Tony Jones
016: Radical Artist: IN
With the exception of the food cart vendors, Radical Artist: OUT had limited reaction or outcome. For the most part, the work was not accepted with the same enthusiasm as The Artist is Present. I was, however, joined by another unknown artist who performed within the context of the main piece. A few days after completion of the show, I discovered that, on March 27th, artist Anya Liftig sat across from Abramovic for the entirety of a day – 600 minutes. The piece, titled The Anxiety of Influence, persevered the cause of the unknown, radical artist. A full account of Liftig’s performance can be viewed at her website: http://anyaliftig.com/portfolio/the-anxiety-of-influence
Radical Artist: OUT was partially influenced by a Dan Perjovschi drawing, titled RADICAL ARTIST OUT AND IN THE MUSEUM. In this piece, Perjovschi depicts the figures of two artists. One figure sits within a box (presumably the museum) and plays the role of the “radical artist.” This seated figure, along with Abramovic's performance, provided me with the inspiration to attempt Radical Artist: OUT. In order to build upon this act, it was only fitting that I brought Perjovschi’s inspiration full circle by completing Radical Artist: IN.
RADICAL ARTIST OUT AND IN THE MUSEUM contains the image of another radical artist. In another area of the frame, there is an artist who remains outside of the box. He or she appears to be jumping up and down and to be waving their arms back and forth. The suggestion is that the artist who is outside of the museum walls produces the true act of radicalism. Considering that I mirrored the sitting artist in Radical Artist: OUT, it was now my intention to perform Perjovschi’s act of radicalism within the museum space. Furthermore, I intended to complete this act in the Marron Atrium, the same location where Abramovic and Perjovschi completed their pieces.
I began Radical Artist: IN in early June, a few weeks after the completion of The Artist is Present. I walked to the center of the Marron Atrium and gesticulated like the radical artist depicted in Perjovschi's drawing. I jumped from one foot to the other and I waved my arms side to side. Obviously, there were immediate reactions to the piece. Unexpectedly, it afforded my largest audience to date. As an authentic work of radical art, it also attracted the attention of security personnel.
I performed on six different occasions. A written account of each attempt in this section.
Sunday, June 6th – I moved like a radical artist for 7 minutes and 19 seconds. At that time, I was approached by security and asked why I was causing a distraction. I informed the art police that I was in the process of performing a work of radical art. They informed me that I had to stop or I would be removed from the premises. The art police watched as I continued for another 3 minutes. I was escorted from the building.
Saturday, June 12th – I moved like a radical artist for 4 minutes and 12 seconds. I was escorted from the building.
Sunday, June 13th – I moved like a radical artist for 54 seconds. I was escorted from the building. The art police informed me that I was banned from the museum.
Sunday, June 20th – I moved like a radical artist for 24 seconds and then escorted from the building. The art police warned me that I would be arrested if I returned to the museum.
Saturday, July 3rd – I moved like a radical artist for 19 seconds. I was held in the museum security office for 52 minutes and 19 seconds. I was arrested by NYPD and removed from the premises.
Sunday, July 18th – I attempted to enter the museum. I requested admission for one adult ticket. The ticket vendor would not sell me a ticket. Almost immediately, the art police arrived and asked me to leave the lobby. I complied. In doing so, I formally ended Radical Artist: IN.
With the exception of the food cart vendors, Radical Artist: OUT had limited reaction or outcome. For the most part, the work was not accepted with the same enthusiasm as The Artist is Present. I was, however, joined by another unknown artist who performed within the context of the main piece. A few days after completion of the show, I discovered that, on March 27th, artist Anya Liftig sat across from Abramovic for the entirety of a day – 600 minutes. The piece, titled The Anxiety of Influence, persevered the cause of the unknown, radical artist. A full account of Liftig’s performance can be viewed at her website: http://anyaliftig.com/portfolio/the-anxiety-of-influence
Radical Artist: OUT was partially influenced by a Dan Perjovschi drawing, titled RADICAL ARTIST OUT AND IN THE MUSEUM. In this piece, Perjovschi depicts the figures of two artists. One figure sits within a box (presumably the museum) and plays the role of the “radical artist.” This seated figure, along with Abramovic's performance, provided me with the inspiration to attempt Radical Artist: OUT. In order to build upon this act, it was only fitting that I brought Perjovschi’s inspiration full circle by completing Radical Artist: IN.
RADICAL ARTIST OUT AND IN THE MUSEUM contains the image of another radical artist. In another area of the frame, there is an artist who remains outside of the box. He or she appears to be jumping up and down and to be waving their arms back and forth. The suggestion is that the artist who is outside of the museum walls produces the true act of radicalism. Considering that I mirrored the sitting artist in Radical Artist: OUT, it was now my intention to perform Perjovschi’s act of radicalism within the museum space. Furthermore, I intended to complete this act in the Marron Atrium, the same location where Abramovic and Perjovschi completed their pieces.
I began Radical Artist: IN in early June, a few weeks after the completion of The Artist is Present. I walked to the center of the Marron Atrium and gesticulated like the radical artist depicted in Perjovschi's drawing. I jumped from one foot to the other and I waved my arms side to side. Obviously, there were immediate reactions to the piece. Unexpectedly, it afforded my largest audience to date. As an authentic work of radical art, it also attracted the attention of security personnel.
I performed on six different occasions. A written account of each attempt in this section.
Sunday, June 6th – I moved like a radical artist for 7 minutes and 19 seconds. At that time, I was approached by security and asked why I was causing a distraction. I informed the art police that I was in the process of performing a work of radical art. They informed me that I had to stop or I would be removed from the premises. The art police watched as I continued for another 3 minutes. I was escorted from the building.
Saturday, June 12th – I moved like a radical artist for 4 minutes and 12 seconds. I was escorted from the building.
Sunday, June 13th – I moved like a radical artist for 54 seconds. I was escorted from the building. The art police informed me that I was banned from the museum.
Sunday, June 20th – I moved like a radical artist for 24 seconds and then escorted from the building. The art police warned me that I would be arrested if I returned to the museum.
Saturday, July 3rd – I moved like a radical artist for 19 seconds. I was held in the museum security office for 52 minutes and 19 seconds. I was arrested by NYPD and removed from the premises.
Sunday, July 18th – I attempted to enter the museum. I requested admission for one adult ticket. The ticket vendor would not sell me a ticket. Almost immediately, the art police arrived and asked me to leave the lobby. I complied. In doing so, I formally ended Radical Artist: IN.