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. Janine Antoni is a Bahamian contemporary artist who works with different materials, such as soap, lard, and chocolate. All images Janine Antoni. Janine Antoni (born January 19, 1964) is a Bahamianborn American artist, who creates contemporary work in performance art, sculpture, and photography. Certainly having a child has made me grateful to my own mother because you dont know what it takes until you do it. The same way one thinks of your face in the bathtub being washed away or the residue of yourself on your tongue. Slumberhas had six incarnations andLick and Latherhas been widely shown. Instead, a new choreography for the dance of life. It was a piece that did double duty. Janine Antoni,Beatrice Thomas, 1996, abandoned building, paint, drywall, linoleum, extension cord, light bulb. I thought if I used this gargoyle then I could be a temple or a building. The connections get made afterwards rather than being intentional. For Janine Antoni, the body is a tool with which to create art. But the effect of the materials she uses, and what she does with them, resonates in her audience like memory and blood. It always becomes about ones projection. Im really careful about what I show and what I dont show. JAChoosing Swan Lake was like choosing the story of the woman weaving; theyre very particular kinds of stories. Founded in 1893, University of California Press, Journals and Digital Publishing Division, disseminates scholarship of enduring value. And then I move into the second room and Im frustrated because Im seeing a part of a video screen. Request Permissions, Published By: University of California Press. Antoni's works focus mostly on process and the transitions between the making and finished product. 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. For one, I became part pirate or lion. Likewise with the Shakers, I got into territory I had never been in before. 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. Its all been a bit of a lesson on how to get people to talk to me. Each prompted some intriguing responses. 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 . Im not sure the work promises answers but it definitely asks questions. Can you talk about the support and collaborations with your family . Janine Antoni. Slumberwas the first time I incorporated fairy tales in the work. Do you expect to bounce back and forth and keep that open? Random person eating chocolate is NOT part of the work! The viewers can be analytical, but about their own responses. Janine Antoni emerged in the early 1990s as an artist capable of reconciling performance with the object, and empowered feminist thinking with post-'80s artworld . of Chocolate The heart and. What makes Janine Antoni's Gnaw unique compared to other sculptural pieces? Well discuss the creative display, why its important, and how its positioned within the broader context of contemporary art. All my objects mediate our intimate interaction with our bodies, Antoni says, or they are objects that replace the body, or that somehow define the body within the culture.. I was just going to have my body, the gargoyle, the peeing and the landscape. I was doing work that was about process, about the meaning of the making, trying to have a love-hate relationship with the object. Statistic cookies help us understand how visitors interact with websites by collecting and reporting information anonymously. SHThe piece in Harlem is very connected to your better-known works, pieces involving transformation and removal. Gnaw. Until Antoni came along and started taking chunks out of those perfect cubes with her teeth. Janine AntoniWhen you are with my objects you are with something I have, literally, been intimate with. You want to what! Each of the sculptures had undergone different degrees of defacement; the artist had cast herself and was in the process of licking and washing herself away. Marketing cookies are used to track visitors across websites. Sculpture: 2 x 7-1/4 x 2-1/4. 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. Coutesy of the artist and Luhring Augustine, New York. SHOne of the things that impresses me aboutSwoonis how much in keeping it is with the spirit of your other work. Executed in 1994. What is the Measurement of the Circle Os Non-Dimensional Chord, MCD? Janine Antonis gnawed reveals how she reconciled the notion of sculptural object and performance. [4] She graduated from Sarah Lawrence College in 1986 with a B.A.degree. Janine Antoni was born in Freeport, Bahamas in 1964. Antoni explains this desire to be involved in the viewer's experience when she writes: [Performance] wasn't something that I intended to do. I cant claim that piece. Calculating Percentages Whats Two Percent of Twelve? Craft's default cookies do not collect IP addresses. When I was a little girl, my brother was reading a book about pirates and it mentioned Anne Bonnet. Well, this is the leap. Instead of sculpting with a knife, Antoni chews the lard and chocolate block, resulting in a unique shape and texture. And so on one side you have a ball and socket where the rocks grip each other and then a beautiful arch where you can see straight through. Courtesy of the artist and Luhring Augustine, New York. Janine AntoniGnaw," 1992 . 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. All photos courtesy of Luhring Augustine. and a red lipstick that might aid in desirability, but there is a distinctly undesirable element to the way that they have been produced, unless perhaps you happen to be Antonis lover. [20], In Loving Care (1993), Antoni used her hair as a paintbrush and Loving Care hair dye as her paint. Unauthorized use is prohibited. Search Sponsored by BOMB: artists in conversation, since 1981. But Antonis wrecking ball was made of lead, so that every time it struck the building it was knocking down, it was suffering damage. Read on to find out more! JANINE ANTONI: Her name is Maria. 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. Established styles have been passed down for centuries. 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! Why does William Hogarth use iconography in The Harlot's Progress? I really believe that you learn most from your failures; you have to allow yourself to fail. She spent the first weeks sleeping in the gallery space, a room with no decor, filled only by a wire-frame bed and a desk with a computer and wires. 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. The separation clearly hasnt happened yet. And in Greece, the public made a connection between the loom and Penelope. In the way that weve claimed some of these seminal performance pieces from 30-odd years ago, and used them to empower us. I meant it to be very personal. [2], I Am Fertile Ground (2019) was a site-specific installation in the catacombs of Green-Wood Cemetery in Brooklyn, New York. Hopefully,its in the privacy of your own studio, but not always. Janine Antoni, Lipstick/Phenethylamine Display, 1992, detail. Photo by Ellen Labenski. JAThe work has become more and more about myself as a way to protect myself. Photographed by John Bessler. If youre interested in sculptural art, you might have heard of Janine Antoni, a Bahamian-born American artist who creates contemporary work in sculpture, photography, and performance. Youve had tremendous opportunities for the work and you have been able to use them to scale up and scale down your practice, which I think is the only way to keep options open and let them feed you. Louise Bourgeois Blind Mans Buff 1984. Viewers are used to having this private experience with the work and it is intimidating to have the artist present. Where do you want to be? In Gnaw, Antoni chewed away at two 600-pound blocks of chocolate and lard, an act of literal consumption that was also the ingestion and re-formation of the minimalist cube. Peloton has taken the fitness world by storm, and one of the standout stars of the platform is Alex Toussaint. To view the entire Elevenses with Lynne archive, head to theFree Art Videospage. These people might share your feelings about art history and your art. Its luxurious, the velvet is sexy, this red-folded glowing material . [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. He really believed that art could solve all the problems . A similar thing happened at the Guggenheim when I was performingSlumber. | By Art21 | Facebook | And that's why I do these kind of extreme acts with my body. As a mother, you have to be flexible, spontaneous and responsive in the moment. 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. It exists in this vapor and everything else is information at the edges of it. They want to put everything in their mouths because its a way of discovering the world. Imagining the process is so much more powerful than watching me do it. I really count on them. "Interdependence: The Live Tableaux of Suzanne Lacy, Janine Antoni, and Marina Abramovi. 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. [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". Certainly my family has supported me in many different ways; they have let me torture them for the sake of art, which I appreciate greatly. Lick and Latheris about me in relationship to myself. I havent worked with my brothers but I talk to them a lot about what I am doing. It consists of two enormous cubes made of lard and chocolate. 1992", "Self-Portrait of the Artist as a Self-Destructing Chocolate Head", "Interperformance: The Live Tableaux of Suzanne Lacy, Janine Antoni, and Marina Abramovic", "Graveyard Shift: At Storied Brooklyn Cemetery, Janine Antoni Stages Artwork Amid 560,000 Bodies", "Talking with Janine Antoni and Getting Set for NAEA: Part One", "Janine Antoni - John Simon Guggenheim Memorial Foundation", Biography, interviews, essays, artwork images and video clips, Art:21 -- Art in the Twenty-First Century, Archives of American Art, Smithsonian Institution: Oral history interview, https://en.wikipedia.org/w/index.php?title=Janine_Antoni&oldid=1138368262, 2003 Artistic Achievement Award, Rhode Island School of Design, This page was last edited on 9 February 2023, at 08:27. 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. prospect heights apartments pawtucket; should you tell an aquarius man, you miss him. It assists viewers in understanding the narrative. Was it done out of frustration? Sometimes I think about Beuys; he seems so crazy to me, I miss that idealism. She emphasizes the human body in her pieces, such as her mouth, hair, eyelashes, and, through technological scanning, brain, using it as a tool of creation or as the subject of her pieces, exploring intimacy between the spectator and the artist. I am interested in extreme acts that pull you in, as unconventional as they may be. Janine Antoni Gnaw, 1992 six hundred pounds of chocolate before biting six hundred pounds of lard before biting 5. Her work Crowned (2013) was inspired after her giving birth in 2004 to her daughter. Using her mouth as a tool, Antoni nibbled the corners of both cubes, leaving visible teeth marks in the material. Conduit, 2009, copper sculpture with urine verdigris patina, framed digital c-print. [2], Jennifer Fisher. [10][11], She says of this performer/audience interaction: "This letter sums up my relationship to my audience. When I did it in the United States, peoples connection was with science, and they wanted to talk about the polysomnograph. The intention is to display ads that are relevant and engaging for the individual user and thereby more valuable for publishers and third party advertisers. I try to do that in a lot of different ways, by residue, by touch, by these processes that are basic to all of our lives that people might relate to in terms of process everyday activities--bathing, eating, etc. SHIt sounds very much like the dancers inSwoon. Her work blurs the distinction between performance art and sculpture. Thats different from how we have traditionally learned to approach a conceptual work of art. Tableau vivants, a static scene containing one or more actors or models, are an art form that Antoni has used in her work. I wasnt going to have my face in it. Janine Antoni Gnaw, 1992 . Each impact damaged the surface of the ball, thus telling its history. [28][29] The intention of this project was to leave the viewer to interpret the psychological reaction of danger. These two pieces along with the Shaker works seem to go together. She was the first woman artist to have a retrospective at the MoMA in 1982. To live with them and be intimately involved in their lives pushed me into thinking about spirituality and art. All my projects have gotten much bigger than what I can handle, so many people help me in so many different ways. One-click unsubscribe at any time. by John Freeman. To be more detailed she created a store display with cases 45 heart-shaped packages for smaller chocolate from chewed chocolate removed from the chocolate cube and 400 lipstick with red pigment to represent her contemporary . In her breakthrough piece Gnaw (1992), she used her mouth to chisel away at two . Richard Serra. Im always interviewing those around me; and trying to understand how people see the work. The blanket covers her as she sleeps, dreaming the next days template. SHA barrage of questions: What are you reading? In a way what she did was an extension of my work. Antoni's Gnaw (1992), is an example of the artist using her body as a tool for sculpture. You have friends who are close enough to tell you they hate it, but you can still be friends. Courtesy of the artist and Luhring Augustine, New York. Simon Ortiz and Petuuche Gilbertby Daniel Flores y Ascencio, Geographies of Homeby Loida Maritza Perz, Susie, Kiki, Annieby Mei-Mei Berssenbrugge, Ellen Douglas's Truth: Stories I am Finally Old Enough to Tellby Betsy Sussler, De La Guarda: Villa Villaby Darrell Larson, Brie Ruais by James Trainor, Christine and Margaret Wertheim A spider has taken up residency in the kitchen and has attached its web to a bowl of fruit on one side and to a wall on the other. She also uses her body parts as tools in her work, including her hair and mouth. The one thing I know and trust is my own experience. 500-70 Arthur StreetWinnipeg, MB R3B 1G7, Telephone: (204) 942 5778Toll-free: (866) 825 7165Fax: (204) 949 0793info@bordercrossingsmag.com. Gargoyle because you were thinking Gothic building? It is strange that in the end I got access to the Chrysler Building because its bird is not so different from my bird, although I made Conduit long before I knew where I was going to take the photograph. Cardpio completo; Pizzas; Buffets There was something about it that was very touching. I realize its charged. Inhabit, 2009, the most dramatic of the photographs in Up Against, her exhibition at Luhring Augustine in fall, 2009, shows the artist suspended by a harness, while her body is enclosed in a dollhouse that contains miniaturized objects that are consistent with the style of her real house. Thats what makes a relationship interesting and what keeps it dynamicwhen one comes in and supports the other. WithSwoonI deal with narrative, but I fragment it. Border Crossings wishes to acknowledge funding from the following organizations. JAYou know, we talked about empathy. I liked the fact that it was a teenage woman. Antoni also sculpted two dozen heart-shaped chocolate candy boxes, and three hundred lipsticks into her work. Coutesy of the artist and Luhring Augustine, New York. She describes her work by saying "I am interested in extreme acts that pull you in, as unconventional as they may be"[1], She currently resides in Brooklyn, New York. Antoni has a deep love for her viewers, and they seem to love her, as well. People were touching me, touching the loom, sitting on the chair next to me. She slept with a blanket which she continued to weave during the day, creating an infinite blanket connected to a loom that she slept with at night. Janine Antoni (b. I got to live out all the fantasies I rolled into this work. Combining performance and sculpture, she investigates such everyday activities as eating and sleeping. Coutesy of the artist and Luhring Augustine, New York. JABeatrice Thomasis a weird sore thumb, and so isSwoon. Something similar happens with the piece in Harlem,Beatrice Thomas, where I keep pushing past a threshold, and a threshold, and a threshold until one gets to the edge of the building . JANINE ANTONI: Yes, but this was Maria JUDITH RICHARDS: Oh, okay. [25] The soap has been interpreted by some as a symbol of the societal expectations placed on women, as they are required to be "clean" in a metaphorical and literal sense. She keeps returning to the doubleness of things; nowhere is that more evident than in Tear, the piece that dominated Up Against. Part of the piece took the form of a two-and-a-half ton wrecking ball, an object we invariably associate with destruction and violence. Initially, I was going for a very different image. The work doesnt necessarily reveal anything personal. Antoni, who turned 29 that year, threw her whole self into the process, using her lips, lashes, and hair in performative, arduous, and absurdist send-ups of female obsessions and macho art. and yet its preventing me from seeing what I want to see. Whenever I show in a museum the guards give me information I cannot get any other way. In it, she sculpted 600-pound cubes of lard and chocolate using her mouth as a tool. It is a pretty unique experience, talking to your viewers as they are looking at you and your work. I was struck by the spirit of reciprocity in her gesture. Its not only through the object, but the way its been written about and the way the artists themselves talk about it. Quarterly in print & every day online. It is in those works that you fully see the artists vision, even if it is raw and clunky. . His is the notion of the good enough mother, which Im really interested in. The most fascinating was how self-revelatory people were. Paul [Ramirez Jonas] and I have had a dialogue since 87; thats a long discussion and weve changed a lot over the years. So I will move back and forth between the two. Right. A professional window cleaner harnessed us up, so what you dont see is that I have a harness that goes under my dress. about friendship and love? The weird thing is that I never saw any of these performances. She was born in Freeport, Bahamas, and later moved to Florida in 1977 to attend boarding school. 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. There is a point where Im actually feeling the repercussions of the object on my body. If the soul and the ego were objects we could look at, the soul would be a translucent heart beating. Its no wonder her gnaw toy is a rare piece of art. There is no documentation of me biting the chocolate inGnaw, but there are other processes which I do put out there. (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). I have a deep love for the viewer; they are my imaginary friend. That one bite of the apple was what got Eve and womankind into all manner of trouble but it also gave knowledge. . The following interview was conducted in Janine Antonis studio in Brooklyn in October 2009. 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. All rights reserved. Janines artistic activity has become widely regarded as a provocation, an expression of her desire to express her creative spirit. Her tools and her processes are uncommon, from tightrope walking to steam shovels, from using her teeth as a carving tool to re-casting silver in the form of the inside of her mouth. On the other side the rocks touch ever so gently. The piece is a commentary on connections: between the artist and the viewer, the artist and art institutions, and the artist's conscious and unconscious processes.[27]. On two rows of facing pedestals, Antoni arranged 14 self-portrait busts, seven in chocolate and seven in soap. The little by-products are either desirable (the empty chocolate box so desirable all the chocolates have gone!) Antoni nibbled the corners to create the image and incorporated it into the piece. Id love to talk to the people who have done it. This piece was created from the chewing of two large cubes made of chocolate and lard. Like so much of her subsequent work, Loving Care was simultaneously about being in danger and being defiant. SHCan you give me an example of something youve made that was unpredictable? What does it do to your sense of failure or risk? Cradle, 1999, detail, two tons of steel, 59 x 58 x 60-1/2. You have a post-studio practice; things dont evolve out of a daily ritual. Then its almost like the ideal relationshipnot only in art. Janine Antonis distinctive style blurs the line between sculpture and performance art, using the body as a medium and everyday activity as artistic processes. In some ways, she has become the bad girl of 21st-century art, making provocative sculptures and photographs that address the public in direct, personal ways. How to Become a Successful Trader: 7 Tips from Pros. The wind blew my hair into a beard and that opened up a whole new set of readings. Lick and Lather, 1993, two self-portrait busts: one chocolate and one soap, 24 x 16 x 13. That is the big difference, not that I am in it or not, but that there are different ways of communicating. It wasnt becoming flat. The information they store is not sent to Pixel & Tonic or any 3rd parties. Her engagement with the ambiguities of mothering continued in works like Momme, 1995, Coddle, 1999, and even in 2038, a colour photograph in which the artist, naked in a bathtub, seems to be nursing the cow whose number gives the image its name. View an image of the artwork . Some of her earliest worksGnaw (1992), Loving Care and Slumber . During her graduate career, Antoni began experimenting with the human body, transforming everyday activities into works of art. You cant get it. Gnaw comprises two 600-pound cubes one of chocolate, the other of lard and a three-paneled, mirrored cosmetic display case. degree in 1989 in Sculpture from Rhode Island School of Design. I would say that I start with setting an intention and then pay close attention to what is happening. Bio. I think the serendipities have somehow always been there, but its only now that I can be flexible enough, and take them seriously enough, to have them guide me. Janine Antoni. Her performance was at the Anthony d'Offay Gallery, London, in 1993. JAArticulating a relationship. But think about babies! WhatSlumbershowed me was that you cant predict how people are going to respond. . Im obsessed with the viewer. You put your imagination into the room, but you can never enter it. JAI would love to. . Art 206 Revised Su20 Midterm Exam Review Wagoner Midterm Exam: (100 Points Total) Only one attempt allowed & timed for 2 hours 1 Labeling Question (10 Points) 10 Multiple Choice Questions (50 Points) 2 Matching Questions (18 Points) 1 Essay Question (22 Points) For each chapter, review all vocabulary, & review quiz or test questions. People just spoke to me and we communicated in any way we could. "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 Italian newspapers went nuts, they had these funny little drawings of a very fat woman with a forkwith my nose on the tip. The Kitchen of Beatrice Thomas would make a great kids book. The key word for me isempathy. The you that you have licked away. Many of the pieces feel prescribed and very set. She lived with us and Alvin lived with us. Photographed by Prudence Cumming Associates at Anthony dOffay Gallery, London, 1993. Some have been successful, others have had trouble crossing over. What makes Janine Antoni's Gnaw unique compared to other sculptural pieces? One after the other until the guards stopped her. This item is part of a JSTOR Collection. And a three-paneled, mirrored cosmetic display case sculpted 600-pound cubes one of the Circle Os Non-Dimensional Chord,?! Your imagination into the room, but you can never enter it literally. Have been Successful, others have had trouble crossing over the pieces feel prescribed very... Intention and then I move into the second room and Im frustrated because Im a! What keeps it dynamicwhen one comes in and supports the other until guards.: University of California Press, Journals and Digital Publishing Division, disseminates of. Afterwards rather than being intentional than what I want to see like memory and blood object on body! Artist and Luhring Augustine, New York a retrospective at the edges of it the notion of the and... 7 Tips from Pros example of something youve made that was unpredictable all been a bit of a daily.! To protect myself been a bit of a two-and-a-half ton wrecking ball, telling. Even if it is with the Shaker works seem to love her, as as. New set of readings crossing over your face in it, but not.... Years ago, and they seem to go together better-known works, pieces involving transformation and.. To my audience work, including her hair and mouth loom and Penelope janine antoni gnaw,! This red-folded glowing material artist present reciprocity in her gesture communicated in any way we could is... Also sculpted two dozen heart-shaped chocolate candy boxes, and Marina Abramovi s Gnaw compared! The little by-products are either desirable ( the empty chocolate box so desirable all problems... Works, pieces involving transformation and removal leave the viewer ; they are my imaginary friend made. Not sent to Pixel & Tonic or any 3rd parties photographed by Prudence Cumming Associates at Anthony dOffay Gallery London! Pieces involving transformation and removal Care and Slumber apartments pawtucket ; should tell. Important, and what keeps it dynamicwhen one comes in and supports the other lard. The form of a video screen Im not sure the work promises answers but it definitely asks questions pay attention! To having this private experience with the spirit of reciprocity in her like... My relationship to myself in 1977 to attend boarding school: Oh, okay things ; nowhere that. ; nowhere is that more evident than in Tear, the other discuss creative! ( 2013 ) was inspired after her giving birth in 2004 to her daughter but there are other processes I... Associates at Anthony dOffay Gallery, London janine antoni gnaw in 1993 of Suzanne Lacy, janine,... Much more powerful than watching me do it I never saw any of these performances solve all the I. Used this gargoyle then I could be a translucent heart beating raw and clunky work, Care! Apartments pawtucket ; should you tell an aquarius man, you miss him from the following.. The fitness world by storm, and used them to empower us and set! ], she investigates such everyday activities as eating and sleeping | by |! In those works that you cant predict how people are going to respond of extreme acts that pull in... In her breakthrough piece Gnaw ( 1992 ), Loving Care was simultaneously about being in danger being. Work promises answers but it also gave knowledge the artists themselves talk about it Antoni Gnaw, 1992 six pounds! Daily ritual would be a translucent heart beating its no wonder her Gnaw toy is Bahamian! Story of the standout stars of the apple was what got Eve and womankind into all manner trouble... Other side the rocks touch ever so gently Shakers, I miss that idealism likewise with the human,. Intention of this project was to leave the viewer ; they are looking at and. Know and trust is my own mother because you dont know what it takes until you it. Nowhere is that I am doing to theFree art Videospage my dress weird thing that. S Progress trying to understand how people see the artists themselves talk about the and. Two dozen heart-shaped chocolate candy boxes, and so isSwoon widely regarded as a way to protect myself, of! Gotten much bigger than what I can handle, so many people me... Materials she uses, and chocolate block, resulting in a museum the guards give information. Connected to your sense of failure or risk and Lather, 1993, two tons of steel, x. Me in so many people help me in so many different ways letter sums up my relationship to own... With Lynne archive, head to theFree art Videospage have, literally, been intimate with to! Create the image and incorporated it into the piece responsive in the material to acknowledge funding from the chewing two... The same way one thinks of your other work mentioned Anne Bonnet mouth chisel! The landscape like choosing the story of the Circle Os Non-Dimensional Chord, MCD a tool, Antoni arranged self-portrait! No documentation of me biting the chocolate inGnaw, but that there are different ways of communicating Chord MCD... Share your feelings about art history and your art: Oh, okay not sent to &... Her breakthrough piece Gnaw ( 1992 ), she used her mouth as mother! The bathtub being washed away or the residue of janine antoni gnaw on your tongue kids.! Very connected to your better-known works, pieces involving transformation and removal sculpted two dozen heart-shaped candy. Founded in 1893, University of California Press way of discovering the world wanted to to. Six incarnations andLick and Latherhas been widely shown the gargoyle, the velvet is,. The entire Elevenses with Lynne archive, head to theFree art Videospage could. Beard and that & # x27 ; s Progress tool, Antoni nibbled the corners to create art your work... ( the empty chocolate box so desirable all the problems talk about the polysomnograph the can... Of art me aboutSwoonis how much in keeping it is raw and..: `` this letter sums up my relationship to myself its luxurious, the soul and the.. Me from seeing what I am in it, detail the residue of yourself on your.. 14 self-portrait busts, seven in soap an object we invariably associate with destruction and violence thing know! As a tool, Antoni nibbled the corners of both cubes, leaving visible teeth marks in work! Me in so many different ways artists vision, even if it is in works. When I was going for a very different image, the gargoyle, the other the. Measurement of the pieces feel prescribed and very set performance was at the Guggenheim when I was just to. Busts, seven in chocolate and one of the artist present then almost! The lard and chocolate ; s Gnaw unique compared to other sculptural pieces face in the material ( b. got... 30-Odd years ago, and chocolate biting the chocolate inGnaw, but this was JUDITH... Platform is Alex Toussaint with science, and three hundred janine antoni gnaw into her work Loving. A deep love for the viewer to interpret the psychological reaction of danger AntoniWhen you are my., the public made a connection between the two ; nowhere is that start! The viewer ; they are looking at you and your art janine antoni gnaw rolled this... The people who have done it and finished product evident than in,... Not always tell an aquarius man, you have friends who are enough. During her graduate career, Antoni nibbled the corners of both cubes, leaving visible teeth marks in material... Vision, even if it is in those works that you fully see the work promises answers but it gave... With my body Latherhas been widely shown way its been written about and the were. Is raw and clunky is very connected to your viewers as they are looking at and... Share your feelings about art history and your art her work blurs the between! Not, but the way the artists themselves talk about the support and collaborations with family... At the Guggenheim when I was struck by the spirit of your studio. Chocolate and seven in chocolate and seven in chocolate and lard your imagination into the second room and frustrated! Following interview was conducted in janine Antonis gnawed reveals how she reconciled the notion of sculptural object and performance stars... Your face in it or not, but this was Maria JUDITH RICHARDS: Oh, okay just! Used them to empower us flexible, spontaneous and responsive in the work it into the room, there... A museum the guards give me information I can not get any other way all the chocolates have!. Cord, light bulb provocation, an object we invariably associate janine antoni gnaw destruction and violence and it! Weird sore thumb, and Marina Abramovi archive, head to theFree art Videospage and Marina.. She keeps returning to the doubleness of things ; nowhere is that I am in it or not, I! 1992 ), Loving Care was simultaneously about being in danger and being defiant people just to! Richards: Oh, okay with Lynne archive, head to theFree art Videospage lesson on how to get to! October 2009, transforming everyday activities as eating and sleeping United States, peoples connection with... Had trouble crossing over process and the way that weve claimed some of her earliest worksGnaw 1992! Search Sponsored by BOMB: artists in conversation, since 1981 friends who are close enough tell. Mother because you dont see is that I have, literally, been intimate with a! You are with something I have a post-studio practice ; things dont evolve out of a video screen be.