Friday, December 8, 2017

Q AND A VIA FADO

Q AND A  VIA  FADO

1.
In terms of LINEAGE,
what do you see as key points,
in the development of your language,
from ancient expression to what your process is today ? I grew up Roman Catholic. That and my creative parents and Outside Grandmother and non- English speaking  grandparents from Italy are my lineage. Today I repeat the past.


2.
What are the important EXPERIENCES / REALIZATIONS that moved you, towards making the work that you make today ? Suffering and trauma have always been my materials for my work.


3.
What are your thoughts on the relationship between the work and AUDIENCE / RECEIVER ? Before I felt more healed I needed the audience. Now  I share with them.


4.
What motivates you to introduce MATERIALS / OBJECTS into your work ? If they are needed I use them oif not I don't.


5.
What are your thoughts on SOUND / SILENCE in your process ? Now I sing.......my favorite medicine.


6.
What are your thoughts on TIME / RHYTHM in your process ? Time is to be used to go beyond it. Duration helps that to happen and erases the feeling of waiting and past and furure.


7.
What are your thoughts on SPACE / EMPTINESS in your process ? During eliminates time and creates space.


8.
Where do you see the greatest challenges

in your future process ? Doing less.

9.
If you had to use WORDS to describe what you do, what would those words be ? Healing my past.


9b.
What is the question I fail to ask ? How old are you and how does that matter? I am 76 in January. My body is my material . As it ages it becomes better and more interesting fodder.


POST-PERFORMANCE SUGGESTIONS;

POST-PERFORMANCE  SUGGESTIONS;

  1. Some people like to talk a lot about their performance AFTER it is over. Some people are  totally silent, feeling the result.
  2. Some people get the judge stirred up from the cellar of the mind, some don't.
  3. Some people celebrate for days, some cant.
  4. Some people feel like going inside and hiding, others plan another event immediately.
  5. Some people think  "OHHHH I did this or that and wish I had not done that and I looked strange when I...." Some don't.
  6. Some people don't want to talk to their best friends after a performance, some call everyone and talk and talk and talk.
  7. But what is true for all: We  need  a lot of water. Drink it, soak in it, bathe in it, borrow a bathtub and sit in it, swim in it. 
  8. Linda Mary Montano,  after Glandettes/Gland Angels at The New Museum.

ONLINE REHEARSAL FOR THE GLANDETTES AND GLAND ANGELS FOR THE NEW MUSEUM

ONLINE REHEARSAL FOR THE GLANDETTES AND GLAND ANGELS FOR THE NEW  MUSEUM



  1. YOU WILL HAVE A HAND HELD MIC IN ONE HAND AND UR PAPER TO READ  IN THE OTHER HAND...THEREFORE,  GETTING SUNGLASSES ON AND OFF might be an issue.

  2. MAYBE  YOU SHOULD NOT WEAR SUNGLASSES????? SO YOUR EYEMAKE UP  SHOULD LOOK  MORE VISIBLE THEN.

  3. YOU DECIDE. INDIVIDUALLY ..GLANDETTES  SUNGLASSES ON OR OFF.  

THE MIC:
  1. WE WILL REHEARSE AT 9:15...MAKE SURE YOU TALK CLEARLY AND LOUD ENOUGH INTO THE MIC BUT NOT TOOO CLOSE TO MOUTH.
       2. THEY ARE GIVING US 10 MINUTES FOR ALL 7 GLANDETTES TO READ AND THE FINAL ILL FLY AWAY...SO GLANDETTES WILL HAVE TO READ  WITH A "FAST" GUSTO AND SMILE ON YOUR FACE SO PEOPLE DONT KNOW WE ARE  DOING IT  FASTTTTTTTTTTTTTTTTTTTTTTTTTTTTTT

GLAND ANGELS:
  1. YOU WILL BE  "ONSTAGE" IN BACK OF THE GLANDETTES....AS MARGOT INTRODEUCES EACH GKAND ANGEL, JUST OPEN YOUR  WINGS AND SMILE ONE AT A TIME. SO AUDIENCE KNOWS YOU AS SHE MENTUIONS YOUR NAME
  2. GLANDETTES INTRODUCE THEMSELBVES AT THE END OF THEIR READING.
  3. GLAND ANGELS STILL SWAY THEIR ANGEL WINGS AND HUM AS THE GLANDETTES  READ,  SO HUM VERY ANGELICALLY LOWWWWWWWWWWWWWWW
ILL FLY AWAY
  1. AS YOU STEP FROM THE STAGE TO FORM A CIRCLE AND ALL FLOW YOUR ARMS LIKE ANGELS (GLANDETTES TOO)  I WILL SING THE WORDS TO ILL FLY AWAY AND YOU ALL CAN  HUM ALONG WITH ME 

REHEARSAL TIME AND GETTING INTO THE BUILDING

1 THE CURATOR, MARGOT NORTON WILL BE SENDING AN EMAIL WITH ALL OF THE DETAILS
2. YOU CAN ARRIVE THERE AT  9 AND WILL BE ENTERING THROUGH THE DOOR, NEXT TO THE MAIN DOOR...RUNG INTO THE BUILDING
3. REHEARSAL IS AT  915 SO IMPT TO BE THERE BY THEN
4. DOORS TO THE ROOM OPEN TO THE PUBLIC AT 945 AND WE ARE ON AT  10.

--------------------QUESTIONS FOR JUDITH BERNSTEIN

QUESTIONS FOR JUDITH BERNSTEIN: LINDA MARY MONTANO

. Why are older women artists getting so much attention now?  What is the misogony or trick factor in older women getting recognition now? A distraction? Guilt?  Carolee in an interview said..." older women are not as threatening as younger women.

2. Your mother was a book-keeper, your father a painter who taught you painting. He painted with friends in the basement of your house. Can be specific and say what they taught you? 

3. Where did you get your courage to embrace the penis as a super image and metaphor of male aggression? It takes courage to radically rile up the men.

4.Anonymity in art occurs when artists sculpt statues on churches and temples.  How did you feel about anonymity versus the public stance of painter, known to the art world and colleagues. Is it comforting not to be  known?

5. Is it ever possible to feel  self-censored as an artist or are we living in the walls of our own private universities where we are the president of the institution of us?  An institute of the self that grants us permission to be/ to do/to say/to express without boundaries. Is there a topic or image that you will not paint? Not show? Not tackle? DO you have a private audience that will never be shown the most radical work that you have done?

6. Have you ever wanted to perform nude with a penis? How would you feel dopplegangering a man?

7. Do you want to belong in the feminist world? Activist world? or just  in your own world?

8. Do you ever paint men as objects of desire?

9. Who in your childhood mentored for you a dedication to strong anti-war positions and beliefs?

10. Your career has incredible dedication to service to causes: For example the cause of assisting other women artists; the cause of protesting the dearth of shows for women as an activist GUERILLA GIRL; the cause of founding a museum for women only, AIR; the cause of participating in the ART WORKERS COALITION and the FIGHT CENSORSHIP GROUP.  Your motivation to justice is biblical!! In looking back, can you feel  success and changes coming from your service to these mighty causes?  Better funding for women's shows? More respect shown to women artists? More inclusion of women in major museums and galleries? 

11. I liked reading your comments about the two feminist camps:  the vagina feminists and the penis feminists. This is hilarious.

12, What is the function of shock and awe in your work?  Does your  work shock you?  Awe you?  Raise your endorphens? What does your work "make" you feel which you might not feel outside the work?

13.in 1974, the Museum of the Philadelphia Civic Center censored you out of a women's  show because the curator said, "this offends me on behalf of the children of this city." Have you or would you like to explain your work to children? 

14.Was Louise Bourgeoise your most memorable art/life influence?  Did you visit her during her salons? Can you describe a visit to her salon? It must have been amazing.

15. Do you have a secret/hidden desire to really be a (fill in the blank?)  WHAT?  That is, if you were not an artist, what would you like to do/be?

LETTER TO MARCIA TUCKER,
Dear Marcia,
I am thrilled being here and I honor you. I celebrate your ability to take risks, your generosity of spirit, your open ness to performance and the art of difference, your intuition that eventhough i was a relatively young artist at that time, you had the courage to offer me hospitality and a welcoming venue for many years.  Marcia Tucker, you are amazing. Love Linda.

STORY CORPS INTERVIEW SAUGERTIES LIBRARY

STORY CORPS- SAUGERTIES  LIBRARY WITH ARZI 



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INTERACTIONARAMA AT THE VORTEX: THEIR POST.

INTERACTIONARAMA VIA THE VORTEX POST


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Linda Mary Montano’s INTERACTIONARAMA
November 10-11, 2017 8-11pm

I have found that by opening doors to the SUBJECT of death, I am asking death for friendship and knowledge and understanding. In doing so, my personal spiritual journey and curiosity are becoming educated to our natural and shared human situation. A good thing, I think.
— Linda Mary Montano
Presented by The VORTEX
Linda Mary Montano with Austin collaborators

Announcing the return of legendary performance artist, Linda Mary Montano, with her new life/art-- INTERACTIONARAMA. INTERACTIONARAMA provides a HEALING COLLAGE as an opportunity for a willing community to see, learn about, interact with and experience aesthetically/performatively the old age, sickness, and death of my father, Henry Joseph Montano, as life/art. In coming into contact with another person's life story and our own eventual death, we will see, be reminded of and participate in the feelings associated with our death. This is important work. The video is a document of the time I took care of my father from 1998-2005 in Saugerties NY, after I left UT Austin.
Death, a tabooed subject and not always out of the closet of fear and dread, must be aesthetically exposed/experienced as the natural event that it is. Why? To prepare us courageously for our own inevitable deaths and help us all make some alliance and friend with that fact. We all share life and we all will experience the end game. Let us collectively help each other do that.
Audience interaction with death is at the heart of the performative experience. Collectively we will be supporting each other and learning together a new language. Viewer discretion is advised for this 3 hour experience.

performers

Linda Mary Montano is joined by Austin collaborators: Maida Barbour (Listener), Alton Dulaney (Choir Leader), Kerthy Fix (Angel), Carol Gilson (Listener), Suze Kemper (Secretary), Elana Logsdon (Water Healer), Rachel Martin (Life Dancer), Seven Sexton (Listener), kt shorb (MC), and Rosey (the Therapy Dog).

PRODUCTION CREW

Lighting Design by Patrick Anthony. Stage Management by Tamara L. Farley. Producing Artistic Director, Bonnie Cullum.

About Linda Mary Montano

Linda Mary Montano is a seminal figure in feminist performance art, and her work since the mid-1960s has been critical in the development of performance and video by, for, and about women. Dissolving the boundaries between art and life, Montano continues to actively explore her art/life through shared experience, role adoption, and intricate life-altering ceremonies, some of which last for seven or more years. Her artwork is starkly autobiographical and often concerned with personal and spiritual transformation. She explores the way artistic ritual, often staged as individual interactions or collaborative workshops, can alter and enhance a person’s life, creating the opportunity for focus on spiritual energy states, silence, and the cessation of art/life boundaries.

Montano has been featured at museums including The New Museum in New York, MOCA in San Francisco, and the ICA in London. She participated in Taiwanese performance artist Tehching Hsieh’s remarkable year-long work (1983-84), Art/Life: One Year Performance—a work that broke open many people’s concept of performance art as the two artists were bound to each other by a length of rope 24 hours a day for a whole year. Her endurance works have lasted hours, weeks, and years--each one a unique exploration of life/art.

Linda Mary Montano’s extraordinary career has influenced thousands of performance artists. She taught in the Art Department at The University of Texas at Austin from 1991-98. She is a mentor and coach to many artists including The VORTEX’s dear friend Annie Sprinkle. Montano even made a guest appearance in Annie’s erotic experiment, MetamorphoSex at The VORTEX in 1995.

THE 7 GLANDETTES AND WHAT THEY WILL SAY AT THE NEW MUSEUM DECEMBER 2017

THE 7 GLANDETTES AND WHAT THEY WILL SAY AT  THE NEW MUSEUM DECEMBER 2017



1st  CHAKRA

Can you imagine that I am Linda Mary Montano's SECOND SELF?  Thank you.
I represent the first Chakra, the first gland: the ovaries and testes.
Doctor Mishra taught me about the Chakras.
On December 8, 1984- December 8, 1985, everything I wore was the color RED: shoes, coats, all clothing for the entire year.
Daily, for a year, I stayed in a room painted red, 3 hours everyday.
Daily I listened to the note B seven hours a day on an oscillator.
I intended to make friends with INTIMACY and my OVARIES that year.
My guide for that year was JOAN OF ARC.
I talked in a FRENCH accent with everyone but my family.
For 16 days, 2 collaborators lived with me at my Summer Saint Camp located at the Art/Life Institute, Kingston NY.
The curator of The New Museum, Marcia Tucker, provided me with a room they painted red. 
It was at the back of the museum, facing Mercer Street. 
I came to that room in the Museum once a month for that year and for 7 hours each visit, I performed Art/Life Counseling, Tarot and Palm Reading
with museum visitors. 
Please join us now in singing a song of appreciation to our OVARIES AND TESTES.

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

2nd CHAKRA

Can you imagine that I am Linda Mary Montano's  DOUBLE?  Thank you.
I represent the second Chakra, the second Gland: the pancreas.
Doctor Mishra taught me about the Chakras.
On December 8, 1985- December 8, 1986, everything I wore was the color ORANGE: shoes, coats, all clothing for the entire year.
Daily, for a year, I stayed in a room painted ORANGE, 3 hours everyday.
Daily I listened to the note C seven hours a day on an oscillator.
I intended to make friends with SECURITY, MONEY and my PANCREAS that year.
My guide for that year was THERESA OF AVILA.
I talked in a SPANISH accent with everyone but my family.
For 16 days, 2 collaborators lived with me at my Summer Saint Camp located at the Art/Life Institute, Kingston NY.
The curator of The New Museum, Marcia Tucker, provided me with a room they painted orange. 
It was at the back of the museum, facing Mercer Street. 
I came to that room in the Museum once a month for that year and for 7 hours each visit, I performed Art/Life Counseling, Tarot and Palm Reading
with museum visitors. 
Please join us now in singing a song of appreciation to our PANCREAS.

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

3rd CHAKRA

Can you imagine that I am Linda Mary Montano's  CARBON COPY?  Thank you.
I represent the third Chakra, the third Gland: the adrenals.
Doctor Mishra taught me about the Chakras.
On December 8, 1986- December 8, 1987, everything I wore was the color YELLOW: shoes, coats, all clothing for the entire year.

Daily, for a year, I stayed in a room painted YELLOW, 3 hours everyday.
Daily I listened to the note G  seven hours a day on an oscillator.
I intended to make friends with COURAGE and my ADRENALS that year.
My guide for that year was ALBERTA HUNTER.
I talked in a JAZZ accent with everyone but my family.
For 16 days, 2 collaborators lived with me at my Summer Saint Camp located at the Art/Life Institute, Kingston NY.
The curator of The New Museum, Marcia Tucker, provided me with a room they painted YELLOW. 
It was at the back of the museum, facing Mercer Street. 
I came to that room in the Museum once a month for that year and for 7 hours each visit, I performed Art/Life Counseling, Tarot and Palm Reading
with museum visitors. 
Please join us now in singing a song of appreciation to our ADRENALS.

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

4th CHAKRA

Can you imagine that I am Linda Mary Montano's  TWIN?  Thank you.
I represent the fourth Chakra, the fourth Gland: the thymus.
Doctor Mishra taught me about the Chakras.
On December 8, 1987- December 8, 1988, everything I wore was the color GREEN: shoes, coats, all clothing for the entire year.
Daily, for a year, I stayed in a room painted GREEN,  3 hours everyday.
Daily I listened to the note D  seven hours a day on an oscillator.
I intended to make friends with COMPASSION and my THYMUS that year.
My guide for that year was MERIDEL LESEUR.
I talked in a cowboy accent with everyone but my family.
For 16 days, 2 collaborators lived with me at my Summer Saint Camp located at the Art/Life Institute, Kingston NY.
The curator of The New Museum, Marcia Tucker, provided me with a room they painted GREEN. 
It was at the back of the museum, facing Mercer Street. 
I came to that room in the Museum once a month for that year and for 7 hours each visit, I performed Art/Life Counseling, Tarot and Palm Reading
with museum visitors. 
Please join us now in singing a song of appreciation to our THYMUS.

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

5th  CHAKRA


Can you imagine that I am Linda Mary Montano's  CLONE?  Thank you.
I represent the fifth Chakra, the fifth Gland: the thyroid.
Doctor Mishra taught me about the Chakras.
On December 8, 1988- December 8, 1989, everything I wore was the color BLUE: shoes, coats, all clothing for the entire year.
Daily, for a year, I stayed in a room painted BLUE,  3 hours everyday.
Daily I listened to the note A seven hours a day on an oscillator
I intended to make friends with COMMUNICATION and my THYROID  that year.
My guide for that year was Katherine Hepburn.
I talked in a British accent with everyone but my family.
For 16 days, 2 collaborators lived with me at my Summer Saint Camp located at the Art/Life Institute, Kingston NY.
The curator of The New Museum, Marcia Tucker, provided me with a room they painted BLUE. 
It was at the back of the museum, facing Mercer Street. 
I came to that room in the Museum once a month for that year and for 7 hours each visit, I performed Art/Life Counseling, Tarot and Palm Reading
with museum visitors. 
Please join us now in singing a song of appreciation to our THYROID.

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

6th CHAKRA


Can you imagine that I am Linda Mary Montano's LOOK ALIKE ?  Thank you.
I represent the sixth Chakra, the sixth Gland: the pineal.
Doctor Mishra taught me about the Chakras.
On December 8, 1989- December 8, 1990, everything I wore was the color PURPLE: shoes, coats, all clothing for the entire year.
Daily, for a year, I stayed in a room painted PURPLE,  3 hours everyday.
Daily I listened to the note E seven hours a day on an oscillator.
I intended to make friends with INTUITION and my PINEAL GLAND that year.
My guide for that year was Mother Teresa.
I talked in a Russian accent with everyone but my family.
For 16 days, 2 collaborators lived with me at my Summer Saint Camp located at the Art/Life Institute, Kingston NY.
The curator of The New Museum, Marcia Tucker, provided me with a room they painted PURPLE. 
It was at the back of the museum, facing Mercer Street. 
I came to that room in the Museum once a month for that year and for 7 hours each visit, I performed Art/Life Counseling, Tarot and Palm Reading
with museum visitors. 
Please join us now in singing a song of appreciation to our PINEAL GLAND.

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

7th CHAKRA


Can you imagine that I am Linda Mary Montano's DOPPLEGANGER ?  Thank you.
I represent the seventh Chakra, the seventh Gland: the pituitary.
Doctor Mishra taught me about the Chakras.
On December 8, 1989- December 8, 1990, everything I wore was the color WHITE: shoes, coats, all clothing for the entire year.

Daily, for a year, I stayed in a room painted WHITE,  3 hours everyday.
Daily I listened to the note F seven hours a day on an oscillator.
I intended to make friends with JOY and my PITUITARY GLAND that year.
My guide for that year was Dr. Aruna Mehta.
I talked in a Normal accent with everyone but my family.
For 16 days, 2 collaborators lived with me at my Summer Saint Camp located at the Art/Life Institute, Kingston NY.
The curator of The New Museum, Marcia Tucker, provided me with a room they painted WHITE.
It was at the back of the museum, facing Mercer Street.
I came to that room in the Museum once a month for that year and for 7 hours each visit, I performed Art/Life Counseling, Tarot and Palm Reading
with museum visitors.
Please join us now in singing a song of appreciation to our PITUITARY GLAND.