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Janine Antoni in "Loss & Desire"
Filmed weaving a rope out of materials donated by friends and relatives, Janine Antoni comments that the rope is like a “lifeline.” The artist is later shown walking a tightrope, preparing for the video Touch where she appears to walk on the blue ocean horizon of her childhood home in the Bahamas.
Antoni’s use of unusual sculptural materials such as chocolate, soap, lard, and rawhide is explored as the artist takes the viewer on a tour of a major exhibition at SITE Santa Fe. “There are so many objects that…we’ve lost a connection to what they’re made of, who made them,” explains the artist.
More information and creditsCredits
Created by: Susan Sollins & Susan Dowling. Executive Producer & Curator: Susan Sollins. Series Producer: Eve-Laure Moros Ortega. Associate Producer: Migs Wright. Assistant Curator: Wesley Miller. Production Manager: Alice Bertoni & Laura Recht. Production Coordinator: Kelly Shindler & Sara Simonson. Director of Education & Outreach: Jessica Hamlin. Consulting Director: Charles Atlas. Editor: Joanna Kiernan. Host Segment Artist: Charles Atlas. Host: Jane Alexander. Director of Photography: Martial Barrault, Bob Elfstrom, Mead Hunt, Ken Kobland, William Rexer, Joel Shapiro, & Dyanna Taylor. Sound: Doug Dunderdale, Jim Gallup, Judith Karp, Mark Mandler, Caleb Mose, Andre Rigaud, & Bill Wander. Gaffer/Grip: Chris Flurry, Jeff Howison, Alan Jacobsen, Michael Lamb, & Zach Zamboni. Assistant Camera: Jarred Alterman, Steve Banister, Cyril Mulon, Kipjaz Savoie, & Lieven Van Hulle. Host Make-Up: Joanne Nöél. Props: Jesus Aguilar & Sandy Handloser. Production Assistant: Eric Kutner, Guillermo Luna Rosales, Dawn Watson, & Yahia Zadek. Assistant Avid Editor: Anne Alvergue, Geoff Gruetzmacher, Jeremy Siefer, & Lynn True. Still Photography: Alice Bertoni, Bob Elfstrom, & Julie Graber.
Creative Consultant: Ed Sherin. Graphic Design & Animation: Open, New York. Animation, Visual Effects & Compositing: Spontaneous Combustion. On-Line Editor: Don Wyllie & Frame:Runner NYC. Composer: Peter Foley. Voice-Over Artist: Jace Alexander. Sound Editing: Margaret Crimmins, Greg Smith, & Dog Bark Sound. Sound Mix: Tony Volante & Soundtrack F/T. Animation Stand: Frank Ferrigno & Frame:Runner NYC.
Artworks courtesy of: Janine Antoni; Gabriel Orozco; Collier Schorr; Galerie Chantal Crousel, Paris; Luhring Augustine Gallery; Magasin 3, Stockholm; Marian Goodman Gallery; Museum of Contemporary Art San Diego; SITE Santa Fe; & 303 Gallery. Archival footage courtesy of: Juan Carlos Martín.
Special Thanks: The Art21 Board of Trustees; Rocío Barajas; Jamie Bennett; Blair Academy; Scott Cohen; Cate Ellison; The Graduate School and University Center/CUNY; Nora Kabat; Megan Laborious; La Tuilerie, Treigny; Herbert Molner; SITE Santa Fe; & West Point US Military Academy.
Interns: Sharon Ber, Elana Davidian, Eliza Geddes, Karmin Guzder, Ehren Joseph, Lisa Kalikow, Lila Kanner, Crystal Kui, Daniela Leonard, Ronny Merdinger, Parth Savla, Kristen Smith, Whitney Smith, Morgan Soloski, Jo-ey Tang, Asya Varshishky, Jesse Whittle-Utter, & Jeremy Zilar.
Public Relations: Kelly & Salerno Communications. Legal Counsel: Albert Gottesman. Bookkeeper: William Handy.
Major underwriting for Season 2 of Art in the Twenty-First Century is provided by National Endowment for the Arts, PBS, Corporation for Public Broadcasting, The Allen Foundation for the Arts, Agnes Gund and Daniel Shapiro, Bloomberg, The Jon and Mary Shirley Foundation, Nonprofit Finance Fund, JPMorgan Chase, The Andy Warhol Foundation for the Visual Arts, The Horace W. Goldsmith Foundation, New York Arts Recovery Fund, Peter Norton Family Foundation, New York Times Company Foundation, Dorothea L. Leonhart Foundation, and Elizabeth Firestone Graham Foundation.
Closed captionsAvailable in English, German, Romanian, Italian, Japanese, Korean, Chinese, Italian
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Interested in showing this film in an exhibition or public screening? To license this video please visit Licensing & Reproduction.
Janine Antoni’s work blurs the distinction between performance art and sculpture. Transforming everyday activities such as eating, bathing, and sleeping into ways of making art, Antoni’s primary tool for making sculpture has always been her own body. She has chiseled cubes of lard and chocolate with her teeth, washed away the faces of soap busts made in her own likeness, and used the brainwave signals recorded while she dreamed at night as a pattern for weaving a blanket the following morning.
Janine Antoni
Janine Antoni
Janine Antoni
Preview
“There’s so many objects that we come in contact with that we’ve somehow lost the connection to what they’re made of and who made them.
So that’s really important for me to—in the object and on the surface of the object—somehow give you a history of how that object has made its way into the world.”
Janine Antoni
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By Charles Atlas with Jane Alexander
Artwork Survey: 1990s
