The Chinese word for “walk” also means “to get things done” and “to move.” By walking/doing/moving, people have woven together the complex fabric of cities, history and culture. We often talk about “entering/exiting history” or “going into/coming out of a dream state.” Walking involves reality, fantasy and dreams. We also often talk about “finding a path” or “seeking the way,” using the everyday act of walking as a metaphor for the search for a goal in life. When human beings (or civilizations) encounter a heavy blow, “walking” becomes a rite to set things in motion and an act of healing. “Crack” not only refers to the spatial experience of walking, but also signifies that people always move “between” one event and the next, implying that moving “between” events always calls for strategy. This exhibition takes “Walking the Crack” as a metaphor for the contemporary state of existence, bringing together the works and writings of artists of different generations since the 1960s, from both Taiwan and abroad, and opening a conversation among them. On the second floor of Taipei Fine Arts Museum, the corridors ambiguously signify pathways, forming two crosses. The exhibition combines artworks in a wide variety of media with a spectrum of research perspectives, attempting to integrate viewing and reading into a single experience of “Walking the Crack.”

Walking creates paths, which may be shortcuts or perhaps detours. A path may start from tracking others or following in their footsteps. Sometimes people march in line. Sometimes they pace back and forth. Sometimes they walk a perilous road (for instance, we speak of risky affairs as “walking a tightrope”). These many different walking paths form lines, some running parallel to each other, others intersecting, all of them ultimately interweaving into a surface and forming a network. This is also how the exhibition connects art with daily life, artists with viewers, artworks with spaces. The viewing and reading of the exhibition are drawn together into a cycle, which implies the cycle of birth and perishing that encompasses the universe and all things.

Curator: Fang-Wei Chang 

Janine Antoni's "Mom and Dad" (1994) will be included in The Double: Identity and Difference in Art Since 1900 at National Gallery of Art from 10 July to 30 October 2022.

When two forms or images are presented together, our eyes can’t help but compare them. We “see double” and identify differences and similarities. The art of the double causes us to see ourselves seeing. The Double is the first major exhibition to consider how and why modern and contemporary artists have employed doubled formats to explore perceptual, conceptual, and psychological themes. From Matisse, Duchamp, and Gorky to Rauschenberg, Johns, Warhol, Truitt, and Hesse, this multimedia presentation features works by many of today’s leading artists, including Kerry James Marshall, Glenn Ligon, Roni Horn, and Yinka Shonibare. Through art, The Double explores enduring questions of identity and difference, especially self-identity as defined by our own unconscious, by society, and by race, gender, and sexuality.

Zoe Leonard and Janine Antoni are included in "Frida Love and Pain" at High Line Nine, Gallery 5, New York City, New York. Presented by the Chelsea Music Festival, the exhibition is on view from 2 February - 27 February 2021.

Artist Talk: Janine Antoni and Byron Kim in Conversation with Rochelle Steiner at Palm Springs Art Museum in Palm Springs, CA on Thursday, 28 January 2021 at 5 PM (PST).

As part of Palm Springs Art Museum's virtual Public Programs series, join artists Janine Antoni and Byron Kim for a conversation with Palm Springs Art Museum's Chief Curator & Director of Curatorial Affairs and Programs Rochelle Steiner. This program is free and open to the public. 

Janine Antoni is included in  “Ghosts from the Recent Past” at the Irish Museum of Modern Art, Dublin, Ireland from 1 September 2020 - 28 February 2021.

Janine Antoni is included in "Body of Water" at Magasin III Jaffa, Israel - ongoing Fall 2020.

"Body of Water" consists of three video artworks from the collection of Magasin III Museum for Contemporary Art. "Touch" records Janine Antoni’s attempt to walk across the horizon, between sky and water, at the furthest point the human eye can perceive.

Janine Antoni is included in "Raid the Icebox Now: The Chorus" at the RISD Museum as curated by Simone Leigh from 18 October 2019 to 28 June 2020.

In her "Raid the Icebox Now" installation, Simone Leigh places modern and contemporary works by Janine Antoni, Huma Bhabha, David Hammons, and Nancy Elizabeth Prophet in the RISD Museum’s ancient Greek, Roman, and Egyptian galleries. These objects are accompanied by Leigh’s own art: a new ceramic female portrait sculpture and a new sound work.

Janine Antoni will be included in "For a Dreamer of Houses" at the Dallas Museum of Art from 15 March 2020 to 31 January 2021. The exhibition can also be viewed as a Virtual Exhibition online.

"For a Dreamer of Houses," an imaginative and immersive exhibition, explores the significance of the spaces we inhabit and how they represent ourselves, our values, and our desires. Discover over fifty works from the DMA’s collection in a variety of media that demonstrate the evocative power of domestic objects and structures. The featured artists use forms derived from dwellings or furnishings to investigate ideas including belonging, alienation, fantasy, gender, and the body.

Janine Antoni is featured in the online exhibition "The Artist and The Self" at James Fuentes Gallery from 1 May to 1 June 2020. 

The exhibition will focus on photographic self-portraits made from 1969 to the present, utilizing a range of tools, from a medium-format camera to an iPhone. 

Janine Antoni will be included in "Bodyscapes" at the Israel Museum, Jerusalem from 21 February to 3 October 2020. 

"Bodyscapes" studies the concept of embodiment and the corpus as an organizing structure. Examining the relationship between nature and culture through the prism of the body, this exhibition brings together historical sources and artworks ranging from prehistory to contemporary art in a variety of media: works on paper, photographs, sculpture, paintings, video works, and installations.

Janine Antoni will be included in "Amuse-bouche. The Taste of Art" at the Museum Tinguely from 19 February to 26 July 2020. 

What role does our sense of taste play in social interactions and as an artistic material? Museum Tinguely continues its series on the senses in the arts with a group show bringing together work by international artists who address our sense of taste as a possibility for aesthetic perception. 

Janine Antoni is included in the exhibition "All of Them Witches," organized by Dan Nadel and Laurie Simmons, at Jeffrey Deitch, Los Angeles from 8 February to 11 April 2020.

This exhibition arose from a conversation we’ve been having for years about our shared affinity for a certain kind of art to which we’re drawn, can’t quite name, but recognize when we see it. Artworks and artists that share an affinity with what we thought of as a “witchy” sensibility, which we see as using the iconography of the supernatural, occult, and witchcraft to channel ideas about power, the body, and gender.

Janine Antoni's video installation, "Touch," will be on view during Miami Art Week (2 - 8 December) at Faena Festival: The Last Supper. The festival is an exploration of the connections between spirituality and food, and a platform for congregation through contemporary rituals. 

Antoni’s "Touch" will be presented in the Mobile Installation Series, screened daily from 12 – 6 PM on a billboard boat off South Beach. "Touch" is a video in which Janine Antoni set-up a temporary tightrope on the beach in front of her childhood home. Through the camera, the line of the tight rope appears parallel to the ocean’s horizon as Antoni walks back and forth. Under her weight, the wire dips to touch the horizon allowing Antoni to balance there for just a moment.

Janine Antoni is in the exhibition, "How We Live: Selections from the Marc and Livia Straus Family Collection," at the Hudson Valley MOCA. The exhibition will be on view from 12 October 2019 to 6 December 2020.

Comprised of thirty-seven artists representing twenty-one countries, this exhibition explores the ways in which artists simultaneously bring the world around them into their practice, while in turn influencing the world and environment with their work.

Janine Antoni will install her work "I am fertile ground" at the Green-Wood Cemetery Catacombs, Brooklyn, NY opening 21 September 2019. In the historic setting of the Cemetery’s Catacombs, artist Janine Antoni will present her newest installation, 'I am fertile ground'. For nearly three decades, she has used the body, most often her own, as a tool to produce her sculptural, photographic, and performative work. I am fertile ground continues and expands on this theme in her practice, connecting Antoni’s study of emotionally resonate gestures with artworks inspired by religious icons. Each object on display pays reverence to a gesture Antoni has amplified through her body and that of others, rendering the body as both exalted and fragile.

Janine Antoni will be included in the exhibition "Don't Touch Me: Acts of Faith" curated by Precious Okoyomon and Quinn Harrelson and on view at Robert Grunenberg, Berlin from 13 September - 20 October 2019. There will be an opening reception on 12 September 2019 from 5 - 9 pm. 

Janine Antoni will be included in the exhibition "Artists I Steal From" - curated by Alvaro Barrington and Julia Peyton-Jones at Galerie Thaddaeus Ropac in London and on view from 5 June until 9 August 2019. "Artists I Steal From" is an exhibition about looking at art through the eyes of an artist. Artists have always borrowed from one another; however, few are as candid about their sources – about who they steal from and why – as the artist Alvaro Barrington (b. 1983, Caracas, Venezuela). "Artists I Steal From" brings together works by 49 artists, some of whom have never been shown in the UK before, some who are considered to be among the greatest artists of our time. All have directly influenced the way Barrington creates, thinks and sees, and all have perfected techniques or solutions that he has been inspired to ‘steal’.

Janine Antoni will be included in "The Sensation of Space" at The Warehouse, Dallas TX from 20 May - 15 November 2019. This exhibition looks at the ever-expanding ways artists create sculptures that generate, activate, and occupy space in all its physical and psychological manifestations. At its foundation is a dialogue between the Raymond and Patsy Nasher Collection, one of the world’s finest collections of European and American modern and contemporary sculpture, and The Rachofsky Collection, a post-WWII collection of art from around the world with focuses in identity, process, and conceptual work. The Sensation of Space explores the material, formal, and thematic connections in works dating from the mid-19th century to the present and illustrates how artists continually seek out new ways to redefine traditional notions of sculpture.

The Contemporary Austin is pleased to present Janine Antoni and Anna Halprin: Paper Dance, on view from 26 January - 17 March 2019. Paper Dance is both a retrospective spanning thirty years of work by the New York–based artist Janine Antoni (Bahamian, born 1964 in Freeport, Grand Bahama) and a solo dance performance developed in collaboration with pioneering dancer and choreographer Anna Halprin (American, born 1920 in Wilmette, Illinois). On view on the second floor of the Jones Center, The Contemporary Austin’s downtown venue, Paper Dance consists of a wooden dance floor and thirty-nine crates containing thirty-eight works of Antoni’s sculpture and photography from 1989 to the present. During the exhibition, Antoni will present a series of performances within the gallery. Throughout each performance the artist will reposition and uncrate artworks so that the space changes and evolves over time, highlighting three exhibition cycles that address major themes of Antoni’s work: absence, motherhood, and identity.

Accelerator at Stockholm University is pleased to display two works by Janine Antoni, Moor and Touch, on view from 30 October - 10 November 2018. This exhibition is made in close collaboration with Magasin II, who have lent these works from their collection. Moor and Touch present the results of two performative acts in which life situations and life stories are linked together.

Moor will be displayed in the Aula Magna gallery. Janine Antoni learned how to braid using traditional rope-making techniques. This piece is comprised of unusual and personal objects donated to the artist from multiple sources. The sculpture, which takes the form of a rope, contains everything from cat hair and dental floss to Christmas lights and plant samples. The work still continues to evolve today and is constantly being extended.

The video installation Touch, made in 2002, is a progression from Moor and will be projected on Accelerator's future entrance. In the video, Antoni is balancing on a line that runs parallel to the horizon in front of her childhood home in Grand Bahama Island. Antoni describes the training process as an exercise in feeling comfortable with being out of balance.

For the second program in their collaboration with San Francisco Dance Film Festival, Catharine Clark Gallery will present the film Spirit Labour, in which Hugo Glendinning and Adrian Heathfield follow the creative practice of sculptor and performance artist Janine Antoni and her collaborations and conversations with the choreographer Anna Halprin and the writer Hélène Cixous.

Spirit Labour traces the lines of connection between these artists inclined toward elemental exposure and non-human forces. the film asks: what kind of labour is it, to work communally with the bodies, movements, expressions and affects of others, to dedicate one's lifework to the othering that issues from these relations? How might we think of these labours and affinities as forms of infrastructure?

Hosfelt Gallery is pleased to present a group exhibition with works by Janine Antoni, 23 June - 11 August 2018.

2018 is the bicentennial of Mary Wollstonecraft Shelley's novel, Frankenstein. The novel's lasting impact is grounded in the fact that it is a parable about human nature. With this in mind, the exhibition begins with contemporary artists looking at the body and our attempts to conquer death; advances in science and technology; the animation of objects or machines and artificial intelligence.

The Aldrich Contemporary Art Museum is pleased to present the group exhibtion, The Domestic Plane: New Perspectives On Tabletop Art Objects, with works by Janine Antoni. The exhibtion will be on view from 20 May 2018 through 13 January 2019. 

The Domestic Plane: New Perspectives on Tabletop Art Objects, a meta-group exhibition in five chapters—organized by five curators, including more than seventy artists—that will feature tabletop art objects from the twentieth and twenty-first centuries. The experience could be likened to theatre, as viewers encounter objects that interact with each other, their audience, their setting, forging relationships to be examined and meanings to be discovered in their adventurous methods of display. 

The San Francisco Museum of Modern Art is pleased to present Selves and Others: Gifts to the Collection from Carla Emil and Rich Silverstein, a group exhibition with works by Janine Antoni. The exhibition will be on view from 24 March - 23 September 2018. The most compelling portraits reveal more than simply a sitter's physical appearance- they hint at an individual's character, suggest a psychological state, or perhaps even offer a glimpse of the sitter's soul. Drawn from many generous gifts Carla Emil and Rich Silverstein have donated to SFMOMA's collection since the late 1990s, this exhibition features portraits of the self; of personas or avatars; of family members, lovers, and friends; and of strangers. 

When invited to create a retrospective of her sculptural works, Janine Antoni preferred to ask herself what her works would look like when interpreted by other artists and translated into movement. Together with the choreographers Anna Halprin and Stephen Petronio, Antoni created unique performance artworks whose main focus is corporeality, revealing the enormous potential that lies in the combination of sculpture and dance. Published in cooperation with the Fabric Workshop and Museum, Philadelphia, and featuring critical essays by a diverse array of writers and art theorists—including feminist philosopher Hélène Cixous—ALLY shows how these artists have worked together to create a new pictorial language.

ALLY: Janine Antoni, Anna Halprin, Stephen Petronio published in cooperation with the Fabric Workshop and Museum, Philadelphia.

Available for sale on 15 February 2018.

Janine Antoni is included in the group exhibition Wanderlust, at the University of Buffalo Art Galleries.

One of the largest and most ambitious contemporary art exhibitions ever presented by the UB Art Galleries, “Wanderlust” questions and explores the complex nature of artists as voyagers — those who leave their studio to create work outside of the confines of four walls. It is a comprehensive survey of the artist’s need to roam and the work that emerges from this need.

Artwork ranges from drawing, photography, sculpture, installations, film and video to performance and social practice taking place in both urban and rural landscapes, and include works that are narrative, political, performative, and conceptual examples of contemporary art.

Janine Antoni is included in the group exhibition No Place Like Home, at the Israel Museum.

In No Place Like Home, the Museum’s galleries are transformed into a domestic interior displaying artworks inspired by everyday household objects, inviting the visitor to reflect on the representation of the domestic realm in modern and contemporary art. In celebration of Dada’s 100th anniversary in 2016 and the centennial of Duchamp’s Fountain in 2017, the exhibition examines how artists have incorporated commonplace household items into their work, removing them from the context of the home in ways that subvert the mundane experiences of daily life. Featuring works by artists including Marcel Duchamp, Man Ray, Claes Oldenburg, Andy Warhol, Martha Rosler, Louise Bourgeois, Mona Hatoum, and Ilit Azoulay, the exhibition reexamines the concepts negotiated in the domestic sphere, including gender roles, memory, nostalgia, and questions of place and displacement.

Janine Antoni is included in the group exhibition, The Intersectional Self, at the 8th Floor.

The Intersectional Self, an exhibition centered on gender and feminist politics in the age of trans-identity, features the work of artists Janine Antoni, Andrea Bowers, Patty Chang, Abigail DeVille, Ana Mendieta, Catherine Opie, Adrian Piper, Genesis Breyer P-Orridge, Cindy Sherman, and Martha Wilson. The exhibition both explores how notions of femininity (and alternately, masculinity) have shifted in the context of newly defined gender identities and how family structures have been reimagined and reshaped through relatively recent advances in reproductive medicine and evolving gender roles. Ultimately, The Intersectional Self examines how feminism in its many forms has changed the world as we know it. 

Janine Antoni/Stephen Petronio: Entangle presents three works that combine action, video, and installation. Rope Dance, On the Table, and Honey Baby explore a range of ongoing multidisciplinary collaborations, which the artists began more than three years ago, setting out to blur the lines between artist, dancer, choreographer, and audience. Each offering has one element in common—a wooden floor—that frames different activities understood through the body.

Antoni and Petronio, who emerged from the worlds of visual art and dance respectively, will be in residence at Skidmore College as the 2016-17 Don and Judy McCormack Endowed Visiting Artist-Scholars. The artists will visit campus from March 1 to 4 and April 3 to 7 to engage with students, faculty, and the public. Public talks will be at 5:30 pm March 2 and 7 pm April 6, both at the Tang Teaching Museum.

Janine Antoni is included in Anguish: The Grave Misgivings of Remembrance at the Institute of Contemporary Art, Maine College of Art

Curated by Cynthia Nourse Thompson, associate professor and director of the MFA programs in Studio Art and Book Arts + Printmaking at the University of the Arts in Philadelphia. Anguish: The Grave Misgivings of Remembrance is a visceral portrait of isolation, desire and remorse. Removed from the shadows, a collection of international artists present a visual dialogue that is strikingly raw and at the surface of our emotional armature—one that we work diligently to prevent illuminating.

Janine Antoni will be included in This Is a Portrait If I Say So: Identity in American Art, 1912 to Today at Bowdoin College Museum of Art, 25 June - 23 October 2016.

With a title that plays on Robert Rauschenberg´s infamous 1961 portrait of Iris Clert–a telegram that simply states, “This is a portrait of Iris Clert if I say so,”–this groundbreaking exhibition examines the rise and evolution of symbolic, abstract, and conceptual portraiture in modern and contemporary American Art.

The Fabric Workshop is pleased to present Janine Antoni: Ally, 21 April through 31 July 2016.

Instigated by visual artist Janine Antoni in collaboration with preeminent choreographer, theatre, and community artist Anna Halprin and pioneer choreographer Stephen Petronio, Ally is a series of works combining sculpture, installation, film, and performance. These works are being created through the Artist-in-Residence Program of The Fabric Workshop and Museum and will premiere at the institution in April 2016.

In Ally, Antoni pursues her interest in bodily presence, touch, and movement. Through a series of unique collaborations with Halprin and Petronio, the trio investigates the translation of ideas across forms and the vast potential that lies in their relations. The encounter between these artists from distinct practices and generations becomes a means of unearthing unknown affinities and historical entwinements. In alliance the artists forge a new visual language of tactile material held within processes of transformation.

Janine Antoni will be included in Unfinished: Thoughts Left Visible at the Metropolitan Museum of Art, 18 March – 4 September 2016.

This exhibition examines a subject critical to artistic practice: the question of when a work of art is finished. Beginning with the Renaissance masters, this scholarly and innovative exhibition examines the term "unfinished" in the broadest possible way and includes works left incomplete by their makers, which often give insight into the process of their creation, as well as those that partake of a non finito—intentionally unfinished—aesthetic that embraces the unresolved and open-ended. Some of history's greatest artists explored such an aesthetic, among them Titian, Rembrandt, Turner, and Cézanne. The unfinished has been taken in entirely new directions by modern and contemporary artists, among them Janine Antoni, Lygia Clark, Jackson Pollock, and Robert Rauschenberg, who alternately blurred the distinction between making and unmaking, extended the boundaries of art into both space and time, and recruited viewers to complete the objects they had begun.

Janine Antoni, Donald Moffett and Gary Simmons will be included in Come As You Are: Art of the 1990s at the Blanton Museum of Art.

Come As You Are: Art of the 1990s is the first major American museum survey to historicize the art of this pivotal decade. The exhibition showcases approximately 60 works in a diverse range of media by 45 artists including Janine Antoni, Donald Moffett, Byron Kim, Felix Gonzalez-Torres, Nikki S. Lee, Fred Wilson and Kara Walker. The exhibition offers an overview of art made in the United States between 1989 and 2001—from the fall of Communism to 9/11—and is organized around three principle themes: the so-called “identity politics” debates; the digital revolution; and globalization. Its title refers to the 1992 song by Nirvana (the quintessential 90s band); moreover, it speaks to the issues of identity that were complicated by the effects of digital technologies and global migration. The artists in the exhibition made their initial “point of entry” into the art historical discourse during the 1990s and reflect the increasingly heterogeneous nature of the art world during this time when many women artists and artists of color attained unprecedented prominence.

Janine Antoni is included in Introspective, a show of artists' self portraits at BravinLee, 4 February - 19 March 2016.

The third installment of SITE’s 20th Anniversary series will include installations by Janet Cardiff and George Bures Miller, Jim Hodges, Susan Silton. Projects by Ann Hamilton and Janine Antoni with Stephen Petronio have been extended to run through Jan. 3, 2016.

SITE presents Honey Baby, a collaboration between Janine Antoni and the choreographer Stephen Petronio. This work is the second collaboration between Antoni and Pertronio, the first being Like Lazarus Did (2013), a dance and live art-installation. Honey Baby is a fourteen-minute video inspired by motion in utero, exploring the unique relationship between subject and host.

18 July - 4 October 2015

Fluent~Collaborative & testsite are pleased to present incubator, a collaboration between visual artist Janine Antoni and choreographer Stephen Petronio that prompts the conversation between sculpture and dance. Curated by Louis Grachos and Andrea Mellard, the presentation at testsite will feature site-specific installations, video work, sculpture, and photography. The exhibition is co-organized by testsite and The Contemporary Austin and opens at testsite on Sunday, May 3rd with a public reception from 4 to 6 pm and an artists-curators talk at 4:30 pm.

Sunday 3 May 2015.

From the Vow Made is a solo exhibition by Janine Antoni presented at Luhring Augustine. The show includes a collection of seven sculptural works and a video collaboration with choreographer, Stephen Petronio.

For the past seven years, Antoni has turned to dance and movement for her inspiration. She has engaged in several somatic movement practices to further her exploration into what it means to live from an embodied place. These new works emerge from her somatic revelations and her study of milagros, sculptural votive offerings used in latin cultures. Ranging from body parts to domestic objects, milagros are often hung in churches as symbols of things in life requiring prayer, healing and protection. Antoni’s milagros are prayers for embodiment.

21 March - 25 April 2015

Anthony Meier Fine Arts is proud to announce that Janine Antoni and The Fabric Workshop and Museum (FWM) in Philadelphia are the recipients of a 2014 grant from The Pew Center of Arts & Heritage. FWM has been awarded a grant for the production of Ally: a piece Antoni conceived of as a collaboration with pioneering choreographers Anna Halprin and Stephen Petronio. Ally will be a performance-as-exhibition that will include the dancing body and malleable environments.

Janine Antoni will be included in Home Truths: Photography, Motherhood and Identity, an exhibition at The Photographers' Gallery exploring representations of motherhood through the works of eight contemporary artists.

11 Oct 2013 - 5 Jan 2014

The Mattress Factory is pleased to present Janine Antoni, a solo exhibition featuring new work by Antoni that explores the human condition while speaking directly to the viewer’s own body.

12 September 2013 - 30 March 2014.

Janine Antoni collaborates with Stephen Petronio Company for the world premiere of Like Lazarus Did. Collaborators include composer Son Lux, performing live with members of yMusic; The Young People's Chorus of New York City (Francisco Núñez, Director); visual artist Janine Antoni; and lighting designer Ken Tabachnick.

30 April – 5 May 2013

The Joyce Theater
175 Eighth Avenue at 19th Street NYC