Creative Global Network for the Visual Arts

Larry Caveney Male San Diego, CA United States: Share on Facebook

Share Tweet

Blog Posts
Discussions (43)
Events
Groups (37)
Artworks (403)
Photo Albums (10)
Video (139)

Larry Caveney's Friends

VIEW ALL ›

Larry Caveney's Groups

The Fool and the Image

12 members
Figurative Art

507 members

new media and contempora…

217 members
Art as Public Service

1 member

FORM - Found Object & Re…

81 members

VIEW ALL ›

Larry Caveney

Profile Information

Website: http://www.larrycaveney.com

Relationship status: married

College / University: Vermont College MFA

Program / Degree: Master of Fine Arts

Graduation: August 10, 2005

Member type: Artist, Curator

If you're an artist, what kind of art do you make?: Conceptual, Event, Painting, Performance, Video

I am...: Larry Caveney is interested in using his perfomative and video art to create bridges of communication within a community. His work highlights the ways in which norms are constructed by societies by challenging their boundaries and laughing at his own conformity.
LARRY EDWIN CAVENEY, M.F.A.
4141 Alabama Street #4 ~ San Diego, California 92104

EXHIBITIONS

Education:
Appalachian State University, Boone, NC
BBA, Montreat College, Black Mountain, NC
MFA, Vermont College, Montpelier, VT
Collections:
Permanent collection in Asheville Museum of Art, Asheville, NC
Permanent Collection in Casoria Contemporary Museum, Naples Italy
Exhibition record

2011-ESPACIO ENTER 2010 an International Meeting of Creativity Innovation & Digital Culture Tenerife (Canary Islands - Spain).
2011- ALL TOO FEMININE ,RuArts gallery Zachatievskiy st., 10, Moscow, Russia
2011- Fragments , ephemeral installation, Arnot Art Museum, Elmira New York, USA, (Upcoming, April 6 and 7, 2011)
2010 -"Instructions for Initial Conditions". DRIFT STATION | Gallery + Performance Space | 1746 "N" Street, Lincoln, Nebraska, 68510 USA
2010-“Provocative Objects: the extradition” Patricia Doran Gallery, Massachusetts College of Art and Design, Boston, MA.
2010-"Commercial" Art Video Call, Apexart Gallery, 291 Church Street
New York, NY 10013 USA
2010-09-29-“SGUARDI SONORI 2010-2011: INFINITE SPACES” Rome Italy

2010 “Side Show Happening” (Projection/video display and performance) Roots Division, San Francisco, CA

2010 “You Say Tomato, I’ll Say Tomato” North by North Western Arts Festival, Wigan UK

2010 “IMAGINARIUM" at Galerie Wedding. Gallery, Berlin (Germany)
2010 HEP London 2010 - curated by Kisito Assangni, co-curatorial Alison Williams/London England
2010 “Three-by-Six (“3×6″)” Artlab33 | Art Space, Miami, Fla/http://www.artlab33.com/about/
2010 "Artist Cinema" exhibition at Contemporary Art Festival, Beijing, Beijing China
2010 HEP Malhoa, Gonçalves Sapinho Cultural Center
Benedita - Alcobaça - Portugal Installation (Portrait of Health) – FACES- Curator Alberto Guerreiro
2010 HEP Poland May 2010 –curators: Michal Brzezinski & Alison Williams
2010 Nature of Woman curator Gerasim Kuznetsov: (GMN Presents: Stories) Gallery L, Moscow, Russia
2010 Shifting Ground: (GMN Dancing TO Neil Diamond) Video Exhibition, Gallery Gray, Mankato, MN www.gallery-gray.com
2010 Shifting Ground: Video Exhibition Tour, Washington State University, Department of Fine Arts Center, (GMN Dancing TO Neil Diamond)

About my artwork: Larry Caveney Bio
Larry Caveney is interested in using his perfomative and video art to create bridges of communication within a community. His work highlights the ways in which norms are constructed by societies by challenging their boundaries and laughing at his own conformity.

For a long time I spent my time in the studio making paintings, sculpting wood with a chain saw and print making. I used those practices to find a way of expressing my frustrations with the world and its contradictions. I was also trying to create a style that was uniquely mine. I wanted a style that could distinguish me from other artists, and make me famous, rich and free to leave that factory where I worked for ten years. After achieving that style, I started to pursue gallery representation.
Several galleries were interested and I eventually was selling my work around Atlanta and Charlotte. I was receiving favorable reviews and actually one museum bought one of my pieces for its collection. This process of marketing was exciting, but after awhile it lacked any lasting quality. Galleries would come and go and before I knew it I was back to looking for representation.
Finally, I realized that I wasn’t commutating social issues through painting or sculpting. I wasn’t making any change for my community because of the limitation of my audience. I wondered why so many fellow workers at the factory didn’t know what the heck I was doing in my art. All gallery openings for the most part catered to a certain group, certain class. I could see the evolution of my work but, where was the evolution of audience?
I started to question why some people (fellow factory worker) were not aware of the art world and its glamour. I shifted the direction of my thinking about the role of audience and started collaborating with school children, fellow factory workers and the public in general. I worked in a factory for ten years and for the most part never really shared my studio practice until close to the end of working there. I eventually started showing my work to those at the factory who operated fork trucks and worked on assembly lines. I started inviting my fellow workers to openings. Collaborating with my friends at the factory allowed fresh ideas, new possibilities to come into the work. It allowed a new audience to witness my work, through their involvement.
"Every human being is an artist, a freedom being, called to participate in transforming and reshaping
the conditions, thinking and structures that shape and condition our lives"
Joseph Beuys
The idea of social interaction moves the artist out of the studio and into an interactive form of expression. The aesthetic of this interactive art form is the redirection of a symbol or ideology used in society by the ability to showcase a certain situation in a different context and to define areas of social isolation. This aesthetic is defined as a means of making something better, or the action or interaction of creating a better living space.

What is the Grown Man Naked Project?
As male in the world or art world, we have a tendency to maintain our own position of power or that persona of power or youth, where in reality it's lost to time and gravity. The piece speaks to that false facade. That's why I use the idea of "the artist as fool" in most of my work. Basically I poke fun at my own self. As a white male, in this state of culture, I think that's all I have to work with, that and humility.
Felix Guattari states:
Just as I think it is illusory to aim at a step—by-step transformation of society, so I think that microscopic attempts, of the community and neighborhood committee type, the organization of day-nurseries in the faculty, and the like, play an absolutely crucial role.

Artists I like: Nan Goldin, Alix Lambert, Marco Mori, Steve Kurtz, Sharon Hayes, Paul McCarthy

Interests: Interventions
Bibliography

Bakhtin, Mikhail. Rabelais and His World. Bloomington: Indiana University Press, 1984.

Barthes, Roland. Mythologies. New York: Hill & Wang, 1997.

Bergson, Henri. An Essay on the Meaning of the Comic. Los Angeles: Peter Smith Publisher, 1983.

Beuys, Joseph. What Is Art?: Conversations with Joseph Beuys. Forest Row: Clairview Books, 2004.

Boal, Augusto. The Rainbow of Desire. London: Routledge, 1996.

Bourriaud, Nicolas. Relational Aesthetics. France: Les Presses du réel, 2002.

Critical Art Ensemble. Digital Resistance: Explorations in Tactical Media. New York: Autonomedia, 2001.

de Certeau, Michel. The Practice of Everyday Life. trans. S. Rendall. Berkeley: University of California Press, 1988.

Debord, Guy. The Society of the Spectacle. Cambridge: MIT Press, 1995.

Deleuze, Gilles. Foucault. trans. Seán Hand. Minnesota: University of Minnesota Press, 1988.

Deleuze, Gilles and Felix Guattari. What is Philosophy? trans. Hugh Tomlinson. New York: Columbia University Press, 1994.

Deutshe, Rosalyn. Evictions. Cambridge: MIT Press, 2002.

Felshin, Nina. But is it Art? Seattle: Bay Press, 1996.

Ferguson, Russell. Out There: Marginalization and Contemporary Cultures. Cambridge: MIT Press, 1999.

Foucault, Michel. Archeology of Knowledge. trans. A. M. Sheridan Smith. New York: Pantheon, 1982.
Foucault, Michel. Discipline and Punishment. New York: Random House, 1995.

Foucault, Michel. Madness and Civilization: A History of Insanity in the Age of Reason. trans.Richard Howard. New York: Vintage, 1973.

Foucault, Michel. The Order of Things: An Archaeology of Human Sciences. trans. A.M. Sheridan Smith. New York: Vintage reissue, 1994.
Guattari, Felix. Soft Subversions. ed. Sylvere Lothringer. New York: Chaosophy, 1996.

Hyde, Lewis. Trickster Makes This World: Mischief, Myth, & Art. New York: North Point Press, 1999.

Hyde, Lewis. The Gift. New York: Vintage, 1983.

Kaye, Nick. Site-Specific Art: Performance, Place and Documentation. London: Routledge, 2000.

Knabb, Ken, ed. and trans. Situationist International Anthology, 3rd printing. Berkeley: Bureau of Public Secrets, 1995.

Krauss, E. Rosalind. Passages in Modern Sculpture. Cambridge: MIT Press, 2001.

Kwon, Miwon. One Place After Another. Cambridge: MIT Press, 2004.

Lacy, Suzanne, ed. Mapping the Terrain. Seattle: Bay Press, 1994.

Mauss, Marcel. The Gift. London: Routledge, 1990.

Montano, Linda. Performance Artists Talking in the Eighties. Berkeley: University of California Press, 1989.

Otto, Beatrice K. "Fools are Everywhere." History Today. June 2001: 33. Questia. 10 Oct. 2004 www.questia.com.

Renov, Michael. Theorizing Documentary. London: Routledge, 1993.

Rosler, Martha. If You Lived Here: The City in Art, Theory, and Social Activism: A Project (Discussions in Contemporary Culture). ed. Brian Wallis. Seattle: Bay Press, 1991.

Schechner, Richard. Performance Studies: An Introduction. London: Routledge, 2002.

Wallis, Brian, ed. Art After Modernism: Rethinking Representation. New York: New Museum of Contemporary Art in association with David R. Godine, Inc., 1984.

Willeford, William. The Fool and His Scepter: A Study in Clowns and Jesters and Their Audience. Chicago: Northwestern University Press, 1969.

What exhibitions are good at the moment?: Felix Guattari states:
Just as I think it is illusory to aim at a step—by-step transformation of society, so I think that microscopic attempts, of the community and neighborhood committee type, the organization of day-nurseries in the faculty, and the like, play an absolutely crucial role.

Centre of the artworld:: New York, London, Berlin, my studio, online

What is the Grown Man Naked Project?

As male in the world or art world, we have a tendency to maintain our own position of power or that persona of power or youth, where in reality it's lost to time and gravity. The piece speaks to that false facade.

That's why I use the idea of "the artist as fool" in most of my work

Basically I poke fun at my own self.

As a white male, I think that's all I have to work with, that and humility

Larry Caveney's Photos

Larry Caveney's Videos

Susan and Larry play tribute to Bad Company

Added by Larry Caveney
Funky Cold Medina

Added by Larry Caveney
Museum Chat

Added by Larry Caveney

Comment Wall (44 comments)

You need to be a member of 4art.com to add comments!

Join 4art.com

At 22:08 on May 27, 2012, 48073 said…: I love your latest sharp political vids.

:)

At 16:56 on March 3, 2012, alison williams said…: please larry check if that pdf i posted works - i rushing n multitasking here ! on hep main page thanks

At 20:24 on August 31, 2011, Larry Caveney said…: Dagmar-

My mailing address is:

Larry Caveney

4141 Alabama Street #4

San Diego, Ca 92104

At 17:31 on August 31, 2011, Dagmar I. Glausnitzer-Smith said…: Larry, the book will be delayed until September.

I am still interested in your text, your ideas and thoughts after I have sent you an issue.

PLease send me your mailing/postal address.

Thanks Dagmar

At 9:48 on August 24, 2011, ©NOK&T/ART said…: Freetings!

T&NOK

At 18:41 on August 8, 2011, Dagmar I. Glausnitzer-Smith said…: Ok I will send you email. Best regards for now

At 13:01 on August 8, 2011, Larry Caveney said…: deepseal2@aol.com

Larry Caveney

4141 Alabama Street #4

San Diego, CA 92104

At 7:10 on August 8, 2011, Dagmar I. Glausnitzer-Smith said…: PLease send me your email, I can not send you comments here???!!!

At 7:09 on August 8, 2011, Dagmar I. Glausnitzer-Smith said…: Larry, it would be great if you contribute with an essay but for the first version , deadline is August 15; it is a bit short notice and best for you to get more information in regards to content. After the first print it will be possible to expand. Let's see what you think. What is the best postal address?

Look out also for The Fridge Project International 2011 on my profile!

Best regards for to today.