It’s gotten me to understand who I am. You find that you’re not alone, going through this experience. So, it’s good. Photography by James Prinz. This world. It’s tough, it’s hard, but we only have one life. There are traditional wind-spinner shapes, like butterflies and birds but, as you walk through, you notice that a number of these spinners are custom-made: there are guns, bullets, targets, and teardrops. I’m taking a stance. You mentioned “Until” earlier—it started at MASS MoCA, right? [The beating was a sign] for me to take responsibility. NC: I sit in silence every day. You also have the option to climb eighteen feet up, on industrial ladders, into this topographical landscape, which is like a forbidden garden holding these exotic wind catchers. Then you walk upstairs to the mezzanine level to see a waterfall made of Mylar streamers. His performances and installations have since been exhibited around the world and his objects collected by the most prominent institutions and museums. MB: I can relate to that feeling, for sure. It’s the only time I can tolerate it. I want the space to be one where young people and adults can gather to talk about difficult situations. Browse NickCave.com for live dates, lyrics, news, films and official store. If I say I can make it, I can make it. 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. In a sense, they own the vessel, they don’t own the performance. We turn our backs against it. I just fought through it. But it’s just me trying to work through it and trying to bring understanding to why. 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. You would never know that. Tomorrow (Saturday, February 23) the new exhibition Nick Cave: Feat. I could live in New York, but oh my God, if I was there, I don’t know whether I would be as clear as I am today. MB: Well, you might even celebrate it. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. So, I’m taking over more space in the building, but it’s like, “We can only do that project on the first floor,” or, “We can work upstairs, we just need to move about three floors,” and I can’t take it anymore. Even the Soundsuits, somebody has to dance in them. These opportunities are extraordinary, but I understand them because I’ve been on that path for so long. Nick Cave is widely acclaimed for his exuberant “Soundsuits”—wearable sculptural forms based on the human body, intricately composed out of a vibrant assortment of second-hand materials. Five hundred eighty-two people have been killed so far this year. And then I’ve got Times Square. It’s not a very accessible venue, necessarily. I took a number of classes to understand the principles of the construction of a garment. I was working in creative environments, but internally… I wasn’t happy. As viewers interact with this space, what kind of imagery will inspire challenging conversations? And you’re just trying to make things, and you just need isolation to do that. Choisissez parmi des contenus premium Nick Cave Artist de la plus haute qualité. This interview originally appeared in the print edition of RAIN magazine in the fall of 2018. Cave was sitting in a park, feeling vulnerable and cast aside, when he saw a discarded twig on the ground. It’s a new art initiative. I felt that I needed to do something, as a Black male living in this country. And I’d be hiding out for four months, just embarrassed and deflated. Could you explain how the imagery in this installation has evolved from the Soundsuits? You can only imagine and hope for that. I just thought, “Wow, this is amazing. The work may be incorporated in the performance or it may not be. MB: I read somewhere that you started making these Soundsuits as a way of creating your own armor, a form of protection. And empowerment. I want something a lot more cohesive, where transitions are easy. NC: Yeah, that was part of it, and also, I was raised in a single-parent family. NC: No, not really. So the thing about “The Let Go” and working with these individuals, it was these testimonies that these kids were willing to share. I’ve got a lot to do and yet I’ve got to settle down and stay very focused and allow each project to fully serve its purpose. Interview by Mark Benjamin. Because I think we need that. Cave’s work began at the… I never know what to tell them. NC: Well, I’ve always seen it as both. I grew up in Houston, and you went to school in North Texas, right? But from the pictures it looks very different and almost like stepping into your brain. We’re living in a time where we can find ways of working that can inform as well as find common ground. Is that something that happens when you’re sitting alone? 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. I’ve been looking for a building for about five years. opens at Akron Art Museum – showcasing some of the artist’s most iconic bodies of work, including his signature soundsuits. For me it’s just the recordings. Eventually you come to this landscape of mountains made of beaded camouflage nets. Sep 9, 2011. And so, through these horrific tragedies that we face daily, it was my next mission, my task, to deliver that project. NC: In a city, in a place that we didn’t know was available and possible. You’re classically trained as a fashion designer, right? I’m not stressed ever. NC: I don’t know… at the beach? 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. From that moment, I became an artist with a conscience. The moment you understand why you’re doing it, and the influence that you can have through what you’re doing as a creative being, then it all makes sense. MB: Yeah. 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 dream world, the landscapes you form? It’s getting that to video, and all the data. As opposed to repressing those feelings or—. All lives matter. Related Artist Nick Cave Talks About Surrendering to the Sacred 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. And then I was exposed to living artists. MB: That’s crazy. The buoyant appearance of the Soundsuits, composed of kitschy materials such as beads and plastic tchotchkes, belies their serious connotations. For example, I found seventeen Black lawn jockeys. Do you see them now becoming more a place to escape to than a form of resistance? And I’m adopted, so I don’t really know. Once I came to terms with that, the art thing became very different for me. 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. I can be working in the studio sometimes and then I’m bawling—just a disaster. The lawn jockeys at MASS MoCA are all holding beaded dream catchers—my effort to speak about optimism. It becomes a safe haven for hard conversations. 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?”. And it’s really whether or not we can step up to fear. NC: I know. NC: It opens in November, I think. I gotta get back in the game.” So that’s what I did. It was really very strange. I’ll never forget it—it was a shiny pink suit with tambourine-like symbols on it. 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 Soundsuits became integral parts of Cave’s practice, and this original experience also awakened a sense of civic responsibility in the artist. Later he fabricated a symbolic suit of armor, using hundreds of collected twigs. Where it serves the community in some aspects? MB: That’s also something that interested me—your works are never really just you. It’s police shootings, it’s BBQ Becky, discrimination…. I’m excited. The public artwork has been attacked by … 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…. Hopefully you can make the opening. For example, Solange Knowles will perform there. Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law. You’re surrounded by information and just visuals. MB: [Texas] is such a strange place. Where do you see the visual things that you’re going to create? 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. I can be there about three or four days, and it feels great, it’s easy, it’s cheap, everything’s bigger. 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. Somebody said to me, “Are you going to your reunion?” I was like, “Look, I will go to your high-school reunion, but I will not go to mine.”. Look for the plus icon next to videos throughout the site to add them here. Yes, these objects are out there, in the space of disparity and repression, but I do not operate there. Soundsuit, 2015; mixed media. You have to trust that I can make it. https://en.wikipedia.org/wiki/Nick_Cave_(performance_artist) My projects are like deeds that I need to deliver, and then I move on. Is there any clue as to what we can expect to see in Times Square? I can’t.” Because I’m just not… I don’t know what we have in common, I don’t know how to identify with friends I went to high school with who have chosen to stay in Columbia. I [am invigorated] by dealing with these really hard issues around race and gun violence. What happens when textiles meet modern dance all dressed up in a "Sound Suit?" 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. At that point, you’ve gone through the entire installation, and there’s a moment of [feeling cleansed and quieted]. 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. In addition to the value is this vast library of video works and performance works. MB: Right. Oh my God, there were moments where I just had to make sacrifices, too. MB: Right. NC: I just never close the store—it took about 10 years for it to really take form. I first came across your work when I was a teenager, at the Contemporary Arts Museum in Houston. Then, with yours, it’s the reverse—the performance is front and center. 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? 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. What is your responsibility to an audience, as a contemporary artist? MB: Yeah. 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