On Tuesday, November 25, Marina Abramović will yet again be present at a MoMA-related event, but this time the occasion is an in-store signing at the MoMA Design Store, Soho. The artist has designed a limited-edition silk scarf (shown above) in collaboration with the fashion company Pineda Covalin, and she will be on hand to sign scarves and copies of her 2010 MoMA exhibition catalogue, Marina Abramović: The Artist Is Present.
Posts tagged ‘Marina Abramović’
As is the case with most Web designers, producers, and graphic designers, I have an unhealthy attraction to infographics, whether it be the work of the Almighty Edward Tufte, the non-stop hit factory of The New York Times (here’s my all-time favorite), or the rich annual reports of Nicholas Feltron.
Last week, we asked our Facebook and Twitter fans to submit questions to ask Marina Abramović on the occasion of the end of her epic performance piece, The Artist Is Present, on Monday, May 31. We got an amazing response! Special thanks to our Facebook fans Tal Brog, Sean Capone, Nicolette Brink, and Linda Wachtel, and our Twitter followers samtlam, ArtInitiative, and scriptophobe, for the questions they submitted. On Tuesday morning, we were the first to interview the artist. Here are her answers:
Those of you who have clicked through the visitor portraits in our Marina Abramović: The Artist Is Present Flickr gallery, taken by Marco Anelli, probably noticed some familiar faces. Apart from a few celebrities in the mix (Sharon Stone, Rufus Wainwright, Isabella Rossellini, to name a few), there are a number of less famous faces that repeat day in and day out, almost as often as Marina herself. These Marina devotees have become micro-celebrities in their own right, at least around the Museum; the guards know them by name, and fellow visitors waiting their turn to sit with Marina regard them with an air of what may best be described as reverence.
Paco Blancas, a NYC-based make-up artist, is one such visitor. After seeing his portrait a number of times on Flickr, I found myself wondering, “Who is this mystery man? Why does he keep coming back? Why is he crying in so many of these photos?” I wanted to know his story. As luck would have it, last week I spotted him seated in the Marron Atrium, back for his fourteenth sitting with Marina. He shared a few words about his experiences with the piece and what compels him to keep coming back.
If you happen to witness—or, for the intrepid, participate in—Marina Abramović‘s new work The Artist Is Present, you may notice a well-equipped photographer quietly documenting each daily performance. The artist has asked photographer Marco Anelli to take portraits of every visitor who participates in the piece. The results, as you can see below and on the exhibition website, are captivating.
Check back frequently, as the images are updated regularly. At this point there are over eight hundred portraits!
This past August, I visited Marina Abramović at her home in upstate New York, where she was running a workshop with the re-performers of the exhibition Marina Abramović: The Artist Is Present. In a series of five videos that show excerpts of my conversation with the artist, she talks about her work, her exhibition at MoMA, and performance art. As an artist who uses her body as a medium, it is fascinating to hear Abramović’s feelings on fear and limitations. In this video, the artist offers her thoughts on the meaning and definition of performance art.
In this clip from the CD (as discussed in a previous post) that accompanies the catalogue of Marina Abramović’s current retrospective, The Artist Is Present, Marina discusses her performance Art Must Be Beautiful, Artist Must Be Beautiful (1975) and shares with the reader her thoughts about the work and its creation. This is complemented by a discussion of the performance in one of the essays featured in the catalogue, “The Art of Marina Abramović: Leaving the Balkans, Entering the Other Side,” by art historian and critic Jovana Stokić.
In late 2008, six thousand pounds of cow bones sat boxed in a Dutch warehouse. Marina Abramović, whose retrospective is on view at MoMA, had requested that we ship the bones, a major component of her installation Balkan Baroque, far in advance of the exhibition. We could not have anticipated that the next fifteen months would involve our learning about bovine spongiform encephalopathy (BSE), incineration plants in New Jersey, the dearth of slaughterhouses in the western United States, or that a place called Skulls Unlimited existed.
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