nick cave artist interview

Then, with yours, it’s the reverse—the performance is front and center. But it’s just me trying to work through it and trying to bring understanding to why. This interview originally appeared in the print edition of RAIN magazine in the fall of 2018. I’m responding to it by designing my own pathway and creating my own lifestyle. That was my first Nick Cave moment. Twitter. But for some reason, I was like, “I gotta get up and face the truth. Is that something that happens when you’re sitting alone? 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]. All lives matter. I grew up in Houston, and you went to school in North Texas, right? These dazzling sculptural costumes are made of thousands of found objects, buttons, old toys, and other everyday items, but their visual brilliance conceals a darker message. Although they pass through me, I don’t feel connected to them, in a certain sense. NC: I never thought that I would have such a flourishing career. As you mentioned, other instances of police brutality and violence were important catalysts for your show at MASS MoCA. 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. Krystian von Speidel sits down with artist Nick Cave to talk about his incredible Soundsuits and his concurrent exhibits at Jack Shainman and Mary Boone Galleries. And you’re just trying to make things, and you just need isolation to do that. Eventually you come to this landscape of mountains made of beaded camouflage nets. We must keep dreaming. My father died when I was 17 and wasn’t really that available when he was here. And I tried corporate America. I felt that I needed to do something, as a Black male living in this country. Resistance can be about taking a positive kind of approach, and I sort of created “The Let Go” as a form of resistance. I think you’re right, it’s a great time for people to sit and reflect on—. I went there because there was a professor I wanted to continue working with, Professor Spear. I was in the studio, thinking, “What the hell is going on?” All of these events made me wonder whether there is racism in heaven, and that really was the beginning of the show. NICK CAVE: Hi, I'm Nick Cave, a visual artist, speaking at the Smithsonian American Art Museum. The dream world, the landscapes you form? https://en.wikipedia.org/wiki/Nick_Cave_(performance_artist) The official website for Nick Cave, Nick Cave and the Bad Seeds and Grinderman. “It’s amazing how something so profound can literally shift your direction of thinking and making,” he says.He made a bodysuit that covered the wearer head to toe in sticks and twigs. NC: Well, it needs the support of others in order for them to take action, or a project to come to life—. NC: In a city, in a place that we didn’t know was available and possible. It has gotten me to face who I am. You have talked about how the first Soundsuit changed you as an artist and how you began to embrace the idea of civic responsibility. NC: I sit in silence every day. 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. When I go home for Christmas, I have couple of brothers who still live in Missouri and they’re like, “So-and-so wants to see you.” And I’m like, “No. But I’m a different person, now that I understand that there’s a world out there. That was my first reaction—just, “What is going on here?” Because it’s very imposing, especially for a kid. I needed every part of my being to see if it was possible. And I’m in the studio… you know, Trayvon, it goes on and on. NC: You think it’s crazy, but it’s something that, internally, you kept at. I can be there about three or four days, and it feels great, it’s easy, it’s cheap, everything’s bigger. And, in fact, my most recent two exhibitions at Jack Shainman Gallery did not contain any Soundsuits. I’ll sit on those stairs they have there in Times Square… I love going there at midnight. Nick Cave, Until (2016) installation view, MASS MoCA. It’s me looking at black-on-black crime. Simultaneously sculptures, costumes, and musical instruments, the Soundsuits are meant for motion. 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. Is there any clue as to what we can expect to see in Times Square? Chicago’s my incubator—it allows me to experiment and test out ideas. 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. 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. [The beating was a sign] for me to take responsibility. I took a number of classes to understand the principles of the construction of a garment. I’m doing a video installation there on all the monitors, from December to February. It’s interesting because, with an artist like Matthew Barney, his films are kind of the works, and then if there’s a prop from the film, some collector will scoop it up. 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? 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. They are just the vessel, your performances are very people-based. Tomorrow (Saturday, February 23) the new exhibition Nick Cave: Feat. This interview was originally published on December 4, 2015. The city is known for its musical history—the term “Elvis has left the building” was coined there. I was collecting objects that speak about nostalgic moments in history. I’m excited. MB: I definitely saw that in “The Let Go” with Jorell Williams and the Sing Harlem Choir. And then I’ve got Times Square. NC: “The Let Go” came before the Park Armory. 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.”. 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. Then I got the results, and I don’t care because it doesn’t really matter to me. I’m living in fear, emotionally. Nick Cave – Soundsuit, 2015, vintage toys, globes, wire, fabric, rug, metal, mannequin, 117 x 50 in Conclusion Cave’s Soundsuits are unique art pieces, combining art, fashion, and performance, created by an “artist with a conscience,” a trailblazer for mixing art, participatory performance, and craft. MB: That makes a lot of sense, and I feel it all the time. © 2020 RAIN Magazine. And yet in a peculiar way, it also evokes some sort of strong belief or optimism. In a sense, they own the vessel, they don’t own the performance. It’s really about creating the setting for us now to do the work that is asked. 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. 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. Copy Link. Nicholas Edward Cave, dit Nick Cave [nɪk ˈkeɪv]3, né le 22 septembre 1957 à Warracknabeal (Australie), est un artiste pluridisciplinaire australien ayant acquis sa notoriété en tant que chanteur, auteur et compositeur du groupe Nick Cave and the Bad Seeds, où il exprime sa fascination pour la musique populaire américaine et ses racines, notamment le blues ; il est en outre écrivain, poète, scénariste et occasionnellement act… It’s like with the magazine, how do you create this magazine so that it has a purpose? NC: While I was in school there, there was this junior high school that we occupied, so we each had this amazing studio. Because I think we need that. MB: Totally. 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. So, that’s also very interesting. Our site uses cookies. NC: Yeah, my first grad school. MB: Right, because even a collector doesn’t really own it. All Rights Reserved. Oh my God, there were moments where I just had to make sacrifices, too. I don’t know. I was like, “I gotta get out of here. MB: No way. The interesting thing about this show is that, in order to leave the space, you have to walk through the installation again. I’m more into volume, and the alternative ways of helping this vast world via communities through this art experience. {{watchlist.lookupAttr('runtime', video);}}, “I wanted to put the viewer into the metaphorical belly of a ‘, “I feel called to action, and I’m trying to find a way, as a visual artist with a specific sense of responsibility, to be proactive”, “You cannot walk through the space without sharing what you’re experiencing. As I’ve gotten older, seeing your work has turned more into intrigue and curiosity, and also more celebration. It was really very strange. NC: I don’t dream a lot. Nick Cave recalls the impact of the community in which he was raised and how that encouraged him to pursue his creative interests. 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. Photo by James Prinz, courtesy of MASS MoCA. But it was all [about] working in this trans-disciplinary way. You pass through this [immersive] environment to find the video installation. And it’s gotten me clear. The installation opens with this kinetic force composed of sixteen thousand wind spinners. 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?”. Browse NickCave.com for live dates, lyrics, news, films and official store. Nick Cave created his first Soundsuit after the Rodney King beating in 1992. I was working in creative environments, but internally… I wasn’t happy. The exhibition is really intended to be a shared experience. Portrait by Sandro. Photography by James Prinz. You mentioned “Until” earlier—it started at MASS MoCA, right? But it was not something I really thought about. Facebook. Internally, we all know what we need to do. MB: I can relate to that feeling, for sure. 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. This world. MB: Conceivably, you could be creating anywhere over the world, but when the purpose changes, does your mission change? So the thing about “The Let Go” and working with these individuals, it was these testimonies that these kids were willing to share. NC: No, not really.
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