CALL Program Artist Kazuko Miyamoto
Can you share what has changed for you as a result of being a part of the CALL program?
It was refreshing to connect with artists outside the Lower East Side community and beyond my gallery business. I’m grateful to Joan Mitchell for leaving us a Foundation that deeply supports an artist at all points of their career.
The process of reviewing so many years of my work with the Legacy Specialist, Lael Marshall has shifted the way I view myself as an artist. I now give my work and myself the respect it deserves.
Can you give us a sense of what needed to be accomplished when you started working with the CALL program?
I needed to reorganize my studio space, prioritize my art practice and rethink my lifestyle.
What has been the most rewarding aspect of this work?
It feels reassuring to know that my past work is now carefully documented.
What has been most difficult?
It was challenging to commit the time necessary to meticulously document all of the various aspects of my work.
What do you recommend to artists who might be in the early stages of creating an inventorying system?
Make sure to always date and sign your work.
Improvisation on a black bird (with Maria Elena Curzi), Performance Palazzo Collicola Arti Visive, Spoleto, 2014
Untitled. Acrylic and enamel spray paint on canvas, 200.5 x 175.5 cm, 1972
Untitled (string construction drawing). Color pencil on velum, 48 x 61 cm, 1972
Male I, Installation view, 597 Broadway studio, string and nails, approximately 158,5 x 158,5 x 61 cm, 1974
Hatbox (unplayed state). Triangular and hexagonal pieces of gold-painted sheetrock in artist-made and painted wooden box, 27 x 50 x 50 cm (enclosed), 1975
Nesting. Installation view, A.I.R. Gallery, 1980
Stunt (Performance at 181 Chrystie Street, 1981). Unique photocopy made out of approximately 44 pieces of various sizes, 150 x 97 cm (160 x 104,5 cm framed), 1982
Target Kimono. Photo transfer on japanese silk wedding undergarnment, approximately 152 x 152 x 5 cm, 2005
Woman in Snow (Photograph of Performance in upstate NY 1998). Archival inkjet print from original slide, 29 x 20 cm, 2009
Installation view, Invisible Exports Gallery, New York, 2014
All works are copyright of the artist or artist’s estate.