#Janine Antoni

[milksockets]

janine antoni in art21: art in the twenty-first century (2003)

[zegalba]

Janine Antoni: “Loving Care” (1992)

[everylittoral]

Janine Antoni

[terriblepassions]

JANINE ANTONI (1964) ME RESISTÍ A NO SER NADA

[cheddar-baby]

Janine Antoni Various Works

[sculpturegallery]

Janine Antoni

[raspberry-beret]

Art Weekend - Loving Care by Janine Antoni

Soaking her own hair in Loving Care brand black hair dye, Janine Antoni mopped the Anthony d'Offay Gallery floor. Slowly, observers were pushed out of the room as the floor became covered in dye and she claimed the space as her canvas. By using her own body, Antoni maintains herself as the maker and the model both. Despite mopping, the space is left marked in a strong deliberate way, and the use of her own hair and hair dye while performing traditional 'women's work' of mopping makes a statement on feminity and power.

[ardenti-corde]

I got to spend my 25 birthday going to an artist lecture by Janine Antoni. She’s one of my favorite artists so if you haven’t checked out please do!

[embodiedlistening]

"Antoni believes that our alienated relationship to our own bodies has contributed to our destruction of the environment. Our culture treats the body as a mere vehicle to carry around our thinking mind. If we are willing to exploit our bodies for the sake of our goals and desires, it is no great leap to exploit the natural world for the same reason. here-ing offers an opportunity to return to the body through intimately relating to the land. In feeling as though we belong to the land, we are propelled to care for the land that we belong to."

[woundgallery]

Janine Antoni, to channel, 2014, Polyurethane resin, 27 × 15 × 15 in | 68.6 × 38.1 × 38.1 cm

[mymedley]

[milksockets]

'bridle (front + back)' by janine antoni, 2000 in neohoodoo: art for a forgotten faith - franklin sirmans (2008)

[antonia-gergely]

Current Artist Research - Janine Antoni (b. 1964, Bahamas)

Border Crossings article

'From the beginning, Antoni has used her body as the object through which she has measured her place in the world. She has said that her body “is a funnel through which the world is poured,” and for the last 20 years she has discovered subtle ways to affect that pouring.'

Conduit, 2009.

'There were the more specific questions, such as with Conduit, which includes an apparatus that allows a woman to pee standing up, I asked myself if I’m going to pee through an object, what material should it be made of? I was thinking about Duchamp’s Fountain, of course, and so I first made it in porcelain. Then I came to copper. It would patina when in contact with my urine and it calls to mind the decorative cornices on buildings.'

Conduit, 2009

Her work fills me with some feeling of rebellious vindication. Every piece of hers I've seen has struck me as a visceral display of Antoni's mind and process. She seems to get an idea, then develop it theoretically, retrospectively, while letting it develop physically, presently. The issue she had with Lard Gnaw collapsing before the opening of her exhibition led her to consider the difficulty to control fat in the human body, Conduit formed a patina when it came into contact with her urine, and that made her 'consider Gothic architecture as the background for' her action.

[source: https://bordercrossingsmag.com/article/the-beautiful-trap-janine-antonis-body-art]

note to self: Antoni allows herself to move seamlessly between photography, sculpture, performance - it's easiest way to conduct the development of ideas. get the idea out as opposed to planning to do so

Gnaw, 1992.

Antoni cast 600 pounds of chocolate into a cube and sculpted it using her mouth. In the same mould she packed 600 pounds of lard. She also sculpted it with her mouth. Two weeks before the exhibition, the lard collapsed onto the ground. The one part of the piece she couldn't control was lard - conceptually in keeping with her interest, according to her.

The chocolate she spit out was cast into heart shaped packaging for candies. The lard was moulded into lipsticks.

Wonderful speaker to listen to, I think:

2013 Distinguished Artists' Interview with Janine Antoni, CAA. Video, Youtube. 46'03.

Speaks to Klaus Ottmann.

'I started the piece with some very traditional ideas. I was interested in doing the most traditional thing I could do as a sculptor, and that was to carve...

...Rather than to describe the body ... I'd talk about the body by the residue it left on the object.'

'I thought if I could seduce you ... I would equally disgust you.'

There's a lot of reference in the piece, the minimalist cube, the handmade readymade.

She acknowledges the RISD professor, Mira Schor - a New York-based artist and writer noted for her advocacy of painting in a post-medium visual culture and for her contributions to feminist art history. [source: https://www.miraschor.com]

On Loving Care, 1993

She is vulnerable in her position, but claims her space with her movement and action, and any viewer feels the need to step back.

'I was thinking about [Yves] Klein, and those paintings of him putting blue paint on the women's bodies and rolling the on the canvas.'

She relates the piece to her childhood, her mother sending her out to play, almost claiming the kitchen as her own, having mopped the floor.

'The piece really worked with everyone in the room. It was a very intimate experience, but it was also one where you felt you were really part of it.' - Klaus Ottmann

'Two forms sculpting each other simultaneously' - sentiment she got from Greek architecture built without mortar.

See also - all available and described on janineantoni.net

To Twine, 2015

Saddle, 2000

I Conjure Up, 2019

[philosohappy]

The contemporary artist, Janine Antoni.

Her work concentrates on process. Antoni uses her whole body or parts of her body. Including; mouth, hair, eyelashes, and brain as instruments and with them acts out everyday events to generate her artwork.

“I mopped the floor with my hair…The reason I’m so interested in taking my body to those extreme places is that that’s a place where I learn, where I feel most in my body. I’m really interested in the repetition, the discipline, and what happens to me psychologically when I put my body to that extreme place.”

[trooth]

Janine Antoni Lick and Lather, detail, (1993) 7 soap and 7 chocolate self-portrait busts

[celoufane]

Janine Antoni, Touch (2002) Video installation