Professional Journal – Notes from Seminar
Looking at the work of Carey Young
Welcome to the Museum, 2009
Professional call centre agent, script written by the artist, audio recordings, call centre software, direct dial telephone connection, telephone, chair, table.
This piece plays with the typical kind of call centre interface one would experience calling any large museum, but instead offers access to a fictional - and somewhat strange - museum. The fictional organisation offers a labyrinthine sonic hypertext to be navigated by the caller.
The caller is offered a range of telephone options, which offer departments and then sub-menus of recorded info, further menu options or the chance to speak with a real staff member.
This work is probably the most overt reference in the show to Marcel Broodthaers' work, particularly his 'Musee d'Art Moderne', but also references systems art and visionary architecture in general, as well as Kafka, whilst weaving these elements into a loosely sketched, but in parts highly detailed bureaucracy.
Gilbert and George
Gilbert & George “Art for all” is the belief that underpins Gilbert & George’s art. Their trademark format is the large grid, a square or rectangular picture broken into sections that becomes a unified field of signs and images.
Gilbert & George began working together in 1967 when they met at St Martins School of Art, and from the beginning, in their films and ‘living sculpture’ they appeared as figures in their own work. Gilbert & George believe that everything is potential subject matter for their work, and they have always addressed social issues, taboos and artistic conventions. Implicit in their work is the idea that an artist’s sacrifice and personal investment is a necessary condition of art. They have depicted themselves as naked figures in their own work, recasting the male nude as something vulnerable and fragile rather than as a potent figure of strength. Of their most recent show at White Cube, ‘SONOFAGOD PICTURES’ (2006), Michael Bracewell wrote, “lustrous, ornate, pictorially complex, vividly coloured, yet suffused with tenebrous solemnity, they have all of the dramatic visual impact which one might expect to find in neo-Gothic medievalism – in Victorian reclamations of Celtic or Moorish symbolism, for example, regally bejewelled and portentous with romantic mysticism. At the same time, however, the SONOFAGOD PICTURES possess a darkly graven strangeness, at once archaic and ultra-modern, in which their temper no less than their signage appears deeply contemporary, ritualistic and disturbed.”
Gilbert was born in the Dolomites, Italy in 1943; George was born in Devon in 1942 and both live and work in London. Together they have participated in many important group and solo exhibitions including Brooklyn Museum of Art (2008) Tate Modern (2007) The Venice Biennale (2005), Turner Prize (1984) and Carnegie International (1985). They have had extensive solo exhibitions, including, Whitechapel Art Gallery (1971-1972), National Gallery, Beijing (1993), Shanghai Art Museum (1993), Stedelijk Museum, Amsterdam (1995-1996), Musée d’Art Moderne de la Ville de Paris (1998), Serpentine Gallery, London (2002), Kunsthaus Bregenz (2002) and Kestnergesellschaft, Hannover (2004-2005
Linda Montano
Born January 18,
Linda Mary Montano (born January 18,[1] 1942, Saugerties, New York) is a central figure in contemporary performance art. She was raised in a devoutly Roman Catholic household, partly Irish and partly Italian, that was surrounded by artistic activity. Both her parents played in an orchestra[2] but Linda's fascination with Catholic ritual and desire to do humanitarian service led her to join the novitiate of the Maryknoll Sisters after one year studying at the College of New Rochelle. After two years with the order, however, Montano was suffering from severe anorexia, weighing only 80 pounds (36 kg),[3] and she left the order to return to her former college, from which she graduated in 1965 as a sculptor.
During the rest of the 1960s, Linda continued to study and began performing, and by 1971 she was devoting herself exclusively to performance art.[4] Around this time she married the photographer Mitchell Payne. During this period, Montano drifted away from the Catholic Church, but despite this loss faith, Montano was consistently to acknowledge the influence of her strict Catholic upbringing on her work - for instance in how the discipline of convent life and her family's loyal work-ethic made her able to carry out extremely disciplined performances in her later career.[5][6] Montano's first major performance, Chicken Woman (1972) was based on her MFA sculpture show at the University of Wisconsin, Madison. There she exhibited nine live chickens in three 8-foot (2.4 m) by 16-foot-long (4.9 m) minimalist chicken wire cages on the roof of the art building. It was titled "The Chicken Show" from 1969.[7]
Linda had moved to San Francisco 1970 with her husband,[8] and it was there that she established herself with performances like "Handcuff" (1973 with Tom Marioni) where she was physically tied to other artists, and "Three Day Blindfold" (1974), where she lived for three days blindfolded and had to find her way around. The death of her husband led to further exploration of art as a healing modality ("Mitchells' Death", 1978) and she continued her art-theology dialogue by living in a Zen monastery for three years and to Ananda Ashram in the 1980s where she studied with Dr. Ramamurti Mishra for over 30 years. His influence and appreciation of her vision encouraged both her art and life.[9] Upon meeting Taiwanese performance artist Tehching Hsieh, they performed a collaboration whereby the two artists were bound to each other by a length of rope 24 hours a day for a whole year (from July 4, 1983 to July 3, 1984).[10]
In the following seven years Montano did another ambitious project titled "Seven Years of Living Art", in which she lived in her home in Kingston wearing strictly monochromatic clothing, spent a portion of every day in a coloured room, and listened to a designated tone, all of which corresponded to the energetic qualities of a specific chakra.[11] She changed colour every year, and after the project was finished followed it up with "Another Seven Years of Living Art", in part to memorialise her mother, Mildred Montano, who died in 1988 of colon cancer.[12] This time she did not use the colours, but aimed to focus on the same chakras. From 1998, Montano has given cycles to other artists, hoping to give three cycle to three arts each dating up to 2019.[13] After this, Montano focused upon freelance teaching of performance art, caring for Henry Montano (her increasingly ill father) and counseling people again practicing "Art/Life Counseling", a technique she used for seven years at The New Museum where curator Marcia Tucker had built a private room and allowed Montano to counsel people once a month in the window installation which was painted the same color that Montano wore for that year. At that time (1984–1991) Montano used tarot, palm and psychic readings as tools of discovery as well as attentive listening so that she could respond to the questions of her clients and she intended to find the most creative way to respond to their problems and difficulties. (Currently Montano still does "Art/Life/Laugher Counseling" but without the assistance of tarot, palm and psychic readings because they are forbidden by her current practice of Catholicism).
The influence of her father led Montano to return to Catholicism and ultimately to Church attendance,[14] and since 2005 she has taken gathered prayer requests to more than ten Catholic pilgrimage sites throughout the world. Montano also meets with others in Catholic Churches for 3 hours silent retreats, re-seeing the concept of endurance from new Catholic-eyes. Since returning to Catholicism, Montano has made numerous videos exploring the faith, including Father Lebar: Catholic Priest and Exorcist; Saint Teresa Of Avila By Linda Mary Montano, and currently Mother Teresa of Calcutta. She also performs three-hour endurances, lip-syncing as Paul McMahon and Bob Dylan.
Her work investigates the relationship between art and life through intricate, life-altering ceremonies, some of which last for seven or more years. She is interested in the way artistic ritual, often staged as individual interactions or collaborative workshops, can be used to alter and enhance a person's life and to create the opportunity for focus on spiritual energy states, silence and the cessation of art/life boundaries.
Notes
This Journal is to be inward looking as well as research based
Art needs an audience, I need to look at Exhibitions in view of exhibiting myself – this needs to be investigated.
Visual Enquiry – This is the theory that underpins our practice
Outwardly this is the positioning of our work
I must record the failures of my work
Think about curating and positioning on my work
Professional Meaning – Regarding Artists and Work.
Art and Product – Pose – Production – Are we defined by this process, Is this quality control.
Value – Conformation, Judgement
Criticism – Validity to Art
Underpin the Art world.
Identity – Required to mould our identities, What is the identity of Artists? – Not a normal profession
Role and Responsibility – Reflection in Action
Look at Donald Schon
Production – Different meanings, some artists refuse products, commodification. Art and Language
Affordability
A response to a piece
Role and Responsibility – Making to sell.
Production – A hobby?
Production chain, Safety Procedures, Public Realm, Jumble of past experience, Nature vs Nature
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