all proceeds donated to the Art Fund.

Pussy Riot members Maria Alyokhina and Olga Borisova were detained by Russian police after staging a protest in support of jailed Ukrainian filmmaker Oleg Sentsov.

The National Archives of the United States began to publish previously withheld documents from the JFK Assassination Records Collection. The JFK Assassination Records Collection Act of 1992 states that the National Archives and Records Administration must publish any previously withheld records from the collection by October 26, 2017 — unless it is authorized for further withholding by the President of the United States.

India appears to have blocked access to the Internet Archive (aka the Internet Wayback Machine).

The National Trust U-turned on its decision to bar volunteers who refused to wear rainbow gay pride badges to mark 50 years since the decriminalization of homosexuality in the UK.

Members of Norman Rockwell’s family denounced the Berkshire Museum’s plans to deaccession works by the artist.

Marina Abramovic reconciled with her former collaborator and lover Ulay, following a talk at the Louisiana Museum of Modern Art. Ulay sued Abramovic for contract violation in 2015, and was later granted back-dated royalties and full accreditation for jointly created works by a Dutch court last year.

Art dealer Archie Parker acquired a painting that he believes is a self-portrait of Joseph Wright of Derby. Parker made headlines in March after he purchased a painting deaccessioned by the Huntington Library in San Marino, California. The work was later identified as the work of George Stubbs.

Zippo lighter (1970), New-York Historical Society, gift of John Monsky

The New-York Historical Society will present The Vietnam War: 1945–1975 — a “chronological and thematic narrative” of the conflict told with over 300 objects — in October.

Tristram Hunt, the director of the Victoria & Albert Museum, tweeted an apology to a visitor who was asked to cover up while breastfeeding.

The San Francisco Museum of Modern Art will debut a new commission by Julie Mehretu on Labor Day weekend.

Vogue commissioned Annie Leibovitz, Inez and Vinoodh, Bruce Weber, and John Currin to produce covers featuring Hollywood actor Jennifer Lawrence.

Christie’s will sell a number of works from the Museum of Modern Art‘s photography holdings next year. According to a museum spokesperson, the majority of the works are duplicates. The sales will go toward the department’s acquisition fund.

Robert M. Rubin, the former director of the Centre Pompidou, wrote an op-ed for Le Monde calling Jeff Koons’s sculpture for the city of Paris “a poisoned gift.”

The National Portrait Gallery filed a formal objection to the National Gallery’s expansion plans, arguing that the proposed addition would obscure the London skyline for its restaurant patrons.

Artist Pope.L (aka William Pope.L) launched a Kickstarter for Flint Water Project, “an art installation, a performance and an intervention” that calls attention to Flint’s contaminated water crisis.

Thieves posing as city employees stole about a dozen works by the street artist Invader (real name Franck Slama) in Paris.

The New York Public Library‘s Rose Main Reading Room and Bill Blass Catalog Room acquired landmark status.

The Metropolitan Museum of Art‘s online collection has seen a 17% traffic increase since the museum launched its open access initiative. The Met made over 375,000 images available under a Creative Commons Zero (CC0) license, 90% of which have been uploaded to Wikimedia commons so far.

The George Eastman Museum launched the Technicolor Online Research Archive, a resource of over 40,000 documents from the Technicolor Motion Picture Corporation (1914–1955).

Transactions

Judy Chicago addresses a gathering of volunteers in the Dinner Party studio (ca 1978) (photo by Amy Meadow, courtesy National Museum of Women in the Arts)

The National Museum of Women in the Arts announced the creation of the Judy Chicago Visual Archive — a repository of photographs and ephemera spanning the artist’s career.

The Los Angeles Department of Cultural Affairs designated $2,997,120 to art-based activities as part of its 2017–2018 Cultural Grant Program.

The National Endowment for the Humanities announced a three-year partnership with the First Nations Development Institute. The Institute will match $2.1 million in funding from the NEH for 12 immersive Native-language programs a year.

The Williams College Museum of Art announced a promised gift of over 340 objects of African art from Drs. Carolyn and Eli Newberger.

The Chocolate Factory acquired a new space at 38-29 24th Street in Long Island City, Queens. The $3.8 million purchase was administered by the New York City Economic Development Corporation.

Transitions

Beatriz Salinas Marambio was appointed director of the the National Center for Contemporary Art Cerrillos, Chile.

John McKinnon was appointed executive director of the Elmhurst Art Museum.

Meg Hagyard was appointed interim director of the University of Arizona Museum of Art.

Noelle Foye announced her retirement as executive director of the New Bedford Art Museum.

Amanda Donnan was appointed curator of the Frye Art Museum.

Erin M. Greenwald was appointed curator of programs at the New Orleans Museum of Art.

Jared Ledesma was appointed assistant curator at the Des Moines Art Center.

Brenda Blount was appointed director of development at the Ohr-O’Keefe Museum of Art.

Writer (and Hyperallergic contributor) John Seed ended his HuffingtonPost art blog.

W.A.G.E. (Working Artists and the Greater Economy) launched its new website.

Accolades

Zack Ingram, “There Ain’t the People,” screenprint on glass (via bigmedium.org)

Zack Ingram was awarded the inaugural Tito’s Prize.

Pam Tanowitz was awarded the 2017 Baryshnikov Arts Center’s Cage Cunningham Fellowship.

The Corning Museum of Glass awarded its 32nd Rakow Commission to Dr. Karlyn Sutherland.

Jesse Wine and Haffendi Anuar were awarded Battersea Power Station’s inaugural Powerhouse sculpture commission.

BRIC announced the recipients of its new ArtFP commission.

Smack Mellon announced its 2017-2018 Hot Picks Artists.

Obituaries

Arlene Gottfried, “Summer Afternoon” (1985), vintage 11 x 14 in cibachrome (© Arlene Gottfried, courtesy Daniel Cooney Fine Art)

Claudio Abate (1943–2017),  photographer.

Glen Campbell (1936–2017), singer, songwriter, and musician.

Ann Walker Gaffney (unconfirmed–2017), artist and preservationist.

Arlene Gottfried (unconfirmed–2017), photographer.

Daniel Licht (1957–2017), composer.

Hashem El Madani (1928–2017), photographer.

Haruo Nakajima (1929–2017), first actor to play Godzilla.

Alan Peckolick (1940–2017), logo designer.

Martin Roth (1955–2017), former director of the Victoria and Albert Museum.

Bobby Taylor (1939–2017), soul singer. Secured a contract for the Jackson 5.

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[annadelveys]

gayhani replied to your post “you know that marina abramovic x ulay performance where they were just...”

lovely

yes truly wonderful i love waking up because my nostril has been plugged with a wet cat nose lmfaoo

#gayhani #he thinks its fun & we love each other