In: Grey Art Gallery
December 2, 2016
A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s–1980s is currently on view at the Grey Art Gallery, New York University’s fine art museum. The exhibit was drawn from the Charlotte Moorman Archive housed at Northwestern University’s Charles Deering McCormick Library of Special Collections. With more than 300 items on view, ranging from film clips, performance props, musical scores, photographs, audio recordings, and vintage posters, this marks the first major exhibition devoted to a groundbreaking, yet under-recognized figure in the post-war avant-garde.
Along with works by Moorman, the exhibition includes pieces by some of her frequent collaborators, including Nam June Paik, Yoko Ono, John Cage, Takehisa Kosugi, Jim McWilliams, Joseph Beuys, and Giuseppe Chiari, many of whom created works for Moorman to perform. While she is often remembered as Paik’s muse, Moorman -or the “topless cellist,” as she was known- was dedicated to both performing and promoting the innovative work she and her colleagues would create. Moorman later remarked: “With all of my formal training at Juilliard, I feel I know the rules. That’s something that is very important if you are going to break them.”
Born in Little Rock, Arkansas in 1933, Moorman began her career as a classically trained musician. After earning an MA in music from the University of Texas at Austin, she moved to New York to study at the Juilliard School of Music while building a career as a freelance classical musician. After attending a concert by fellow Juilliard student Kenji Kobayashi in spring 1961, in which Kobayashi played Cage’s 26’1.1499″ for a String Player –a “non-musical” score with sounds of the performer’s choosing-, Moorman began to shift focus. Kobayashi introduced Moorman to the downtown avant-garde arts scene, where composer La Monte Young, artist Yoko Ono, choreographer Simone Forti, and others were experimenting with new interdisciplinary art forms.
Moorman went on to organize fifteen avant-garde festivals from 1963 to 1980 (which are also documented in the show), where she was able to cultivate a strong community of hundreds of artists, filmmakers, dancers, poets, musicians, and festival goers who wanted freedom from the constraints of concert halls, galleries, and museums. Over the years, these festivals migrated from traditional performance venues to public spaces, setting a precedent for future large scale multimedia festivals of this kind.
A typical performance could include playing a cello made from a practice bomb (i.e. non-explosive), frying an egg or mushrooms, drinking Coke, letting air out of a balloon, breaking glass, or reading passages ranging from a newspaper article on the Watergate scandal to instructions on a box of tampons. Combining classical training with pop culture, Moorman once pointed out: “I don’t feel that I’m destroying any tradition. I feel that I’m creating something new.”
As an artist, Charlotte Moorman subverted traditional notions of beauty and society’s obsession with the female form by referencing the very sources from which these notions began. It is nearly impossible to look at images of Moorman performing and not be reminded of classical paintings of inexplicably nude women lying in repose in scenic landscapes.
One of the many highlights of the show is a video of Moorman performing Yoko Ono’s iconic “Cut Piece” in 1982. The artist sits before a large crowd gathered at the roof of her Manhattan loft. The guest, good-spirited and a little drunk, really give the party life. But the occasion is marked by a solemn tone. It takes place only a few days before she was to have a lump in her breast biopsied, three years after having a mastectomy to remove the other breast.
As each guest approaches to cut a piece from her gown, Moorman exhibits her characteristic stoic sensibility and poise, traits that distinguish her as a master of her craft. Barbara Moore, an art historian and friend of Moorman’s, noted that the artist kept all the remaining scraps of clothing from her numerous performances of this work “packed into heaps of shopping bags, the ultimate dossier,” epitomizing her endless dedication to her work. “Don’t throw anything out” were Moorman’s dying words as she succumbed to her illness in 1991 at the age of 57. The result, the Charlotte Moorman Archive, allows us to trace the prolific career of one of the most provocative artists of the 20th century.
A Feast of Astonishments will be on view at the Grey Art Gallery until December 10.
Also on view: Don’t Throw Anything Out: Charlotte Moorman’s Archive, at The Fales Library, Tracey/Barry Gallery, Elmer Holmes Bobst Library, 70 Washington Square South, Third Floor.
February 22, 2016
Global/Local 1960–2015: Six Artists from Iran is currently on view at the Grey Art Gallery, New York University’s fine arts museum. As the title suggests, this stunning exhibition brings together six modern and contemporary artists working with their local Persian traditions in Iran as well as internationally, broadening the discourse to current political and social situations. Spanning three generations, the Grey has assembled a critical, thought provoking, and visually breathtaking show that depicts the diverse artistic production stemming from a country whose art is not as accessible to audiences outside of its borders.
A complex yet culturally rich narrative unfolds as we move through the galleries. The show begins with the pioneering modernists of the 1960s and 1970s, Parviz Tanavoli (b. 1937) and Faramarz Pilaram (1937-1983). It then moves to Chohreh Feyzdjou (1955-1996) working right after the turbulent Iran-Iraq War years (1980-88), and ends with the youngest artists Shiva Ahmadi (b. 1975), Shahpour Pouyan (b.1980), and Barbad Golshiri (b. 1982) working within the 2000s up until today.
This show is exceptionally rich and compelling as it brings together a broad and genuine portrayal of Iranian culture based in ancient traditions and forms while simultaneously questioning bleaker themes of power, authority, identity, violence, and military aggression that have all been pertinent throughout the country’s history and as well as today. These themes and motifs are handled in such subtle and incredibly clever ways that the resulting affects are illuminating. Through diverse mediums such as painting, ceramics, metalwork, mixed media, photography, assemblage, watercolor, and video these artists manipulate their heritage and history to make intriguing new claims and connections.
Much of the exhibition is heavy on artistic and curatorial installation that actively engages visitors as they maneuver through the space. The conjoined galleries of Feyzdjou and Golshiri show the dedication and precision in which the exhibit was planned out. Golshiri, who is interested in tombstones and cultures surrounding death, helped arrange the works within his own gallery in order to have it resemble a cemetery plot. Photographs of cemeteries are hung low with a few resting on the floor and leaning against the walls. A stone cenotaph is snuggly fit in a corner while three large rectangular marble slabs are arranged in the middle of the floor. As we walk through these works we arrive at an intimate gallery displaying Feyzdjou’s large-scale installations. 403 scrolls are hung in a grid pattern while rolls, wooden crates, and a large canvas strewn scaffolding resembling an Iranian bazaar display inhabit the rest of the space. These dark, grim objects have been made from reused materials and appropriated works from Feyzdjou’s early art school days. They speak to her quest for identity and represent cycles of destruction and reconstruction.
My favorite artists within this exhibition are Ahmadi and Pouyan, whose works are ground in fine details and toying with the audience’s initial perceptions. Nothing is quite what it seems with these two. Both employ past traditions through their use of miniatures, most notably from the Shahnama (Book of Kings), an illuminated manuscript detailing various Persian epics. Ahmadi takes these narratives and recasts them into contemporary contexts. Her works are colorful, alluring, playful, and rendered in watercolor, giving them an ethereal softness. Her subject, however, is corruption. Faceless rulers sit upon bleeding thrones while monkeys and other circus animals present candy-shaped offerings, which are in fact bombs and grenades. Pipes, industrial and traditional Iranian architectural forms surround these mythic scenes creating an apocalyptic play land. Ahmadi loves “sugarcoating” images where they appear beautiful from afar but reveal darker narratives when we step closer. These works are as mesmerizing as they are grotesque. Rendered with masterful subtlety yet poignant critique, she is commenting on the military aggression that has been present within Iran since the 1979 revolution as a battle over the country’s natural resources and the civilian traumas faced at the hands of their own governments.
Pouyan similarly subverts the meaning of the Shahnama epics by taking specific illustrated pages and stripping the scenes of any figurative elements. What we are left with is an eerily empty landscape void of the elite figures that would have been a part of the scene. These small-scale works are fascinating and leave us to ponder on the contexts of power and patronage, and how authority can dictate “what is left unseen” within society.
Another exquisite series from Pouyan is his “Projectiles.” These monumental hanging works invade the gallery space as missile-like structures. Inspired by medieval Persian armor he explores how technology has served power throughout history. These first appear as menacing weapons but upon closer inspection reveal Pouyan’s fine calligraphic ornament. They are sharp and suggest violence but are also aesthetically striking and in fact very beautiful.
I have come back and seen this show multiple times and with each new visit I have discovered something new. You are set into a sort of trance as you move through the galleries, mesmerized by the ornately fine detailed works and the variety of mediums. The exhibition as a whole is a feast for the eyes as well as a deeply psychological portrayal of Iran’s past. The artists’ consistent referencing to history and Persian heritage allows us to begin to better understand the country’s complex present.
Beautiful and enlightening from all angles, I highly recommend making a visit to NYU’s Grey Art Gallery. Global/Local 1960–2015: Six Artists from Iran is on view until April 2, 2016.