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"Antoni's work is in various public museum collections, including the Since 2000, Antoni teaches fine art in a graduate course called "Master Class/Mentor Groups" at Jennifer Fisher. I try to do that in a lot of different ways, by residue, by touch, by these processes that are basic to all of our lives... that people might relate to in terms of process... everyday activities--bathing, eating, etc. She The mined resources were recast into heart-shaped boxes and lipstick tubes, then exhibited in a small room, made out of three display cabinets, nearby. of chocolate gnawed by the artist; 600 lbs. Antoni made a statement about her work saying "Lard is a stand-in for the female body, a feminine material, since females typically have a higher fat content than males, making the work somewhat cannibalistic". Janine Antoni's object- and performance-based works draw from multiple influences including feminism and conceptualism, and in these works the artist has fashioned an investigation of the self through the examination of the mother/child dyad, creating a She arrived on the scene with By setting up situations that force her lithe body into contact with malleable materials and spaces, she establishes tongue, eyelashes, and hair as evocative replacements for chisels, pencils, and brushes.
1992. Viewing the work, we imagine ourselves pressed against the cubes, our canines contending with one, our face left greasy by the other.
She used the chewed out bits to create chocolate boxes and lipstick tubes, which she then displayed in a mock store front. Janine Antoni, Gnaw (detail), 1992, phenylthylamine: chocolate, lipstick, lard, pigment, wax. I always feel safer if I can bring the viewer back to the making of it. Janine Antoni emerged in the early 1990s as an artist capable of reconciling performance with the object, and empowered feminist thinking with post-’80s artworld ambition. Tongue firmly in cheek, Antoni presents a commercial caricature of femininity: makeup and Valentine’s Day clichés. 600 pounds of lard before biting (left); 600 pounds of chocolate (right), gnawed by the artist. Janine's work was exhibited in 1992, for the first time. Left: Janine Antoni, “Lipstick Display,” 1992. (51 results) All rights reserved. We see the dental scrapes in the chocolate, the soft depressions of nose and chin in the lard. Janine Antoni emerged in the early 1990s as an artist capable of reconciling performance with the object, and empowered feminist thinking with post-’80s artworld ambition. Overall dimensions variable. In her breakthrough piece Gnaw (1992), she used her mouth to chisel away at two Minimalist-looking cubes—one made of 600 pounds of lard and the other of chocolate. Janine Antoni is a contemporary American artist known for her performances and sculptural installations.Antoni’s Gnaw (1992), is an example of the artist using her body as a tool for sculpture.
All images © Janine Antoni. Refined approaches and rigid substances are nowhere to be seen.By displaying the products of her labour in this manner, Antoni prompts us to reflect on her methodology.
This exhibition was Ganw. View an image of the artwork → Gnaw began life as a pair of large cubes, one of chocolate, one of lard, each weighing in at 600 pounds.In their final form, elevated on marble pedestals, the two blocks are visibly diminished.
Janine Antoni. Antoni’s Gnaw (1992), is an example of the artist using her body as a tool for sculpture. Why shouldn’t art chew tradition over? Here came the Janine; there went the Judd. In thi… Her often irreverant activities are kept in check by a loving respect for art history and groundbreaking predecessors, though she does put gestural painting and classical portraiture through the wringer.The works that I really love are things like Carolee Schneemann’s Exploring Muslim femininity through the politics of loveFeaturing interviews with Janine Antoni, Yayoi Kusama, Jenny Diski, Michael Cunningham, Simon Ortiz, Petuuche Gilbert, Simon Winchester, Gary Sinise, Thomas Vinterberg, and Marc Ribot.Let me tell you first about what it was like being a Black woman poet in the ‘60s, from jump. Janine Antoni - Gnaw, 1992 - Photo via pinterest.com Gnaw Janine's work was exhibited in 1992, for the first time.
"Interdependence: The Live Tableaux of Suzanne Lacy, Janine Antoni, and Marina Abramović." This exhibition was Ganw. Gnaw. I was doing work that was about process, about the meaning of the making, trying to have a love-hate relationship with the object.
"Antoni's work is in various public museum collections, including the Since 2000, Antoni teaches fine art in a graduate course called "Master Class/Mentor Groups" at Jennifer Fisher. I try to do that in a lot of different ways, by residue, by touch, by these processes that are basic to all of our lives... that people might relate to in terms of process... everyday activities--bathing, eating, etc. She The mined resources were recast into heart-shaped boxes and lipstick tubes, then exhibited in a small room, made out of three display cabinets, nearby. of chocolate gnawed by the artist; 600 lbs. Antoni made a statement about her work saying "Lard is a stand-in for the female body, a feminine material, since females typically have a higher fat content than males, making the work somewhat cannibalistic". Janine Antoni's object- and performance-based works draw from multiple influences including feminism and conceptualism, and in these works the artist has fashioned an investigation of the self through the examination of the mother/child dyad, creating a She arrived on the scene with By setting up situations that force her lithe body into contact with malleable materials and spaces, she establishes tongue, eyelashes, and hair as evocative replacements for chisels, pencils, and brushes.
1992. Viewing the work, we imagine ourselves pressed against the cubes, our canines contending with one, our face left greasy by the other.
She used the chewed out bits to create chocolate boxes and lipstick tubes, which she then displayed in a mock store front. Janine Antoni, Gnaw (detail), 1992, phenylthylamine: chocolate, lipstick, lard, pigment, wax. I always feel safer if I can bring the viewer back to the making of it. Janine Antoni emerged in the early 1990s as an artist capable of reconciling performance with the object, and empowered feminist thinking with post-’80s artworld ambition. Tongue firmly in cheek, Antoni presents a commercial caricature of femininity: makeup and Valentine’s Day clichés. 600 pounds of lard before biting (left); 600 pounds of chocolate (right), gnawed by the artist. Janine's work was exhibited in 1992, for the first time. Left: Janine Antoni, “Lipstick Display,” 1992. (51 results) All rights reserved. We see the dental scrapes in the chocolate, the soft depressions of nose and chin in the lard. Janine Antoni emerged in the early 1990s as an artist capable of reconciling performance with the object, and empowered feminist thinking with post-’80s artworld ambition. Overall dimensions variable. In her breakthrough piece Gnaw (1992), she used her mouth to chisel away at two Minimalist-looking cubes—one made of 600 pounds of lard and the other of chocolate. Janine Antoni is a contemporary American artist known for her performances and sculptural installations.Antoni’s Gnaw (1992), is an example of the artist using her body as a tool for sculpture.
All images © Janine Antoni. Refined approaches and rigid substances are nowhere to be seen.By displaying the products of her labour in this manner, Antoni prompts us to reflect on her methodology.
This exhibition was Ganw. View an image of the artwork → Gnaw began life as a pair of large cubes, one of chocolate, one of lard, each weighing in at 600 pounds.In their final form, elevated on marble pedestals, the two blocks are visibly diminished.
Janine Antoni. Antoni’s Gnaw (1992), is an example of the artist using her body as a tool for sculpture. Why shouldn’t art chew tradition over? Here came the Janine; there went the Judd. In thi… Her often irreverant activities are kept in check by a loving respect for art history and groundbreaking predecessors, though she does put gestural painting and classical portraiture through the wringer.The works that I really love are things like Carolee Schneemann’s Exploring Muslim femininity through the politics of loveFeaturing interviews with Janine Antoni, Yayoi Kusama, Jenny Diski, Michael Cunningham, Simon Ortiz, Petuuche Gilbert, Simon Winchester, Gary Sinise, Thomas Vinterberg, and Marc Ribot.Let me tell you first about what it was like being a Black woman poet in the ‘60s, from jump. Janine Antoni - Gnaw, 1992 - Photo via pinterest.com Gnaw Janine's work was exhibited in 1992, for the first time.
"Interdependence: The Live Tableaux of Suzanne Lacy, Janine Antoni, and Marina Abramović." This exhibition was Ganw. Gnaw. I was doing work that was about process, about the meaning of the making, trying to have a love-hate relationship with the object.