Jul 052024
 

Joan Jonas: Good Night Good Morning, at the Museum of Modern Art, showcases the artist’s long and varied career. The exhibition includes her videos as well as props, sculptures, paintings and drawings. It’s a celebration of her collaborations (including Volcano Saga with actress Tilda Swinton), performances, installations, and her use of play to create all of these inventive works.

From the museum-

“I didn’t see a major difference between a poem, a sculpture, a film, or a dance,” Joan Jonas has said. For more than five decades, Jonas’s multidisciplinary work has bridged and redefined boundaries between performance, video, drawing, sculpture, and installation. The most comprehensive retrospective of the artist’s work in the United States, Joan Jonas: Good Night Good Morning traces the full breadth of her career, from works that explore the encounter between performance and technology to recent installations about ecology and the landscape.

Jonas began her decades-long career in New York’s vibrant Downtown art scene of the 1960s and ’70s, where she was one of the first artists to work in performance and video. Drawing influence from literature, Noh and Kabuki theater, and art history, her early experimental works probed how a given element—be it distance, mirrors, the camera, or even wind—could transform one’s perception.

Joan Jonas: Good Night Good Morning presents drawings, photographs, notebooks, oral histories, film screenings, performances, and a selection of the artist’s installations. Jonas continues to produce her most urgent work through immersive multimedia installations that address climate change and kinship between species. “Despite my interest in history,” she has said, “my work always takes place in the present.”

The museum’s website has several videos of her work online, as well as an interview with the Jonas in her NYC loft (seen below).

Art21 also has some great videos worth checking out to learn more.

The exhibition at MoMa closes 7/6/24.

Oct 122023
 

Above is “A very anxious feeling”, 2007, by assume vivid astro focus, part of Tampa Museum of Art’s 2022/3 exhibition All in Favor: New Works in the Permanent Collection.

From the museum about the artist collective and the work-

A very anxious feeling by the collective assume vivid astro focus (avaf) conjures both sense of worry and whimsy. In this vibrant neon artwork each letter is rendered in a different color-ranging from pastel pinks and blues to bright primary colors. The final letter, a yellow capital “G,” appears to fall away from the text.

Eli Sudbrack founded the collective assume vivid astro focus in 2001 and works collaboratively with fellow artist Christophe Hamaide-Pierson. A very anxious feeling represents a prime example of their art, as they are known for their colorful, kaleidoscopic paintings, drawings, sculptures, and light installations. assume astro vivid focus explores notions of free speech, gender identity, and civil rights in their artworks and projects. The collective often partners with other creative types, including musicians, dancers, and designers.

 

 

Jul 222022
 

Typewriter Eraser, Scale X, 1999, part of The ARIA Fine Art collection in Las Vegas

Artist Claes Oldenburg passed away this week at the age of 93. He was most famous for his large scale sculptures of everyday objects, many of which were produced with his wife Coosje van Bruggen, who passed away in 2009.

While primarily working in sculpture, early in his career in the 1960s he also created “happenings”- theatrical art related performances and collaborations with other artists in his circle. In 1985 he returned to performance and along with van Bruggen, architect Frank Gehry, and writer Germano Celant presented Il Corso del Coltello (The Course of the Knife) in Venice, Italy. In 2021, Pace Gallery in NYC, as part of the two gallery exhibition Claus & Coosje, showed work from this performance, pictured below.

From Pace’s website about the performance-

This ambitious event involved the creation and embarkation of a sea-worthy sculpture in the shape of a giant Swiss army knife. With oars protruding from its red-enameled hull as if from a Viking longship, the image of Oldenburg and van Bruggen’s Knife Ship sailing the Grand Canal has become iconic, while the massive kinetic sculpture was later shown in the rotunda of the Guggenheim Museum in New York, at the Centre Pompidou in Paris, and finally at the Museum of Contemporary Art, Los Angeles.

 

With so much of Oldenburg’s work, the examination of the ordinary object engages the viewer with what they might previously taken for granted and gives them a chance to look again with new eyes. There is also something lighthearted and fun, as well as investigative, about his body of work.

(image via Whitney Museum’s website)

The Whitney Museum has a video showing the process of assembling his soft sculpture Giant BLT (Bacon, Lettuce, and Tomato Sandwich) 1963, which involves putting the sandwich together piece by piece.

For more on Oldenburg, MoMA has a tribute that includes the words of people who knew him as well as his own. His 1961 artist statement is wonderful and worth reading in its entirety, here is the opening section-

I AM FOR

I am for an art that is political-erotical-mystical, that does something other than sit on its ass in a museum.
I am for an art that grows up not knowing it is art at all, an art given the chance of having a starting point of zero.
I am for an art that embroils itself with the everyday crap and still comes out on top.
I am for an art that imitates the human, that is comic, if necessary, or violent, or whatever is necessary.
I am for all art that takes its form from the lines of life itself, that twists and extends and accumulates and spits and drips, and is heavy and coarse and blunt and sweet and stupid as life itself.

I am for an artist who vanishes, turning up in a white cap painting signs or hallways.

The Guardian’s obituary is also worth a read for more information on the artist’s history.