Published by Damiani. Text by Sean Corcoran, Chrissie Iles.
The crucible of creation: portraits of New York artists in the intimate seclusion of their work spaces
Since 2011, New YorkĖbased Italian photographer Marco Anelli (born 1968)óauthor of Portraits in the Presence of Marina Abramovicóhas been exploring the artist's character and work as expressed in the studio.
The artistís studio occupies a unique place in the popular imagination. Its environment is both the site of the artistís creative production and a deeply private, personal space that nourishes and bears witness to the artistís working process, in a continuous interplay with its location, layout, interior and ambiance. Access to the studio by a trusted visitor provides a unique opportunity to experience the lives of artists working in New York, through their methods, materials and influences, contained within the intimate space of the studio, and observed with an acutely sensitive eye.
Artists included: Alex Katz, Alfredo Jaar, Anne Collier, Anthony McCall, Banks Violette, Cecily Brown, Dan Colen, Dana Schutz, John Giorno, Elizabeth Peyton, Francesco Clemente, Glenn Ligon, Jack Pierson, Joan Jonas, Joyce Pensato, Jonas Mekas, Jordan Wolfson, Julian Schnabel, Julie Mehretu, Kiki Smith, Lawrence Weiner, Mariko Mori, Marilyn Minter, Marina Abramovic, Matthew Barney, Mickalene Thomas, Nate Lowman, Pat Steir, Rashid Johnson, Rob Pruitt, Rob Wynne, Rirkrit Tiravanija, Robert Longo, Ryan Sullivan, Shirin Neshat, Terence Koh, TJ Wilcox, Tony Oursler, Ugo Rondinone, Urs Fischer, Vera Lutter, Vik Muniz and William S. Burroughs.
Published by Damiani. Text by Marina Abramovic, Klaus Biesenbach, Chrissie Iles.
After becoming an internet sensation, Marco Anelliís powerful portraits of sitters in the historic 2010 Marina Abramovic performance at The Museum of Modern Art, New York are now collected and available in their entirety in this volume. The centerpiece of the landmark retrospective Marina Abramovic: The Artist Is Present was Abramovic herself, who sat silently in the museumís atrium, inviting visitors to take a seat across from her for as long as they chose. She sat every day for the run of the show--716 hours and 30 minutes--and faced more than 1,500 people, whose participation completed the work. Marco Anelliís photographic project captured every interaction, taking a portrait of each participant and noting the time they spent in the chair. Just as Abramovicís piece concerned duration, the photographs give the viewer a chance to experience the performance from Abramovicís perspective. They reveal both dramatic and mundane moments, and speak to the humanity of such interactions, just as the performance itself did. The resultant photographs are mesmerizing and intense, putting a face to the world of art lovers while capturing what they shared during their contact with the artist.