Mierle Laderman Ukeles

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TsimTsum / Shevirat Ha-Kelim…
2008
Mixed Media

Ukeles--turnaround_surround__glassphalt_path
Turnaround / Surround
1989-2005
glassphalt access path
1/2 mile

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Touch Sanitation
1978-1980
City-wide Performance With 85,000 NYC Sanitation Workers

Ukeles--unburning_freedom_hall__peace_table___1997

Peace Table from Unburning Freedom Hall
1997
cobalt blue stained glass

Hartford Wash: Washing, Tracks, Maintenance:Outside, 1973 performance at Wadsworth Atheneum, Hartford, CT, part of Maintenance Art Performance Series, 1973-74
Hartford Wash: Washing, Tracks, Maintenance:Outside

1973
performance at Wadsworth Atheneum, Hartford, CT, part of Maintenance Art Performance Series, 1973-74

https://i0.wp.com/tabletmag.com/wp-content/files_mf/ukeles620a.jpg1969-1980
“Mierle Laderman Ukeles discussed her work in conjunction with WACK! Art and the Feminist Revolution On Thursday, June 7, at the Geffen Contemporary at MOCA.

“I am an artist. I am a woman. I am a wife. I am a mother. (Random order).

I do a hell of a lot of washing, cleaning, cooking, renewing, supporting, preserving, etc. Also, (up to now separately I do Art. Now, I will simply do these maintenance everyday things, and flush them up to consciousness, exhibit them, as Art. I will live in the museum and I customarily do at home with my husband and my baby, for the duration of the exhibition. (Right? or if you don’t want me around at night I would come in every day) and do all these things as public Art activities: I will sweep and wax the floors, dust everything, wash the walls (i.e.floor paintings, dust works, soap- sculpture, wall-painting) cook, invite people to eat, make agglomerations and dispositions of all functional refuse.

The exhibition area might look empty of art, but it will be maintained in full public view.”

SUBJECT vs CONTENT

Ukeles wrote “Manifesto for Maintenance Art” as a challenge to the binary systems of opposition that draw the line between art/life, nature/culture, and public/private.Over a period of several years, her performance work concerned the every day routines of life. Her work looked to highlight otherwise overlooked aspects of social production and questions, still very relevant today, the hierarchies of different forms of work, especially of housework and low-wage labor. The performances varied from scrubbing the steps in NY to sweeping the streets. Images of the performances are now displayed in the traveling Maintenance Art exhibit.

The manifesto proposed undoing boundaries that separate the maintenance of everyday life from the role of an artist in society. One piece of content to the work could be to show how artists could use the concept of transference to empower people to act as agents of change and stimulate positive community involvement toward ecological sustainability. Another possible reason for the work was because of her own disgust and rejection after child-birth in 1969. It was her way of bringing forth her new life to the public, and making sanitation Art.

She originally studied History and International studies. It was not until later that she began her artist training.

http://sites.moca.org/wack/2007/07/25/mierle-ukeles-manifesto-for-maintenance-art-1969/

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Language From Another’s Perspective

While my original thought to create a language project that would be an interactive experience on campus was foiled due to the locale, The alternative of looking within my own home for sources turned out to be even more eye-opening. I asked three people in my house (the only three people) to write down what it is they think I do with my time during the day. The assignment was to be as descriptive as possible, including my interests and activities, but not to be opinionated toward them or discuss WHY I do certain tasks.

Plain and simple: What do I do?

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Language Language_0001

I eventually want to compile these thoughts into a photo map, entailing where this events take place from a geographical standpoint. The map could be used to outline an itinerary for someone else to walk through the steps of my day.