nick cave artist interview

Nick Cave created his first Soundsuit after the Rodney King beating in 1992. NC: I sit in silence every day. Cave—the 60-year-old queer visual artist, ... which is the core purpose of the Soundsuit,” Cave said in an interview. For example, Solange Knowles will perform there. But it was not something I really thought about. I can only present a project, but then I’m thinking, “OK, now who are my ambassadors who can also filter this information out into the world, into the communities and be proactive in that way?”. Once I came to terms with that, the art thing became very different for me. Cave was sitting in a park, feeling vulnerable and cast aside, when he saw a discarded twig on the ground. And yet in a peculiar way, it also evokes some sort of strong belief or optimism. I saw myself differently after [the King beating]. As I was developing this project, the Michael Brown incident happened in Ferguson, Missouri; Freddie Gray went down, and then Eric Garner, Sandra Bland, and Christian Taylor. Then I got the results, and I don’t care because it doesn’t really matter to me. Choisissez parmi des contenus premium Nick Cave Artist de la plus haute qualité. Photo by James Prinz, courtesy of MASS MoCA. His performances and installations have since been exhibited around the world and his objects collected by the most prominent institutions and museums. So, that’s also very interesting. What happens when textiles meet modern dance all dressed up in a "Sound Suit?" So they were all left with this certificate through this rite of passage. Yeah, I know how much changing a space can change everything. NC: While I was in school there, there was this junior high school that we occupied, so we each had this amazing studio. And at the same time, with the choir, with these kids who have never… who didn’t even know that the armories existed… to be able to stand on that stage and to look around and think, “We’re performing here.”. Experience the largest presentation of work by Chicago-based artist Nick Cave, featuring thirty-five of his Soundsuits—multi-layered, mixed-media sculptures named for the sounds made when the “suits” are worn. I was like, “I gotta get out of here. Much of Cave’s output isn’t just performance-based but are exercises in community collaboration, forums, expressing the talents and voices of real people. MB: And I wanted to ask you, in the future, when we’re all gone, and there’s some incarnation of the Met or something, and your work is standing there, and somebody’s sitting there, thinking, “I wonder what this was used for. NC: For the most part, it’s the latter. You know how sometimes we’re scared, but at the same time we’re drawn to something that’s seducing us? And empowerment. That was my first reaction—just, “What is going on here?” Because it’s very imposing, especially for a kid. Not in that sense, but I dream. Our site uses cookies. NC: Because I would be so attracted to so many aspects of the arts that… Things need time to mature and to develop, for you to understand how they are to exist and function in the world. We turn our backs against it. We operate in a very different way. Artist Nick Cave discusses creating his first Soundsuit in 1992 in response to the Rodney King beating. It becomes a safe haven for hard conversations. MB: That’s amazing. We have about ten performers that will present or perform in the space through the duration of the show. I started out solo in the studio and then it changed to me having a staff of about 10, which varies from 10 to 30, depending on each project. I think I’m a messenger first and an artist second. So there’s always this very dark, underlying message that is—. NC: What’s been interesting in the past five years is that I’ve had the “studio-away-from-home studio”. NC: It opens in November, I think. Because I think we need that. Rather, I feel like I’m the one who has been chosen to deliver them. The Soundsuits became … It’s like you can let go in them. And that this experience had given them permission to be who they need to be was just everything. And then I’ve got Times Square. The lawn jockeys at MASS MoCA are all holding beaded dream catchers—my effort to speak about optimism. MB: Well, you might even celebrate it. I can be working in the studio sometimes and then I’m bawling—just a disaster. Blank Realm by Gary Canino . At that point, you’ve gone through the entire installation, and there’s a moment of [feeling cleansed and quieted]. Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law. Shreveport is a border town at the crossroads of Arkansas, Louisiana, and Texas. The dream world, the landscapes you form? It never really did. And I think if we were to sit in silence, if the world could sit in silence every day for one hour, I think we would live in a different world. Resistance can be about taking a positive kind of approach, and I sort of created “The Let Go” as a form of resistance. You’ve stated that you’d like your art to function as a form of diplomacy. Growing up there and then moving to New York… I compare it to Plato’s cave—you get out and you’re like, “You know what, it’s not normal to have a separate pledge of allegiance to the state flag. NC: Because I find that unity and… those are my ambassadors. I know it will be immersive and it will be joyful, and scary, like it was when you first saw a [Soundsuit]. Is that something that just strikes you? Internally, we all know what we need to do. Where it serves the community in some aspects? His mother, Sharon, raised him and his seven brothers. MB: That’s crazy. And I think the moment we all get outside of these communities and neighborhoods in which we’ve been raised, and we operate in the world, our purpose is very different. I find that I work in this very particular way, where I’m interested in making objects and then bringing them to a performance platform. When I first saw [the suit], I never thought about any of the connotations of the creation of the Soundsuits. These were the two critical discourses that influenced and brought my work to life. The first Soundsuit was a response to the beating of Rodney King, and more recently you created a Soundsuit after Trayvon Martin’s death, called TM13. So there are ways we can almost enforce a particular way of thinking, a particular way of acting that informs and sheds light on [situations]. MB: I definitely saw that in “The Let Go” with Jorell Williams and the Sing Harlem Choir. As I’ve gotten older, seeing your work has turned more into intrigue and curiosity, and also more celebration. I just fought through it. All Rights Reserved. You find that you’re not alone”, {{watchlist.lookupAttr('progress', video)}} /. What strange culture, what strange people?”, what kind of crazy things do you think might be going through their mind? This interview was originally published on December 4, 2015. Cave and I talked on the phone about his exhibition, Until, and how his work will stimulate questions about equality in America. In addition to the value is this vast library of video works and performance works. Sep 9, 2011. There’s an artist friend of mine, he’s of Japanese descent in New York, and we were at an after-party for an art show and he asked me, “When you look in a mirror, what do you see as your identity?” And I was kinda floored because I’d never thought about it, and it never felt important because people… People only recently—when I moved to New York—have started asking me about my ethnic background, something they might not ask somebody who’s Caucasian or something like that. NC: I remember being in Times Square when I was 35, 40, thinking, “If only I could have these monitors.” But that’s the amazing thing about life—it’s about dreaming. MB: Right, because even a collector doesn’t really own it. MB: I read somewhere that you started making these Soundsuits as a way of creating your own armor, a form of protection. Yes. It’s that I may have a concept or idea, but as you said before, I have always had a group of people, participants, who have always been part of my process—whether fabricators, dancers, musicians, or curators, they’ve always given me this amazing platform to dream. NC: So that’s the beauty of where I’m at now in my career. Like, “The Let Go” lives somewhere for ever, and it’s performed for ever. Where do you see the visual things that you’re going to create? The Soundsuits became integral parts of Cave’s practice, and this original experience also awakened a sense of civic responsibility in the artist. Nick Cave – Soundsuits, 2013, 2016, 2011 Nick Cave – Soundsuit. The city is known for its musical history—the term “Elvis has left the building” was coined there. I first came across your work when I was a teenager, at the Contemporary Arts Museum in Houston. Nick Cave is a contemporary African-American artist and dancer known for his unique fabric sculptures and performances. It’s not normal to have rodeos and mega- churches, and ministers who fly helicopters.”. Cave’s work began at the… I’m excited. Nick Cave, Until (2016) installation view, MASS MoCA. NICK CAVE: Hi, I'm Nick Cave, a visual artist, speaking at the Smithsonian American Art Museum. I studied dance and then I studied at the Kansas City Art Institute, then I went to Cranbrook for my master’s. ; 1982). The installation opens with this kinetic force composed of sixteen thousand wind spinners. Harnessing the Penchant for Play Teaching with Contemporary Art I’m also excited to stand back and watch how Until will deliver itself to viewers. Nick Cave, (born February 4, 1959, Jefferson City, Missouri, U.S.), American artist best known for his wearable mixed-media constructions known as Soundsuits, which act simultaneously as fashion, sculpture, and noisemaking performance art.. Cave began exploring fibre arts and fashion while attending the Kansas City (Missouri) Art Institute (B.F.A. And then I was exposed to living artists. Interview by Stanley Nelson at the artist’s studio in Chicago on December 15, 2015. That whole project came out of, I think it was Freddie Gray had just [died]. MB: And becoming something that’s unrecognizable and unimportant in a way that… it’s other, but it doesn’t matter because it’s all other. The American artist Nick Cave made his first soundsuit following the 1991 beating of Rodney King by Los Angeles police officers. So it’s really lived in this un-peculiar kind of place that tends to arouse some sort of emotion. I need a more intense rigor.” I need to be pushed, I need to be challenged. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. And yet I’m also asked to view this with the utmost respect and… That’s when I started to think about my work differently. NC: Well, they used this program where it’s midnight—I’m not sure what it’s called—and they invite artists to do video work. NC: No. It’s like with the magazine, how do you create this magazine so that it has a purpose? The Missouri native and his team assemble thrift … NC: Yeah, but at the same time I wanted to have that very daunting thought of un-peculiar sensibility to it. As viewers interact with this space, what kind of imagery will inspire challenging conversations? And for me that’s how everything is possible. I felt that I needed to do something, as a Black male living in this country. I am so much more open—I see differently, I experience life differently, and that’s a beautiful thing. I want the space to be one where young people and adults can gather to talk about difficult situations. It’s getting that to video, and all the data. So the thing about “The Let Go” and working with these individuals, it was these testimonies that these kids were willing to share. [The beating was a sign] for me to take responsibility. You’re classically trained as a fashion designer, right? I’m living in fear, emotionally. So, if I’m on my way to Sydney in November to install “Until,” the project I did at MASS MoCA [Massachusetts Museum of Contemporary Art], I’m there for a month and a half, and find this is my new studio practice, that it’s my studio- away-from-home studio. I’m horrible at it. Could you talk about how your art is a part of the healing process for issues like gun violence and racial injustice in this country? Browse for live dates, lyrics, news, films and official store. The only other time I’ve felt like that—frightened and intrigued at the same time—was probably those three minutes during Dumbo when those pink elephants are dancing. So, it’s going to be all of that. For the MASS MoCA show, I wanted to put the viewer into the metaphorical belly of a Soundsuit. That was my first Nick Cave moment. As you move through the installation, you enter a crystal cloudscape, an enormous sculptural object suspended in the air. MB: That’s awesome. It was a very interesting piece for me, too, because… I’ll tell you a story. It’s frightening, but you can’t look away. So, it’s just all a bit fucked up in terms of how we position ourselves in the world. The whole, “Shit, I need to buy food, but I’m gonna buy art supplies.” It was all a gamble and about falling on your face. I would go to the Museum of Natural History and look at all these artifacts and art objects, which all served a purpose within a particular culture. The interesting thing about this show is that, in order to leave the space, you have to walk through the installation again. That incident was so profound in terms of how it made me feel. It has gotten me to face who I am. It allows me to be protected, to not get distracted. NC: Yeah. I’ve been called to do this work. If I say I can make it, I can make it. The Soundsuits mask the identity of the wearer, allowing viewers to contemplate the absence of systemic social abuses of race, gender, and class. We must keep making projects that allow us to dream. The Soundsuits became integral parts of Cave’s practice, and this original experience also awakened a sense of civic responsibility in the artist. I want something a lot more cohesive, where transitions are easy. All around the world, they would have permanent residencies. It was really very strange. Without the people, there wouldn’t be art. It’s not a very accessible venue, necessarily. You’re holding up my back, I’m holding up your back. I’m sort of in hiding when I go home, because I can’t bear to see anyone. Later he fabricated a symbolic suit of armor, using hundreds of collected twigs. I also wanted to ask you about Texas. MB: That’s awesome. MB: That sounds great. NC: Yeah. Because you’ve said that you want to flatten class and race, and all of these aspects disappear with the suits. MB: Maybe this is a bold question to ask, but if there’s something you’d want an audience to walk away with after experiencing any of your performances, what would it be? I needed to become selfish to see if this was possible. There was a time when I wouldn’t sell a Soundsuit unless it was performed, because I wanted that history there, I wanted them to be connected to something. © 2020 RAIN Magazine. And I remember being terrified. I’ll sit on those stairs they have there in Times Square… I love going there at midnight. Oh my God, there were moments where I just had to make sacrifices, too. We need places to go where we can just surrender to the environment that we’re experiencing. This is great.” Which I think is what you wanted to achieve. NC: Yeah, and then you’re like, “Gotta go.” I think we’re suppose to be living in the world as opposed to living in the country. It’s gotten me to understand who I am. The official website for Nick Cave, Nick Cave and the Bad Seeds and Grinderman. That’s when I knew that there was a shift in my purpose. Do you see them now becoming more a place to escape to than a form of resistance? MB: Right. NC: Exactly. My mind races like crazy. Interview ; Art; Share. So I’m like, “OK, this object was used in this particular ritual for this purpose.”. From that moment, I became an artist with a conscience. NC: Well, I’ve always seen it as both. I just thought, “Wow, this is amazing. I don’t really think about it, because the work is not rooted there [in art]. I wanted to say something about issues that are important to me. Eventually you come to this landscape of mountains made of beaded camouflage nets. Trouvez les Nick Cave Artist images et les photos d’actualités parfaites sur Getty Images. NC: You think it’s crazy, but it’s something that, internally, you kept at. Notably, your installation does not contain a single Soundsuit. MB: Totally. It’s me looking at black-on-black crime. So it was really about stripping down one’s identity and building oneself. This summer, his most recent show, “The Let Go,” was performed several times each week at the Park Avenue Armory by the Mama Foundation for the Arts and the Sing Harlem Choir, in collaboration with the creative director Bob Faust. NC: So, I find working in this very fluid way allows enough sensibility to remain. NC: “The Let Go” came before the Park Armory. I’m responding to it by designing my own pathway and creating my own lifestyle. Related Artist Nick Cave Talks About Surrendering to the Sacred It’s police shootings, it’s BBQ Becky, discrimination…. The work may be incorporated in the performance or it may not be. Falling and getting back up, and having a clear understanding of the pros and cons. The buoyant appearance of the Soundsuits, composed of kitschy materials such as beads and plastic tchotchkes, belies their serious connotations. Born in Fulton, Missouri, in 1959, the artist Nick Cave has been meticulously building a language, a vernacular, of symbolism, artifact, and ritual. Photography by James Prinz. “I sit in silence every day. NC: So, I’m looking at the dualities of the ways of looking at objects, looking at environments, looking at relics and thinking, “Wow.” So it’s even more powerful now that I can understand [an object’s] role in society. You can’t really define it. I’m taking a stance. This interview originally appeared in the print edition of RAIN magazine in the fall of 2018. I was working in creative environments, but internally… I wasn’t happy. I’m not sure of the exact date. Artist Nick Cave spent several days installing his solo exhibition at the ICA Boston in February. My friends were running through those streamers. For me it’s just the recordings. And I had to pack up and move on. I grew up in Houston, and you went to school in North Texas, right? Interview by Mark Benjamin. In a sense, they own the vessel, they don’t own the performance. Five hundred eighty-two people have been killed so far this year. As a student at George Washington Carver School in Fulton, Missouri and at West Junior High School in Columbia, Missouri, Cave showed creativity and artistic ability at a young age. It’s scary, it’s frightening, it’s dark, yet there’s something that is other about it. For example, I found seventeen Black lawn jockeys. For me, these projects that I’m doing right now, I’m able to take a collective group of people, I’m able to ask them, “Are you willing to walk through this journey with me?” And that is everything to me, that I am not making these journeys alone. I’m moving into a smaller place that will allow everythingto operate on one floor. So that means I now have to put it out into the universe. And to be able to selectively create this environment occupied by this moving curtain called Chase, and that curtain was designed with one side red, black, green, followed by blue, black. So when I was watching “The Let Go,” this process of all of these components being brought out to all these normal people, dancers, and then being equipped with all of these…. Photography by James Prinz. You know, we don’t want to say the truth, we would rather turn our backs on it as if it doesn’t exist or—, MB: I went to Park Avenue Armory and I saw, I experienced, your show “The Let Go”. I graduated from high school in 2009, but it was a very homophobic environment and it was very… That still lingers, to the point where I’m a very different person if I go back now. I am interested in the repressed, dark, and racial commentary embodied in these artifacts. I can be there about three or four days, and it feels great, it’s easy, it’s cheap, everything’s bigger. It allows me to be clearer, get clearer. There’s something, there’s a vibe that I… I don’t dance, I don’t usually get all rowdy, but there’s just some spiritual thing that allows you to just let go, you know? The way I work is that I’m pretty quiet until I’m ready to hit. Save videos to watch later, or make a selection to play back-to-back using the autoplay feature. I don’t necessarily mean what show have you got coming up next, I hate asking people that, but what do you want to accomplish next? MB: That’s also something that interested me—your works are never really just you. Jacquelyn Gleisner—Until is your largest installation to date, featuring more than a dozen Black lawn jockeys, twenty thousand wind spinners, and more than ten miles of crystals. Can you explain the process of amassing and editing the elaborate collection of objects in the installation at MASS MoCA? The title comes from the phrases “innocent until proven guilty” or “guilty until proven innocent.” Both are linked to police brutality in America. That’s the shit that’s important —creating these platforms for people to see what is possible, what their future could look like. Now I’m in this extraordinary place of creativity and way of working, and hopefully hosting the communities and providing other people platforms to stand on, and to see what’s possible. Simultaneously sculptures, costumes, and musical instruments, the Soundsuits are meant for motion. Twitter. Why Artist Nick Cave Is Commanding the Spotlight Globally The creative multi-hyphenate speaks with AD about mastering sculpture, performance, installations, and the zeitgeist By Brook Mason I’ve found buildings that were the one and then the zoning couldn’t be changed, so it’s taken a while. NC: I never thought that I would have such a flourishing career. MB: I can relate to that feeling, for sure. And no defining that through any particular [thing], but just what is your self-hood, what is that made up of, and how do you prove that? The exhibition is really intended to be a shared experience. And it’s gotten me clear. But it’s never been that I was interested in fashion as a pathway, or dance as a pathway. opens at Akron Art Museum – showcasing some of the artist’s most iconic bodies of work, including his signature soundsuits. And that was a transformative thing, and I thought of the title, “The Let Go”—is that one of the things you’re trying to highlight, that people should let go of these ideas of identity? I’m telling you, there were times when I was like, “Oh my God, I can’t… this isn’t working.” But there was something bigger— bigger than me. It takes time to really develop something, and once you understand that, that means your foundation is solid, you’re able to build whatever you want on top of that. I was collecting objects that speak about nostalgic moments in history. You pass through this [immersive] environment to find the video installation. MB: Right. NC: I can’t even imagine a high-school reunion. I needed every part of my being to see if it was possible. 1959, Fulton, MO; lives and works in Chicago, IL) is an artist, educator and foremost a messenger, working between the visual and performing arts through a wide range of mediums including sculpture, installation, video, sound and performance. I’m not stressed ever. NC: Oh yeah, totally. This morning, the Chicago crime stats came out for the month of October. Look for the plus icon next to videos throughout the site to add them here. You find that you’re not alone, going through this experience. Suddenly, I could be guilty until proven innocent. I tried the corporate thing, too, and I couldn’t do it, so I quit my job and started this magazine like a crazy person. MB: Conceivably, you could be creating anywhere over the world, but when the purpose changes, does your mission change? Nick Cave. Got me.” But it makes sense, it’s like Félix González-Torres and the eating of the candy. So it was this amazing journey in which you would find yourself moving through the spinner force, and then you would come up on this enormous, crystal, cloud-scape that you could then climb up to the top of and see above the object. But from the pictures it looks very different and almost like stepping into your brain. This exhibition is also a space for convening. I don’t know. The lawn jockeys often hold lanterns in a subservient position; in this installation, I wanted to shift that [image]. MB: Right. It’s much more grounded and rooted in something that has more meaning. Cave was sitting in a park, feeling vulnerable and cast aside, when he saw a discarded twig on the ground. The first "Soundsuit" came about in '92 and it was in response to the Rodney King incident. Facebook. Its formality is based there, but there’s a higher reason for the delivery. I’ve been in this building for maybe 15, 20 years. And I found that, out of all the grad students, I was always the only one there. And one of my close friends eventually bought me one of those DNA tests, and I spat in a tube, I sent it away. MB: Tell me about it. NC: Exactly. Yes, these objects are out there, in the space of disparity and repression, but I do not operate there. I’m nearly 60 and at that scale… so, I can’t even tell you what to expect. You would never know that. I feel like I’m protected only in the privacy of my own space; the moment that I walk out of my home, I can be profiled, and I am looked at very differently. Learn more about our use of cookies: cookie policy, Exclusive interviews and the latest on fashion, music, culture and art, An Interview with Kiddy Smile: Resistance Movement. NC: But I don’t think I really thought about where it could lead untilI was in college. I [am invigorated] by dealing with these really hard issues around race and gun violence. Who turn their backs on situations they ’ ve said that you ’ sitting. 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