Okay, about my trip to NYC. The best show I saw was called remixing the ordinary it is a group show of artist working with odd or unusual
materials. My fav. work was a chandelier made out of old eye glasses. It rocked. The way the light shined through the glasses and the shadows that where created as a result were truly magnificent. The artist is Stuart Haygarth.
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Below: Sculpture made out of buttons, pretty amazing, Tara Donovan Bluffs, 2007.
The work below was done by Jill Townsley, its called pyrimid and composd of spoons and rubber bands. I love it!
I really enjoy artist who use these everyday materials and end up making these crazy fun works with them. I think one of the attractions is
Below: made from records, Paul Villinski, My Back Pages, 2006-2008
the obsessive, repetitive aspect that a lot of the works have.
Here is a press release:
I saw a lot of other neat works as well.
One gallery had this show called Meat After Meat Joy
Below: Pinar Yolacan, Untitled, C-Prints.
Women wearing meat clothing.
..this is a video of the opening, make sure to look for the cat part :).
..this is a video of the opening, make sure to look for the cat part :).
Below:Sheffy Bleler, Testicles, Lambda Print
Here is a press release:October 16 – November 15, 2008
"If the flesh disturbs you, then the reality behind the issue would disturb you far more if we opened our eyes long enough to see it. We live in a culture disconnected from what it is doing to itself and others, we choose to ignore rather than deal with the reality we have created for ourselves.
– Adam Brandejs
Meat After Meat Joy brings together the work of contemporary artists who use meat in their work (raw meat, the concept of meat, its symbolism and viscera) in order to investigate the paradoxical relationship meat has to the body. Meat combines flesh, skin, muscle, organs, blood — each with its own relationship to the body, yet meat's only reference to the body is as a once-upon-a-time living biological thing. By putting these artists together, the exhibition seeks to investigate the uncanny effect meat as a medium is for artist and viewer. This is not a show about meat as spectacle but about meat as signification, precisely because meat does not signify (a body) but its very annihilation.
Skin is the body's largest organ and greatest protection. It is the body's most public point of vulnerability and private realm of pleasure. Flesh is associated with the body often the body of Christ. It can't be separated from the body except when it is torn, crucified, burned, flayed. Muscle and fat are anatomy, as well as the fit body, the football body, the anorectic body, the fat body. Meat is the body without skin. It has no identity. Meat cannot have a mood, cannot feel, nor have an intention.
And yet, an exhibition on meat seems like an obvious continuation of discussions of contemporary art and the body. Certainly in relation to feminism, meat has been an erotic and eschatological component of a libratory, transgressive discourse of female sexuality and the body beginning with Carolee Schneemann's path-breaking 1964 Meat Joy. After Meat Joy, the female body was no longer the 'poulet" or chick but an erotic and political force of the laugh of the Medusa (Helene Cixous)—the writhing ecstatic female body freed from the constraints of patriarchal definition (meat is the indefinable flesh) that expresses an epistemology (Interior Scroll 1975) into ontology (the feminist movement). In Meat Joy, although controversial, raw meat —animal human—and the human body are at their most uncontested and merged, for meat is not the absence or the other the body but an act of reclamation and affirmation of all that patriarchy had previously "disemboweled" from the female body.
But forty years later, in Meat After Meat Joy, meat, as metaphor or synecdoche of the body, is different because we recognize more clearly that meat is precisely what the animal or human body is when it is not. In other words, meat has no body, can't be a body, may have been a body but is only called meat because it is no body. Meat here is neither flesh nor skin, but the notion of the human or animal at its most base, absolute zero point of being, "being" as completely without "Being"."
– Heide Hatry
I found this show quite interesting. I was a bit grossed out by some of it, but also quite fascinated. As a huge Carolee Schneemann fan, I liked the comparison between her "Meat Joy" performance and this show. The performance was playing during the show.
Well, there were many more exciting shows but I am going to stop here.
"If the flesh disturbs you, then the reality behind the issue would disturb you far more if we opened our eyes long enough to see it. We live in a culture disconnected from what it is doing to itself and others, we choose to ignore rather than deal with the reality we have created for ourselves.
– Adam Brandejs
Meat After Meat Joy brings together the work of contemporary artists who use meat in their work (raw meat, the concept of meat, its symbolism and viscera) in order to investigate the paradoxical relationship meat has to the body. Meat combines flesh, skin, muscle, organs, blood — each with its own relationship to the body, yet meat's only reference to the body is as a once-upon-a-time living biological thing. By putting these artists together, the exhibition seeks to investigate the uncanny effect meat as a medium is for artist and viewer. This is not a show about meat as spectacle but about meat as signification, precisely because meat does not signify (a body) but its very annihilation.
Skin is the body's largest organ and greatest protection. It is the body's most public point of vulnerability and private realm of pleasure. Flesh is associated with the body often the body of Christ. It can't be separated from the body except when it is torn, crucified, burned, flayed. Muscle and fat are anatomy, as well as the fit body, the football body, the anorectic body, the fat body. Meat is the body without skin. It has no identity. Meat cannot have a mood, cannot feel, nor have an intention.
And yet, an exhibition on meat seems like an obvious continuation of discussions of contemporary art and the body. Certainly in relation to feminism, meat has been an erotic and eschatological component of a libratory, transgressive discourse of female sexuality and the body beginning with Carolee Schneemann's path-breaking 1964 Meat Joy. After Meat Joy, the female body was no longer the 'poulet" or chick but an erotic and political force of the laugh of the Medusa (Helene Cixous)—the writhing ecstatic female body freed from the constraints of patriarchal definition (meat is the indefinable flesh) that expresses an epistemology (Interior Scroll 1975) into ontology (the feminist movement). In Meat Joy, although controversial, raw meat —animal human—and the human body are at their most uncontested and merged, for meat is not the absence or the other the body but an act of reclamation and affirmation of all that patriarchy had previously "disemboweled" from the female body.
But forty years later, in Meat After Meat Joy, meat, as metaphor or synecdoche of the body, is different because we recognize more clearly that meat is precisely what the animal or human body is when it is not. In other words, meat has no body, can't be a body, may have been a body but is only called meat because it is no body. Meat here is neither flesh nor skin, but the notion of the human or animal at its most base, absolute zero point of being, "being" as completely without "Being"."
– Heide Hatry
I found this show quite interesting. I was a bit grossed out by some of it, but also quite fascinated. As a huge Carolee Schneemann fan, I liked the comparison between her "Meat Joy" performance and this show. The performance was playing during the show.
Well, there were many more exciting shows but I am going to stop here.
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