Wednesday, May 11, 2016
PERFORMANCE IDEAS FOR RAPID PULSE
PERFORMANCE IDEAS FOR RAPID PULSE
1. 7 hours as Mother Teresa in gallery doing art life counseling
2. 7 hours as bob Dylan a. art life counseling or b. lip synching on a 14 ft lift
3. 7 hours "sounding the glands" lay on floor, projection of dvd, mic for me mic for audience, reverb must happen
4. 7 hours as Linda, seeing people art life counseling ask one question.
5. 7 hours sleeping
6. Overnight sleeping with linda proceeded by "workshop"
7. What do u want?????????????
1. 7 hours as Mother Teresa in gallery doing art life counseling
2. 7 hours as bob Dylan a. art life counseling or b. lip synching on a 14 ft lift
3. 7 hours "sounding the glands" lay on floor, projection of dvd, mic for me mic for audience, reverb must happen
4. 7 hours as Linda, seeing people art life counseling ask one question.
5. 7 hours sleeping
6. Overnight sleeping with linda proceeded by "workshop"
7. What do u want?????????????
ARTISTS AS CURATORS AS ARTISTS
ARTISTS AS CURATORS AS ARTISTS
ARTISTS AS CURATORS AS ARTISTS : A UNIQUE WAY TO KNOW & CARE: Linda Mary Montano
Artists as Curators as Artists addresses the way in which artists have always subverted the gallery/museum system in order to promote the work of artists who were their colleagues, friends, and collaborators. Curator/Artists have eschewed traditional fine arts venues in order to focus on the message of the art work. Performance and conceptual art both resist capitalist appropriation/re-dissemination. Performance has always been and continues to be curated primarily by performance artists rather than gallerists or curators. Artists as Curators as Artists: A Unique Way to Know and Care serves as an excellent scaffolding for a day of panels, workshops and a lively art-life time.
Jennie Klein, Ph.D.
Ohio University
What a privilege it is to be asked by an ARTIST/CURATOR to present work at their venue. They know the "way" because they themselves have been there and done that as artists themselves. As a result, their response to the artists they invite to present performances/art at their site is extraordinarily thoughtful, professional and memorably kind.
I am visioning a public meeting/gathering/panel/dialogue with these rare folks who can do both: present their own work and present others.
SOME QUESTIONS TO CONSIDER:
How does your role as artist influence your role as curator?
How do other artists relate to you because you hold a dual role?
What came first? Artist or curator?
Why did you choose both paths? Is this the ultimate art-life template?
I have experienced incredible care and respect from artist-curators and wonder is this because you are both artists & curators and know how it feels out there to be treated with dignity?
This is just a taste of some ways to think about this. There are countless other questions to ponder.
This would be a wonderful panel for Bard College with workshops, dialogue and learning. Included is the beginning cc'ed list. I'm sure the " way" will grow with time. Im thinking also of a grand grant so everyone is rewarded financially.
Let's dream about it and seed the aire.
In art/life,
Linda Mary Montano
cc:
MARTHA WILSON: FRANKLIN FURNACE
LINDA WEINTRAUB
JILL McDERMID & HOKE: GRACE EXHIBITION SPACE/ ROSEKILL/ THE KINGSTON ART/LIFE INSTITUTE
BRIAN PATTERSON & ALASTAIR MacLENNAN & SIOBHAN MULLEN: BBEYOND, BELFAST
Artists as Curators as Artists addresses the way in which artists have always subverted the gallery/museum system in order to promote the work of artists who were their colleagues, friends, and collaborators. Curator/Artists have eschewed traditional fine arts venues in order to focus on the message of the art work. Performance and conceptual art both resist capitalist appropriation/re-dissemination. Performance has always been and continues to be curated primarily by performance artists rather than gallerists or curators. Artists as Curators as Artists: A Unique Way to Know and Care serves as an excellent scaffolding for a day of panels, workshops and a lively art-life time.
Jennie Klein, Ph.D.
Ohio University
What a privilege it is to be asked by an ARTIST/CURATOR to present work at their venue. They know the "way" because they themselves have been there and done that as artists themselves. As a result, their response to the artists they invite to present performances/art at their site is extraordinarily thoughtful, professional and memorably kind.
I am visioning a public meeting/gathering/panel/dialogue with these rare folks who can do both: present their own work and present others.
SOME QUESTIONS TO CONSIDER:
How does your role as artist influence your role as curator?
How do other artists relate to you because you hold a dual role?
What came first? Artist or curator?
Why did you choose both paths? Is this the ultimate art-life template?
I have experienced incredible care and respect from artist-curators and wonder is this because you are both artists & curators and know how it feels out there to be treated with dignity?
This is just a taste of some ways to think about this. There are countless other questions to ponder.
This would be a wonderful panel for Bard College with workshops, dialogue and learning. Included is the beginning cc'ed list. I'm sure the " way" will grow with time. Im thinking also of a grand grant so everyone is rewarded financially.
Let's dream about it and seed the aire.
In art/life,
Linda Mary Montano
cc:
MARTHA WILSON: FRANKLIN FURNACE
LINDA WEINTRAUB
JILL McDERMID & HOKE: GRACE EXHIBITION SPACE/ ROSEKILL/ THE KINGSTON ART/LIFE INSTITUTE
BRIAN PATTERSON & ALASTAIR MacLENNAN & SIOBHAN MULLEN: BBEYOND, BELFAST
MIGRANTS AMONG US
MIGRANTS AMONG US
MIGRANTS AMONG US
Everything was annoying and fright producing. The incessant 24 almost 7 hour cramping and pain in her neck, the triggering of the PTSD, the fact that she did everything alone--decisions/shoveling/should the heater be gas or oil? IPad? IPhone? What model? Changing sterling to dollars? And those daily/dark, sweaty nights of remembering.
Everything and everyone annoyed her. Was it caused by the glimpses of the grim reaper in the mirror of her mind? The fact that friends had become Facebook bound and no longer called? The suspicious mole on her back? The ticking clock of age and a face that showed indications that were not unlike craters and crevices that intense weather and bitterness produced in over ripe apples? She was spawning a new persona: the crone with the raised cane.
But it was currently the neighbors who were her cause celebre and JUSTICE GIRL rose to the occasion. It started when her OK male neighbor banged on the brakes of his car. OK, I can handle that because he helped me with my lawnmower a few time. But the second time when he did his daughter's brakes, the time when she had THE ONLY COMPANY SHE HAD FOR THE SUMMER and the brakes were being CLANGED, CLANGED, CLANGED....and Justice persona remained silent , just the way she had when 7 and 14 and 21 and 28 and 33 and 45 and 57 and 62; that time was not negotiable. Mr. number 1 neighbor fixed something else in his once baby's car, all in view of her kitchen window and back porch and back yard. That is translated as 12 feet away from her, in a middle class neighborhood where that was a police reportable no-no. Hey Buddy, this is not an area for a working garage or for a business or a place for you to disturb my peace or make me into a triggered, blathering detective on meth!
But detective she did become and the notes she took, she kept on the refrigerator door for quick retrieval. Almost all of these sins of fixing cars in a non upscale neighborhood, were committed by Mr. Number 2 Neighbor:
1. Oct 20-a cab
2. Brakes (I told you about this one)
3. Sept 2015, car
4. Oct 2015. car.
5. Nov 29, change tire, Maroon (with license plate number)
6. Dec (license plate number)
7. 2016: Brakes Jan 29 (with license plate number)
8. Car : Brakes date and (License plate number)
9. Car, 3 big, Harley types, fighting hard, I smell fire arms in the air, something about no plates, she wanted to call the police. Fear.
10. Feb 22 (License plate number)
11. Feb 24 (License plate number) He puts a tent over car because raining. I take a photo.
She began to notice a pattern in her need for justice, her insistence that she had property rights and deep held belief that THEY WERE WRONG! OK, her dialogue went, the climate of this small village is changing and people without money are moving in and some cant afford a garage so be kind, keep your nose out of this! She began asking smart detective types what to do and got many different answers, wishing she had asked for and gotten help when she was 7, 14, 21, 28, 33, 45, 47 , 55, 67, 68 and 70. You are not alone in this, she said to herself and one very smart neighbor advised: "Are you prepared for the consequences? Is it the guy on the second floor? He's an asshole!"
She smelled guns in her sleep, ex-cons and thought of the 9 billion on/in MOTHER EARTH needing to eat everyday; needing food, clothing, shelter; and she thought about children without anything or anyone and she thought about drone-killed families in war torn everywhere. She thought about typhoons and tornadoes and Sandy and nuclear power plants in Westchester spewing poison and she thought about multitudes of migrants landing on once sunny and idyllic Lesbos and she thought about everything.
And then she screamed: Dad, I need help!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Everything was annoying and fright producing. The incessant 24 almost 7 hour cramping and pain in her neck, the triggering of the PTSD, the fact that she did everything alone--decisions/shoveling/should the heater be gas or oil? IPad? IPhone? What model? Changing sterling to dollars? And those daily/dark, sweaty nights of remembering.
Everything and everyone annoyed her. Was it caused by the glimpses of the grim reaper in the mirror of her mind? The fact that friends had become Facebook bound and no longer called? The suspicious mole on her back? The ticking clock of age and a face that showed indications that were not unlike craters and crevices that intense weather and bitterness produced in over ripe apples? She was spawning a new persona: the crone with the raised cane.
But it was currently the neighbors who were her cause celebre and JUSTICE GIRL rose to the occasion. It started when her OK male neighbor banged on the brakes of his car. OK, I can handle that because he helped me with my lawnmower a few time. But the second time when he did his daughter's brakes, the time when she had THE ONLY COMPANY SHE HAD FOR THE SUMMER and the brakes were being CLANGED, CLANGED, CLANGED....and Justice persona remained silent , just the way she had when 7 and 14 and 21 and 28 and 33 and 45 and 57 and 62; that time was not negotiable. Mr. number 1 neighbor fixed something else in his once baby's car, all in view of her kitchen window and back porch and back yard. That is translated as 12 feet away from her, in a middle class neighborhood where that was a police reportable no-no. Hey Buddy, this is not an area for a working garage or for a business or a place for you to disturb my peace or make me into a triggered, blathering detective on meth!
But detective she did become and the notes she took, she kept on the refrigerator door for quick retrieval. Almost all of these sins of fixing cars in a non upscale neighborhood, were committed by Mr. Number 2 Neighbor:
1. Oct 20-a cab
2. Brakes (I told you about this one)
3. Sept 2015, car
4. Oct 2015. car.
5. Nov 29, change tire, Maroon (with license plate number)
6. Dec (license plate number)
7. 2016: Brakes Jan 29 (with license plate number)
8. Car : Brakes date and (License plate number)
9. Car, 3 big, Harley types, fighting hard, I smell fire arms in the air, something about no plates, she wanted to call the police. Fear.
10. Feb 22 (License plate number)
11. Feb 24 (License plate number) He puts a tent over car because raining. I take a photo.
She began to notice a pattern in her need for justice, her insistence that she had property rights and deep held belief that THEY WERE WRONG! OK, her dialogue went, the climate of this small village is changing and people without money are moving in and some cant afford a garage so be kind, keep your nose out of this! She began asking smart detective types what to do and got many different answers, wishing she had asked for and gotten help when she was 7, 14, 21, 28, 33, 45, 47 , 55, 67, 68 and 70. You are not alone in this, she said to herself and one very smart neighbor advised: "Are you prepared for the consequences? Is it the guy on the second floor? He's an asshole!"
She smelled guns in her sleep, ex-cons and thought of the 9 billion on/in MOTHER EARTH needing to eat everyday; needing food, clothing, shelter; and she thought about children without anything or anyone and she thought about drone-killed families in war torn everywhere. She thought about typhoons and tornadoes and Sandy and nuclear power plants in Westchester spewing poison and she thought about multitudes of migrants landing on once sunny and idyllic Lesbos and she thought about everything.
And then she screamed: Dad, I need help!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
INFORMATION ABOUT DAD ART PERFORMANCE AND VIDEO
INFORMATION ABOUT DAD ART PERFORMANCE/VIDEO
an excerpt from the video DAD ART
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
DAD ART PERFORMANCE
A THREE HOUR COLLAGUED/INTERACTIVE MEDITATION ON LIFE AND DEATH
LINDA MARY MONTANO
STATEMENT: In 1998, I began a video collaboration with my father, Henry Montano. After his stroke, I continued documenting us.
This collagued and interactive experience, DAD ART, is an opportunity for those present to bring creative attention via video/performance/dialogue to the Great Matter, Death.
COMPONENTS:
1. A full screen video projection of DAD ART, DVD. Length, two hours.
2. Montano, singing a song from the 40's, every 20 minutes.
3. A Master of Ceremonies who invites audience members' participation and articulates shamanically , the feeling of the performance.
4. Three interactive actions, collaged into the performance and happening simultaneously:
A. An artist/lifeist, sitting at a table, onstage, handing out glasses of water to audience members who come onstage to receive water.
B. An artist/lifeist, sitting at a table, onstage, writing the spoken words of audience members who dictate a letter to death.
C. One or two artists/lifeists, sitting on a chair onstage, talking with an audience member about death.
5. At the end of the performance, artists/lifeists from the community will process into the performance space , with sounds, flags, ceremony and will gather the letters to death. They will then lead the audience to an appropriate space outside or inside where the letters will be burned.
6. Questions and answers.
TECHNOLOGY:
1. Video-Sound projector for DVD.
2. Mixer, speakers, playback, wireless microphone for Master of Ceremonies, wireless microphone for Montano. And all other sound equipment as needed. Microphone for musician when present.
3. Cd player with auto pause.
4. Lights and colored gels for the 3 interactive action sites, Light for the Master of Ceremonies and light for Montano.
And other lighting as needed.
BUDGET:
1. Transportation for Montano. Per diem. Lodging. Honorarium.Same for Musician when present.
2. Video rental.
3. Honorarium for performers.
CONTACT:
845-399 -2502, 9-5PM
LINDAMARYMONTANO.BLOGSPOT.COM
SEVEN SONGS SUNG THROUGHOUT THE PERFORMANCE: WITH DVD OR MUSICIAN PRESENT1. MY FUNNY VALENTINE A MINOR C FLAT
2. TIME ON MY HANDS B FLAT
3. DANCING IN THE DARK A
4. IM IN THE MOOD FOR LOVE A
5. IVE GOT YOU UNDER MY SKIN B FLAT
6. I'LL BE SEEING YOU F
7. THE MAN I LOVE G
7 SONGS ABOUT THE GLANDS, KEY OF C
2. TIME ON MY HANDS B FLAT
3. DANCING IN THE DARK A
4. IM IN THE MOOD FOR LOVE A
5. IVE GOT YOU UNDER MY SKIN B FLAT
6. I'LL BE SEEING YOU F
7. THE MAN I LOVE G
7 SONGS ABOUT THE GLANDS, KEY OF C
BLURB FOR BRAINARD CAREY'S NEW BOOK
This is a MUST! You know how you always think, " I wish I knew ....fill-in-the-blank.... about the art-world, the life-world?" Well here it is, here is the unmasked truth. Brainard has dialogued with both himself and THOUSANDS of artists, critics, philosophers, poets and lifeists over the years, co-discussing with them HOW TO manage the mysteries and marvels of ART/LIFE survival, with compassionate eyes wide open to the WAY IT REALLY IS. His personal drawings are visual candy, his line quality, Matisse-like, but with a sense of humor. Wish I had a copy of this book in 1963, but it is never too late!
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