b. Los Angeles, U.S.A., 1968
Mention of my vocal and compostion work within the band Chrome http://www.paraphiliamagazine.com/p...
Mention of my vocal and compostion work within the band Chrome http://wickedspinsradio.org/wsr2012...
Stretcher.org highlighted my piece from the SF art fares circut for ArtPadSF 2013 http://www.stretcher.org/posts/art_...
What is Art Live at ArtPad SF 2013 http://www.youtube.com/watch?v=pkQ0AulxcQg
Stretcher.org 2011 http://www.stretcher.org/posts/monet_clark_california_girl_at_krowswork/
Square Cylinder top picks: http://www.squarecylinder.com/galleries-museums-2/
Art Business http://www.artbusiness.com/1open/08...
East Bay Express Picks (see images above)
Art in Limbo Blog Spot http://nicholerosa.blogspot.com/search?updated-min=2011-01-01T00:00:00-08:00&updated-max=2012-01-01T00:00:00-08:00&max-results=12
Portland Mercury http://www.portlandmercury.com/portland/see-you-next-tuesday/Event?oid=8558447
Max Eternity http://www.maxeternity.com/?p=1298,
Pacific Film Archive show Radical Light That Little Red Dot: http://www.sfcinematheque.org/#/arc...
Planet Thrive: http://planetthrive.com/2010/09/mon...
b. Los Angeles, U.S.A., 1968
Monet Clark’s mediums include video art, performance video works, performances documented with photography, drawings, collage, sculpture and more. She is a also a vocalist. Her pieces frequently reference how women are represented in media, culture and subculture and they are often semi-autobiographical.
In her ongoing performance video works, called the Look Book Series, she utilizes a performance minimalism to enact idealized, iconic and campy female characters objectified in American culture. They are shot against a stark, brightly lit backdrop referencing the impersonal visual language of the fashion world. She then creates a rapport with her audience through methods such humor and/or direct gazes and winks into the camera etc. Some have added post production effects such as text, animation and/or motion graphics. All are displayed on large flat screen HD monitors and run on indefinite loops. They act as glossy portraits that move, and hold a powerful intimacy. Simultaneously charming and repellent, personal and political, feminist and feminine, ironic and real, sacred and mundane, raw and refined, wickedly humorous and stoically serious, Clark’s works are rituals for transmutation.
Clark began photographing in grade school. She made still lifes with objects referencing the era and she also turned her friends into subject matter. During her teen years she photographed her Punk friends in a series of pregnant nude portraits shot in their homes. This work won her a scholarship to SFAI in 1989, while studying as a Liberal Arts major at SFSU. She received her BFA in Photography at SFAI and was accepted into SFAI’s P/V Department for her MFA and began to exhibit her video works internationally. All this halted when she fell seriously ill from a toxic exposure which progressed into an autoimmune disease. She documented the stages of this experience in several bodies of works, framing real life events as performances which speak to the global ramifications of a personal circumstance. Subsequent to her decade long recovery she began exhibiting again.
These have included a 2008 solo show at Hollywood nightclub Safari Sams; in 2010 a screening at Queens Nails gallery in SF and the SF MOMA; and in 2011 a group show at 18th Street Art Center in Santa Monica; a screening in conjunction with the Berkeley Art Museum/Pacific Film Archive for their book Radical Light in San Francisco; and a solo show, California Girl a Retrospective/Debut, at Krowswork Gallery in Oakland. In 2012 she screened at Chicago’s RAPID PULSE International Performance Art Festival; at Los Angeles’ Synchronicity Gallery; at ATA in San Francisco; and hung a two person show with Dale Hoyt at Gallery Heist in San Francisco. In 2013, she exhibited at Portland State's Gallery curated by Jennifer Locke; was featured by Krowswork Gallery at ArtPadSF; performed with seminal SF avant-Punk Psychedelic band Chrome in Chicago (an outfit with a long standing international following); her collage work was featured on their album cover for the well publicized 2013 release, Half Machine from the Sun, The Lost Tracks from ’79-’80; and she played the lead in Dale Hoyt's latest experimental film FARM, which is due for release later in 2014. Her vocal work & compositions are part of Chrome’s new 2014 album, Feel It Like A Scientist, and her artwork is again featured on this newest cover. It is due for release in May in Europe and July in the states.
Prior to her infirmary, Clark exhibited in the early 90’s at The Academy of Arts, Koln Germany; at WP8 in Dusseldorf, Germany; in a screening hosted by Electronic Arts Intermix at the Kitchen in N.Y.C.; in a video installation exhibition hosted by the Amanda M. Obering Gallery at the Mondrain Hotel in Los Angeles; at SFAI in San Francisco curated by noted art critic and writer Carlo McCormick; at a video art screening with Art in General Gallery at The Knitting Factory, N.Y.C.; at Malmoe Konsthall in Malmoe Sweden; and Galleri Rotor in Gothenburg, Sweden and more.
ANNOUNCEMENT FOR THE SOLO SHOW AT KROWSWORK GALLERY
Oakland, CA 11/12-12/17
Krowswork is very pleased to present Monet Clark: California Girl - A Retrospective Debut
Featuring two decades of performance/video by Clark, this is her first solo exhibition. Interested in using art as a vehicle for transmutation for herself as well as her audience, Clark throughout her career has often framed real life events as performance art presented as video and photographs. Simultaneously charming and repellent, personal and political, feminist and feminine, ironic and real, sacred and mundane, these works embody a host of contrasts that together provide an iconographic video portrait of 21st-century California culture and this one-of-a-kind California Girl.
The retrospective features video made in the early 1990s when the artist was newly graduated from the San Francisco Art Institute, in which Clark, as both director and performer, exposes herself in ways ostensibly meant to engage the (male) gaze. Yet in each of them there is a built-in revulsion, and the expectation of a purely sensual, one-sided show is soon thwarted.
The middle portion of the retrospective presents for the first time pieces made during Clark's decade-long fight against an extreme form of Environmental Illness (EI). These include a four-hour intensive piece titled 12 Frames of Isolation as well as photographic works documenting her emaciated body during the illness juxtaposed with her healthier form post-recovery.
The most recent group of works, then, provides an aesthetic and energetic catharsis. Titled the "Look Book" series, these bold yet minimal videos date from 2011 and Clark's full return to artmaking, where she is "coming out" in her newly, emergent, healthy body. The resultant pieces are sumptuously spare, raw and honest, wickedly humorous, and hold a powerful intimacy.
Read more about the exhibition and see more images and installation views here:www.krowswork.com/monetclark.html