Curatorial Statement

The theme of this digital exhibition is The Body: As Object, this particular topic was chosesn because the body or in this case the artist’s body is the most readily available object and tool. It’s always there, no copyright infrigment and generally free to use. This section of video based performance art is interesting because these artists are using their bodies to produce the work in this exhibition. With this particular theme, the artist is not worried about the end result, but rather the process that took place during the performance. This is particularly important in all of the pieces featured in this exhibition, because there isn't necessarily an end product like a traditional painting would have.

The artists featured in this exhibition are Paul McCarthy, Pipilotti Rist, Dennis Oppenheim, Hannah Wilke, Bruce Nauman. What separates these artists from traditional artists is the fact that they use their own bodies as the “canvas” for their work, rather than directing others, or using other materials as the main element in their performance. These artists are creating a performance treating their bodies as an object or tool to complete a task. In each performance, the artist’s seem to be testing the limits of their own bodies, by placing themselves in awkward situations and manipulating their bodies to accentuate the pliability.

Throughout this exhibition, the reoccurring theme is the body and it’s many artistic uses, in this case it’s use as a tool and as and artistic object. These artists are literally taking themselves and making art.

Wednesday, December 16, 2009

Paul McCarthy: Black and White Tapes (Excerpt)



"Black and White Tapes is derived from a series of performances Paul McCarthy undertook in his Los Angeles studio from 1970 to 1975. Purposely created for the camera and performed alone or with only a few people present, these short performances use time based video performance to articulate both monitor and studio space.

In the first excerpt, which is featured in this exhibition, McCarthy paints a white line on the floor with his face/body, dragging his body from one end of the studio to the other. In doing so, McCarthy, creates a recognizable gesture, drawing a white line.

While he inserts his body into the process of painting, some think, may have been intended to parody work following minimalist views.

Later on in this video McCarthy continues to challenge viewers sense of physical space by “hanging” from the upper frame of the picture as he spits into an unseen microphone. McCarthy’s body art influences are taken from artist and filmmaker Carolee Schneeman. (www.vdb.com)."

McCarthy said that “Using the body as part of the ground of the painting was a compelling issue at the time. Related impulses can be seen in happenings of the early and mid-1960’s, which often fused audience and performers into the setting and action of the extended painting.”

The original total running time for this piece is 33:00, this is a 6:30 excerpt.
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