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MARYLUCIER AllimagesarefromWisconsinArc20092012singlechannelprojectedvideo. MARYLUCIERNewInstallationWorksOpensThursdayMarch768pmContinuesthrouhApril202013LENNONWEINbERgINC.514West25StreetNewYorkNewYork100012129410012lennonweiner.com robertberlindYourworkhasoftenfocusedonvariousculturesnotyourownNavajoJapaneseandnowSiouxinanewcol-laborativeprojectthroughtheRauschenbergFoundationandtheNorthDakotaMuseumofArt.YouhaveworkedintheAmazonAlaskaNewfoundlandFranceandnumerousAmericanlocations.Whileyourworkconveysmuchinformationaboutthesesub-jectsitisnotessentiallyanthropologicalorsociologicalitalwaysfocusesonparticularpracticesorexperiences.Youidentifywithyoursubjectsinwaysthatseempersonaltoyouandconsequentlyhaveapersonalresonancetotheviewer.HowdoyourelateyourarttodocumentarypracticesmarylucierIbelievethatthedocumentaryimpulseinvideopracticehasremainedstrongevenininstallationworkforthepastftyyears.Whenvideowasjusttakingholditspor-tabilityandinstantaneityexertedapowerfulattractionforartistsanddocumentariansalike.Thelowqualityoftheimageseemedbettersuitedtoissuessocialpoliticalenvironmen-talthantoothergenresalreadyassociatedwithlmshigherproductionvalues.Videowasaquickanddirtywaytocapturetheimmediate.Intheyearssinceitstechnicalqualityandavail-abilityinallkindsofdeviceshasincreasedenormouslytothepointthatatitshighestenditrivalslm.Ihaveoftenworkedinplaceswherebothsiteandcultureareendangered.OthertimesthesiteiswhereIhappentobe.Thefocusonculturessometimesisnotsomuchintentionalascircumstantial. Myinterestinplacesandpeoplehasadocumentaryaspectduringmyresearchforaproject.InitiallyIammoreinterestedinthesiteitselfutasthesiteecomesactivatedyitsinhaitantsmyattentionshiftstothem.InThePlainsofSweetRegretshotinNorthDakotathecounterparttodailylifewastherodeo.TheworkIdidinJapanTwoMonzekiSpacesfocusedonbuddhistceremonyutIcametofeelclosetothepeopleIwasworkingwith.HereinWisconsinArcthefocusisontheperformanceofactivitiesplannedandimpromptuandsomewhereinetweenyvariousgroupsofpeopleinpulicsettings.rbWisconsinArcisalsoparticulartoitssettinginCalatravasMilwaukeeArtMuseumandthelakefrontthatcaneseenthroughthelargewindows.Inthispiecetoopeopleofdierentculturesandethnicitiesarepresented.mlIspentagoodpartoftwoyearsinMilwaukeewhileteachingmuchofitinthemuseumspacewherethechangeoflightandweatherandtheehaviorofthepulicweregalvanizingtowatch.Itseemedtomethatvisitorstothemuseumsuddenlyecameli-eratedwhentheyenteredthespaceofthosegrandwindowsandInoticedthattheywouldbehaveinwayspeopledontordinarilydoinamuseumspaceactingoutstrangeperformativeritesasthoughtheywereonaplayground.AfterwatchingthissceneforalongperiodoftimeIdecidedIwantedtoexplorethatehav-ioragainstthebackgroundofCalatravasarchitectureandthebreathtakingviewsitoerstoLakeMichigan.Irstshotrandom footageatvarioustimesofdayinwhatiscalledWindhoverHallandnallystagedperformancesbylocalartistsinthespacethroughouttheperiodofoneentireday.WiththehelpofJoeKet-nerChiefCuratoratthattimeandadozenorsoofmystudentsona3-cameracrewIinvitedpeopletocometothemuseumtoperforminwhateverwaystheywished.becauseIwasinterestedmoreinthesilhouettesthanthedetailspeoplecamealldressedinlackanddidtheirthingagainstthisluminouseyeandtherever-erantchamerthatsurroundsit.Dancersarrivedinleotardsjug-glerswithallsandcluscyclistswithunicyclesandikesparentswithchildrenandconceptualartistswithexploratorymovementsandnon-movements.Meanwhileoutdoorsthereareothersortsofunprogrammeddramastakingplace.ShootingnearyonbradfordbeachintheearlyspringtimeIfocusedontwogroupsofpeopleatrioofeachwalkersonewithacameradanglingathiswaistandaquartetoflivelyHmongkidswithavideocameraperform-ingatrstforeachotherandthensubtlyformealthoughwenevercommunicateddirectly.Iwouldsaythatthereisaunifyingculturehereanditisthatofthecamera.LookingandeinglookedatfollowingandeingfollowedeachgroupshowsitsregarddisregardformycameraasIisolatethemagainstthemistygroundofchillyspringeachweather.Thelayeringofindoorandoutdoorimageryintheworkiscrucialtotheexperienceofpermeailityofthoseoundarieswithinthearchitecture.Theequivalenceofthelayerspositsaporousnessofothtimeandspaceastheyexistwithintheframe. rbAnotherwayinwhichyoudealwithspecicplacesisbymakingsculpturalorarchitecturalinstallations.Talkaouthowyougoaoutmakingthechoicesthatresultinyourinstallations.mlIhaveeenmakinginstallationssincetheearly1970s.beforethatIwasengagedinsculpturephotographyandperformanceandallthoseactivitieshaveinuencedwhatIdotoday.Thespaceofaninstallationcanethoughtofasakindofreplicationnotoftherepresentedlandscapeitselfutoftheexperienceofthatlandscape.Itecomesasensoryequiva-lenttoaeachforexampleinaroadprojectionwithsur-roundsoundortoavastprairiewithsynchronizedimagesonfourwallsaroundyou.Ofteninmulti-channelpiecesIimplantasubliminalnarrativethatowsbackandforthacrossmoni-torsorprojectionsandasinthe3-channel7-monitorWilder-ness1986createsapoeticAbAbCbCformonmultiplesources.SometimesIincorporatefoundojectsasinAsylum1986whichIfeeladdsakindofauthenticitytotheenviron-mentandworksasanechooraccompanimenthelpingtocom-pletethevideoyextensionintothespacearoundit.Eventhefurnitureintheviewingspaceecomespartoftheinstallation.Theimportantthinginanyroomistoremainawareofthesmallaswellasmajoraectsofthespaceandtohaveevery-thingfunctionintheserviceofthework.Nothingeveninthedarkistrulyinvisile. MaryLucierhaseenmakinvideoartandinstallationssincetheearly1970s.HerworkhaseenshowninmajormuseumsaroundtheworldwhereitnowresidesinnumerouscollectionssuchastheReinaSofaMadridWhitneyMuseumNewYorkStedelijkMuseumAmsterdamMuseumofModernArtNewYorkMilwaukeeArtMuseumandZKMKarlsrhuegermany.ShehaseentherecipientofmanyawardsandfellowshipsincludintheguenheimFoundationAnonymousWasaWomantheNancygravesFoundationtheRockefellerFoundationCreativeCapitalUSAArtistFellowshipandtheJapan-USFriendshipCommission.LucierrecentlyspentsixmonthsinKyotoworkinonanewcycleofworksasedinbuddhistconventsandwhilethereparticipatedinatravelinexhiitionfeaturinthreeoftheoldestconventsinJapan.ArecentprojectwiththebrooklynMuseumgenealoyTheDutchConnectionwasonviewatthemuseumin2012.HerworkisrepresentedyLennonWeinergalleryNewYorkwithvideodistriutionyElectronicArtsIntermix.worksintheexhibitionbeautyandthebeast20092013Sinle-channelvideo.Color.Sound.300WisconsinArc20092013Sinle-channelvideoinstallation.Color.Sound.2600SilkHanins2013Acollectionofdiitalprintsonsilkfaric.PrintsyKatyMartinStudioNewYorkTheartistthanksherhusandRoertberlindforhiscontriutiontothetextandKatyMartinforherprintinacumen.ThanksalsotoJoeKetnerTheMilwaukeeArtMuseumandstudentsfromtheUniversityofWisconsinMilwaukeeheadedyRyanSarnowskifortheirhelpinproducinWisconsinArc. LENNONWEINbERgINC.
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MARYLUCIER AllimagesarefromWisconsinArc20092012singlechannelprojectedvideo. MARYLUCIERNewInstallationWorksOpensThursdayMarch768pmContinuesthrouhApril202013LENNONWEINbERgINC.514West25StreetNewYorkNewYork100012129410012lennonweiner.com robertberlindYourworkhasoftenfocusedonvariousculturesnotyourownNavajoJapaneseandnowSiouxinanewcol-laborativeprojectthroughtheRauschenbergFoundationandtheNorthDakotaMuseumofArt.YouhaveworkedintheAmazonAlaskaNewfoundlandFranceandnumerousAmericanlocations.Whileyourworkconveysmuchinformationaboutthesesub-jectsitisnotessentiallyanthropologicalorsociologicalitalwaysfocusesonparticularpracticesorexperiences.Youidentifywithyoursubjectsinwaysthatseempersonaltoyouandconsequentlyhaveapersonalresonancetotheviewer.HowdoyourelateyourarttodocumentarypracticesmarylucierIbelievethatthedocumentaryimpulseinvideopracticehasremainedstrongevenininstallationworkforthepastftyyears.Whenvideowasjusttakingholditspor-tabilityandinstantaneityexertedapowerfulattractionforartistsanddocumentariansalike.Thelowqualityoftheimageseemedbettersuitedtoissuessocialpoliticalenvironmen-talthantoothergenresalreadyassociatedwithlmshigherproductionvalues.Videowasaquickanddirtywaytocapturetheimmediate.Intheyearssinceitstechnicalqualityandavail-abilityinallkindsofdeviceshasincreasedenormouslytothepointthatatitshighestenditrivalslm.Ihaveoftenworkedinplaceswherebothsiteandcultureareendangered.OthertimesthesiteiswhereIhappentobe.Thefocusonculturessometimesisnotsomuchintentionalascircumstantial. Myinterestinplacesandpeoplehasadocumentaryaspectduringmyresearchforaproject.InitiallyIammoreinterestedinthesiteitselfutasthesiteecomesactivatedyitsinhaitantsmyattentionshiftstothem.InThePlainsofSweetRegretshotinNorthDakotathecounterparttodailylifewastherodeo.TheworkIdidinJapanTwoMonzekiSpacesfocusedonbuddhistceremonyutIcametofeelclosetothepeopleIwasworkingwith.HereinWisconsinArcthefocusisontheperformanceofactivitiesplannedandimpromptuandsomewhereinetweenyvariousgroupsofpeopleinpulicsettings.rbWisconsinArcisalsoparticulartoitssettinginCalatravasMilwaukeeArtMuseumandthelakefrontthatcaneseenthroughthelargewindows.Inthispiecetoopeopleofdierentculturesandethnicitiesarepresented.mlIspentagoodpartoftwoyearsinMilwaukeewhileteachingmuchofitinthemuseumspacewherethechangeoflightandweatherandtheehaviorofthepulicweregalvanizingtowatch.Itseemedtomethatvisitorstothemuseumsuddenlyecameli-eratedwhentheyenteredthespaceofthosegrandwindowsandInoticedthattheywouldbehaveinwayspeopledontordinarilydoinamuseumspaceactingoutstrangeperformativeritesasthoughtheywereonaplayground.AfterwatchingthissceneforalongperiodoftimeIdecidedIwantedtoexplorethatehav-ioragainstthebackgroundofCalatravasarchitectureandthebreathtakingviewsitoerstoLakeMichigan.Irstshotrandom footageatvarioustimesofdayinwhatiscalledWindhoverHallandnallystagedperformancesbylocalartistsinthespacethroughouttheperiodofoneentireday.WiththehelpofJoeKet-nerChiefCuratoratthattimeandadozenorsoofmystudentsona3-cameracrewIinvitedpeopletocometothemuseumtoperforminwhateverwaystheywished.becauseIwasinterestedmoreinthesilhouettesthanthedetailspeoplecamealldressedinlackanddidtheirthingagainstthisluminouseyeandtherever-erantchamerthatsurroundsit.Dancersarrivedinleotardsjug-glerswithallsandcluscyclistswithunicyclesandikesparentswithchildrenandconceptualartistswithexploratorymovementsandnon-movements.Meanwhileoutdoorsthereareothersortsofunprogrammeddramastakingplace.ShootingnearyonbradfordbeachintheearlyspringtimeIfocusedontwogroupsofpeopleatrioofeachwalkersonewithacameradanglingathiswaistandaquartetoflivelyHmongkidswithavideocameraperform-ingatrstforeachotherandthensubtlyformealthoughwenevercommunicateddirectly.Iwouldsaythatthereisaunifyingculturehereanditisthatofthecamera.LookingandeinglookedatfollowingandeingfollowedeachgroupshowsitsregarddisregardformycameraasIisolatethemagainstthemistygroundofchillyspringeachweather.Thelayeringofindoorandoutdoorimageryintheworkiscrucialtotheexperienceofpermeailityofthoseoundarieswithinthearchitecture.Theequivalenceofthelayerspositsaporousnessofothtimeandspaceastheyexistwithintheframe. rbAnotherwayinwhichyoudealwithspecicplacesisbymakingsculpturalorarchitecturalinstallations.Talkaouthowyougoaoutmakingthechoicesthatresultinyourinstallations.mlIhaveeenmakinginstallationssincetheearly1970s.beforethatIwasengagedinsculpturephotographyandperformanceandallthoseactivitieshaveinuencedwhatIdotoday.Thespaceofaninstallationcanethoughtofasakindofreplicationnotoftherepresentedlandscapeitselfutoftheexperienceofthatlandscape.Itecomesasensoryequiva-lenttoaeachforexampleinaroadprojectionwithsur-roundsoundortoavastprairiewithsynchronizedimagesonfourwallsaroundyou.Ofteninmulti-channelpiecesIimplantasubliminalnarrativethatowsbackandforthacrossmoni-torsorprojectionsandasinthe3-channel7-monitorWilder-ness1986createsapoeticAbAbCbCformonmultiplesources.SometimesIincorporatefoundojectsasinAsylum1986whichIfeeladdsakindofauthenticitytotheenviron-mentandworksasanechooraccompanimenthelpingtocom-pletethevideoyextensionintothespacearoundit.Eventhefurnitureintheviewingspaceecomespartoftheinstallation.Theimportantthinginanyroomistoremainawareofthesmallaswellasmajoraectsofthespaceandtohaveevery-thingfunctionintheserviceofthework.Nothingeveninthedarkistrulyinvisile. MaryLucierhaseenmakinvideoartandinstallationssincetheearly1970s.HerworkhaseenshowninmajormuseumsaroundtheworldwhereitnowresidesinnumerouscollectionssuchastheReinaSofaMadridWhitneyMuseumNewYorkStedelijkMuseumAmsterdamMuseumofModernArtNewYorkMilwaukeeArtMuseumandZKMKarlsrhuegermany.ShehaseentherecipientofmanyawardsandfellowshipsincludintheguenheimFoundationAnonymousWasaWomantheNancygravesFoundationtheRockefellerFoundationCreativeCapitalUSAArtistFellowshipandtheJapan-USFriendshipCommission.LucierrecentlyspentsixmonthsinKyotoworkinonanewcycleofworksasedinbuddhistconventsandwhilethereparticipatedinatravelinexhiitionfeaturinthreeoftheoldestconventsinJapan.ArecentprojectwiththebrooklynMuseumgenealoyTheDutchConnectionwasonviewatthemuseumin2012.HerworkisrepresentedyLennonWeinergalleryNewYorkwithvideodistriutionyElectronicArtsIntermix.worksintheexhibitionbeautyandthebeast20092013Sinle-channelvideo.Color.Sound.300WisconsinArc20092013Sinle-channelvideoinstallation.Color.Sound.2600SilkHanins2013Acollectionofdiitalprintsonsilkfaric.PrintsyKatyMartinStudioNewYorkTheartistthanksherhusandRoertberlindforhiscontriutiontothetextandKatyMartinforherprintinacumen.ThanksalsotoJoeKetnerTheMilwaukeeArtMuseumandstudentsfromtheUniversityofWisconsinMilwaukeeheadedyRyanSarnowskifortheirhelpinproducinWisconsinArc. LENNONWEINbERgINC.