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Janine Antoni

Born  1964,  Freeport,  Bahamas.
The artist lives and works in New York USA.
Janine Antoni received an MFA from the Rhode Island School of Design in 1989 and has exhibited her work widely throughout the United States, including venues such as Luhring Augustine Gallery, the Wadsworth Atheneum in Hartford, CT., the Hirshhorn Museumand Sculpture Garden in Washington D.C., and the Whitney Museumof American Art in New York.

• find similar artists:  Installation  Performance Art  The Larry Aldrich Award

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janine antoni
Janine Antoni is a woman on the edge; of art. She is what one might call a "bad girl" in the art world. Penny Arcade, a performance artist, has a theory about the art world: "They say they want 'bad girls,' but they don't really want bad girls, because when you're bad you tell the truth and people don't like it when you tell the truth" (Blackwood). Antoni is definitely telling the "truth" in her works of art. Antoni is noted for her performance and installation pieces which have challenged the status quo of the art world by using "feminine" mediums, such as lard, hair dye, and chocolate, as metaphors to explore female sexuality, to challenge the trappings of femininity in society, social packaging, and to challenge our patterns of consumption and consumerism...
janine antoni
Biography
guggenheim
“What became fascinating during the process was the resistance or the impossibility of turning my parents into each other. What I was arriving at was a half-mom, half-dad creature, but to create this composite I had to reverse our roles in the sense that my parents made me, and now I was remaking them.” Janine Antoni
janine antoni
MOMA: Gnaw. 1992.Three part installation.
Treasure Maps
Like treasure maps, we view these images with only a suspicion of the treasure they might lead one to. The selection of works draws from a wide range of images that present visual thinking from outside the field of fine art. Spawned from necessity, the unique qualities of each image are the direct result of the specificity of the problem each addresses and the question with which each is concerned...

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DOCUMENTS OF CONTEMPORARY ART


THEORY IN CONTEMPORARY ART (Documents of Contemporary Art) is a groundbreaking anthology that captures the essence and the edge of the contemporary art scene. Provides the first truly comprehensive and international anthology of theory in contemporary art of the last two decades.
Brings together a broad selection of important contributions to the fields of contemporary art, theory, and culture from established and emergent art voices, including scholars, curators, critics, and artists from around the globe.
Focuses on key theoretical and aesthetic issues in contemporary art, such as cultural/multicultural theory, identity politics, AIDS, post-colonialism, globalization, and spectatorship.
Includes editorial material and 44 illustrations.

THE ARTIST'S JOKE (Documents of Contemporary Art) The Artist's Joke surveys the rich and diverse uses of humor by avant-garde and contemporary artists. The texts collected in this new reader from London's Whitechapel Gallery examine what Andre Breton called the "lightning bolt" of the unsettlingly comic, as seen in the anarchic wordplay of Duchamp, Picasso, the Dadaists, and Surrealists; Pop's fetish for kitsch and the comic strip; Bruce Nauman's sinister clowns and twisted puns; Richard Prince's joke paintings; art ambushed by feminist wit, from the Dadaism of Hannah Hoch in the 1920s to the politicized conceptualism of Jenny Holzer and Barbara Kruger in the 1980s; the serenely uncanny in Mike Kelley's installations and the risibly grotesque in Paul McCarthy's; and the strangely comic scenarios of artists as various as Maurizio Cattelan, Andrea Fraser, Raymond Pettibon, and David Shrigley. Artists' writings are accompanied and contextualized by the work of critics and thinkers including Freud, Bergson, Helene Cixous, Slavoj Zizek, Janine Antoni, Jorg Heiser, Jo Anna Isaak, and Ralph Rugoff.

THE CINEMATIC (Documents of Contemporary Art) The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism.
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