It doesn't mean anything but it looks good
Tate St Ives 2010
"As an artist you are not all goody goody looking for truth. I do think people have to be a little honest, but lie a little bit at the same time because nothing is clear. "
Quoted in Miriam Westen 'How much nerve does it take to stand up for "feminine stupidity"?' In Afterall Journal, issue 4, London 2001
"I am a beauty specialist. I have commissioned myself to research happiness and friendliness in my artwork, and with that I take a stand against irony and cynicism. ...I don't know much about real flowers but I love decoration, overall-patterns, symmetry, wallpaper and cute decorations. The strength of beauty is fantastic. .. My desire is to give these things a shape, to visualise them. And what comes out is shocking. The murals look like monsters, but they are exciting too. So I make the murals for the excitement of the subject matter and the communication it might cause..."
Sturtevant: Leaps, Jumps and Bumps, Serpentine Gallery - exhibition review 2013
Playful nods to the Serpentine’s position in the middle of Hyde Park abound: in Finite Infinite (2010), looped footage of a labrador running in grass is projected along the wall, while against the window in another room are a gaggle of half-inflated sex dolls looking out to the verdant park.
On a bank of screens nearby is Elastic Tango (2010), a hectic procession of images from Betty Boop cartoons to Liberace’s tapping foot to the billowing stars and stripes, which plays forwards and is then reversed and subsequently fragmented. Meanwhile, in a sequence from the Eighties video game, Pac Man goes on his greedy quest and always ends up getting eaten himself.
This visual and aural bombardment is informed by what Sturtevant calls the “cybernetic imposition” of the digital world, where the flood of information is trumping deep knowledge and reality is crudely distorted. She has spoken of the “vast barren interior of man” — perhaps those sex dolls, empty and with gaping mouths, are Sturtevant’s grim vision of us in the 21st century.
This is a welcome introduction to an artist who in her ninth decade is still at the top of her game. Maybe as a generation of You Tube uploaders, we’re more engaged with the concept of appropriation, so her video works collaging TV footage in a slideshow manner are more relevant than ever.
The repeated image of an owl plastered all over the first gallery comes from a royalty-free website and emulates the type of reuse that’s rife on the internet. Sturtevant even refashions parts of her own previous work. Parts of the film ‘Elastic Tango’ reappear in two ‘Rock & Rap’ video projections, creating a rhythmic loop.
Time Out review
Not meaning anything, standing for anything, or representing anything.
I'm not trying to get anywhere.
"I was naive to believe that the general art viewer could get past the fact that the bulk of the materials used in the construction ... were, more than likely, made by women. But to limit the focus to that is to limit the links I make between gift-giving and labor, worth, guilt, and payback solely to gift giving by women. That is, obviously, not true. I suppose, to clarify my point, I should have made another work composed of crafts that one would assume were produced by men: hand carved wooden items, for example. But that seemed redundant at the time."
Such gender specific readings seemed so tangential that I did not even address them in my second series of fabric works.
Again, people confuse ideas that I reference in my work with my personal opinions. ... But most art viewers want art to be about "personal expression."
Mike Kelley - Interview with by Eva Mayer-Hermann, 2013
Visual & ideas
Jane is less fluid and more organised at: www.janeglennie.co.uk