Nick Cave at Mass MoCA

If most museums are boxes for static
display, MASS MoCA has always aspired
to be more like a turntable….At its heart,
the expansion of Mass MoCA deepens our
commitment to the interplay of visual
and performing arts at a time when they
are increasingly intertwined, fluid, and
mutually reinforcing.”

“Originally, The buildings were abandoned,
pigeon infested, water was coming in the
roof, beginning slowly to fall apart from 1986
until the year we finally started construction
in 1997. So, it took 10 full years raising
money, working with artists and collectors,
working with governors as they would come
and go, trying to convince them that this
project had logic and was not a crazy thing.
The idea of putting a very large museum of
contemporary art in North Adams is not the
first thing that comes to mind when you’re
thinking of economic redevelopment. We had
a lot of explaining to do…”

These buildings are
gorgeous, a factory campus
26 buildings 600,000 sq. ft of
floorspace, 16 acres, roughly
a third of the downtown
business district of North
Adams. The former occupant,
Sprague Electric, had closed
in the mid 1980s when we
first proposed this idea. It was
simple: clean the buildings up
and install these large bodies
of work which were as much
environmental as landscape
in orientation.
Joe Thompson
Director of Mass MoCA

Building 5
These Installations are large, and unexpected.
Very industrial, there’s often machinery involved.
They’re all SITE SPECIFIC.

Building 5
The space of the most ambitious pieces.
Extravagant and large....it surrounds you.
Immersive installations!
Much of it is suspended from the ceiling
Ambient, and it surrounds you
It’s SITE SPECIFIC!

Ann Hamilton
Corpus…
2004
installation
40 ceiling-mounted paper-drop mechanisms consisting of a computer-controlled,
pneumatically moved vacuum paper lift actuator, compressor, paper; recorded
sound; amplifiers; 24 bell-shaped speakers; spinning speaker mechanism; silk
covered windows; light

Xu Bing
Phoenix
2013
installation

Tim Hawkinson
Uberorgan
2003
installation

Tim Hawkinson
Uberorgan
2003
installation
https://www.youtube.com/watch?v=-D5aOUJ0QXM
SAMPLE

Heaven
• It’s like earth but with no pollution. Another life to live....
• So peaceful. You’ve gotta die to get there but....you dont’ die once you’re
there.
• There’s nothing there...but it’s perfect.
• Rachel: There’s nothing there to envy others. On Earth, people tend to want what
others have. In Heaven, we’d all be equal in a way.
• Kristen DLCl: Content with whatever you have. Completely at peace. There is no
want.
• (If we’re talking biblically) No more pain, no more sorrows.
• John: This is like reliving the best memories you have.
• Steve: It’s a place to reunite with others.
• It’s more like a place where we’re living now....people who deserve to get
there end up there? It’s perfect.

Heaven
• Gio: It’s unknown.
• Peaceful and quiet and there’s a bunch of white. But no black. There’s black
people but no black.
• Alex: If you don’t like peace and quiet, you gotta get used it. Aint nobody gonna change
heaven for you.
• Heba: WAIT WAIT. The Heaven I go to will have Michael Jackson singing tunes…quiet is
nice too. But I want MJ there.
• Erin: There’s no chaos, there’s no fights.
• A result of attaining salvation.
• A reward for what you do here.
• Raian: I don’t think Heaven is a reward…it’s just a place you’re meant to be.
• Chess: Are you referring to Purgatory?
• Gio: Maybe it’s not a reward, It’s like doing your homework. You get punished if you
don’t do it...but there’s no reward.
• It’s paradise.
• A concept about….life after life.
• It’s a place where if you’re good in life you get to go to heaven. If someone
dies you hope they get to heaven.

Nick Cave “Until”Nick Cave, has created an
active space, titled Until,
at the Massachusetts
Museum of Contemporary
Art (MASS MoCA, field trip
May 1st! WHAT!!) where
shiny kinetic mobiles and
an overwhelming space
give way to stark images
of guns, bullets, and
targets.
These weapons
positioning all viewers of
this artwork as culpable,
vulnerable, and
potentially under attack.

Stretching out over more than
an acre in MASS MoCA’s
Building 5, this exhibition
unfolds by first taking us down a
path we’ve been down before—
looking closely, seeing
something, and then choosing
to look away. Cave impresses a
spectator (you’re really a
spectator first, then a viewer,
and finally a participant) with
beautifully cut, colorful wind
spinners you’ve seen a million
times in yards across the
country. Except when you look
closely, you’re aware that
you’re seeing colorful,
glittering guns and bullets.

Nick CaveThe aim of Nick Cave’s
“Until” is pointed at
sparking discussion
about important issues
in a space that is at
simultaneously
dazzling, provocative,
and — ultimately —
optimistic.
Cave believes in
humanity, celebrating
possibility while also
creating a forum for
critical discussion that
provokes the question,
“Is there racism in
heaven?”

The path empties out
into the middle of the
gallery, and atop a
large cluster of
chandeliers sits a cloud
you can literally climb
into using flights of
stairs similar to those
used to board planes.
When you get to the
top you’re confronted a
second time in a similar
way, as familiar objects
and images are
juxtaposed with others
more controversial,
such as black lawn
jockeys.

A brief tangent...
There are conflicting sources about the lawn jockey
as a symbol. Some harken it back to a welcoming
gesture to provide guests on horseback with a post
to hitch their horse. Some are strictly decorative.
There is a common myth that these were symbols
used for the Underground Railroad, though this idea
has been widely debunked.
Regardless, the lawn jockey evokes a history of the
old south to most, and equestrian culture to some.
“Jocko” Style “Cavalier Spirit” Style

A brief tangent...
“I do believe that there is a consensus
view in African American communities
that black lawn jockeys are
demeaning relics of a racist past.
They may not have started out with a
racist meaning — or always had that
meaning — but that is the meaning
they have today. There are,
undoubtedly, non-racist reasons for
owning and displaying black lawn
jockeys, but it would be hard for an
adult American to claim that he or she
does not know that many African
Americans find lawn jockeys racially
offensive, especially the ones with jet-
black skin and oversized lips.”
--David Pilgrim, Curator of the Jim Crow

Is there Racism in Heaven?
• KT: Yes and no. People may always have racist
thoughts….but it has to do with how well you control
yourself. This is a universal problem. Heaven is the
total opposite of Earth.
• Chess: I can’t reconcile the idea that racism can
exist in “paradise.” On the other hand…if there
ISN’T racism in heaven, that means a lot of people
have died thinking they would go to heaven but
never actually going there.
• Dolfo: If this is a space that we all share when we
die…there would be an innate racism...but it
wouldn’t be heavenly. If this is a reward or a
paradise, then it couldn’t be.
• Janel: It’s like when people die and we say “they’re
in a better place.” If there’s racism is heaven, what’s
the point of going there?

Is there Racism in Heaven?
• Angel: I hope not.
• Cailan: This is quite complicated, since we were
talking about perfection and utopia. If racism were
there it would make it imperfect.
• Camila: Racism wouldn’t exist. Since it’s supposed
to be a place of perfection. There’s no judgement,
because everyone is perfect.
• Angel: This is implying that Heaven has rules. Do
these rules evolve with us? In the past, white people
used the bible as proof that black people were
inferior. The idea of heaven used to be different, so
has it been adapted to modern times?
• Anesia: Adding on to this, everyone has their own
version of what heaven is. If it’s supposed to be
“perfect” there could be different versions of heaven,
with certain groups not allowed to be there.

“It’s very disturbing what’s going on right now within the black community. Not only
Chicago, but around the country with police brutality. These unarmed black men are
being killed. I mean it just goes on and on…At the end of the day this is me giving
back to the community and being a sort of change agent. I want to change our way
of engaging with one another. I want to use art as a form of diplomacy.”
• .
• .
• .
• .

“It’s very disturbing what’s going on right now within the black community. Not only
Chicago, but around the country with police brutality. These unarmed black men are
being killed. I mean it just goes on and on…At the end of the day this is me giving
back to the community and being a sort of change agent. I want to change our way
of engaging with one another. I want to use art as a form of diplomacy.”
• Alex: This makes a lot of sense.
These lawn jockeys are like the
individuals who die from racist
brutality. They’re treated poorly
but make it to heaven
nonetheless.
• .
• .
• .

How would you describe “identity?”
• Sean: Religion plays a part….it may be different than what others belief and it can
determine your relationship with them. Maybe if you strongly believe in something
you may try to “sprinkle a lil’ Jesus on him.”
• Jess: Depending on where you come from, it can affect how you live your life and
what is morally right. It shapes who you are.
• Michelle: How you see yourself and how you present yourself to the world.
• Angel: I present myself to the world as an extroverted gay human being.
• Angel: This allows you to find common ground with others..
• John: In order to realize your identity, you need to go
through some things that make you up. It’s what you do.
What you’ve done. They’re like fragments. Little things
that make you up completely.
• John: It’s not just what you think, it’s what others think.
• Cailan: Things we see or experience can impact how we
identify ourselves.
Do now: Form a group of 3-4….

Are there “Fragments” to your identity that you need to hide?
From Who? For what reason(s)?
• Rachel: Not everyone comes out with their
sexuality, they may hide their true selves, from a
fear of judgement or hurt. It’s like protecting yourself.
• John: It all depends on WHO you’re hiding it
from….You may act differently between school and
home. If you act a certain way, those around you
may not look at you the same way.
• Andia: Thinking about my parents, they have
different customs and expectations for how a female
should act. How a child should act.
• .
• .

How would you describe “identity?” (write it down!)
• Jess: How you choose to define yourself. It could be a characterization (race,
religion, etc) OR it could be a spectrum of things. (thanks Alex!!)
• Chess: A belief, concept, or label that relates to a group or sets them apart from
others. Identity attaches individuals to groups.
• JJ: BOOOOO!
• Rodolfo: It could be how you define yourself, or how others define you. An ID
number that is given to you for example….but you could also relate yourself to
groups.
• KT: Identity can be your relationships with people.
• Gio: Maybe your identity could be you role, and you could have multiple roles
in life such as....”mother” “teacher” or “friend” or “dictator” or “president” or
• Anna: It’s not something that’s given to you…you choose it yourself. You’re NOT just
an ID number!!
• KT: There’s the intention and the interpreation ...
Do now: Form a group of 3-4….

Are there sides to your identity that you need to hide?
From Who? For what reason(s)?
• Raian: There’s sides to my identity…it depends on who I
want to talk to....I hide certain parts that people may find
“off” about me.
• Heebs: With a friend, you may hide things you’ve been
through. Some don’t feel the need to share the
‘skeletons in their closet’ due to fear of judgement.
• Dolfo: If speaking with my mother...I would first of all
speak in Spanish in a moderate tone. But with friends,
more profanity.
• Derricka: With a police officer, I would just stare angrily.
• Raian: Everything I say to a police officer seems like it’s
being used against me. I would just say less and less.
• KT: With ANY principal, maybe more reserved, and
polite. You’re stuck with this peson for four years! You
want to be on their good side.
• .

Nick Cave Biographical info
Nick Cave was born in Fulton, Missouri in 1959. He
is most well known for his “Soundsuits”—surreally
majestic objects blending fashion and sculpture—
that originated as metaphorical suits of armor.
Fully concealing the body, the “Soundsuits” serve
as an alien second skin that obscures race,
gender, and class, allowing viewers to look without
bias towards the wearer’s identity. Cave regularly
performs in the sculptures himself, dancing either
before the public or for the camera, activating their
full potential as costume, musical instrument, and
living icon. (art21)
He lives and works in Chicago and is represented

Nick Cave’s Soundsuits
Untitled
2006
twigs

Nick Cave’s
Soundsuits
Untitled
2006
twigs
Nick Cave’s
Soundsuits
1992 Original
twigs
Nick Cave made his first Soundsuit in
response to the 1991 beating of Rodney
King by Los Angeles police officers. At the
time, he had just moved to Chicago and taken
a job teaching at the School of the Art
Institute of Chicago, where he now heads the
graduate fashion program.
“That incident was so traumatic for me. It
flipped everything upside down,” he says.
“But art has been my savior. I was able
somehow to translate those emotions.”
Since then, Cave has produced over 500
Soundsuits, incorporating everything from
dyed feathers and sequins to plastic bags and
pipe cleaners — much of the material
scavenged from thrift stores and flea markets.
(Time)

Soundsuit
2015
Mixed media

Soundsuit
2016
Mixed media

Soundsuit
2013
Mixed media
“[These are] full body suits contracted of
materials that rattle with movement…like a
coat of armor, they embellish the body while
protecting the wearer from outside culture.”

Soundsuit
2012
Mixed media

….
….
Buttons and other media
https://www.youtube.com/watch?v=P
wupTQt9zxY
SOUND :48

Observations…
• Steph: The artist is Nick Cave and he made 500 Soundsuits… they’re about identity and are
seen as an “armor” to protect oneself (the wearer)
• Cailan: They were first made as a sculptural decoration…
• Michelle: They were kind of an accident...and didn’t realize they made sounds until he put
them on.
• DLC: These are about hiding aspects of your identity, like race, gender, etc.
• .Jess: It’s not just what you’re identity is…it’s how you’re received by others. Like the phrase
“Run like a girl” The word “girl” isn’t the problem, it’s how it’s received.

Observations…
• Jess: They remind me of common household objects, natural things like plants, eggs, etc.
• KT: I thought they were just fun to play around with….but the materials important in each
one...intended to cover the color of your skin, race, gender, etc.
• Dolfo: They seem to reference common things.
• ANNA: None of them show any skin or references to what the wearer looks like.
• Raian: The Suits don’t have to conform to the human shape. They’re abstract, and colorful,
and each suit has an idea. I don’t know.
• JJ: *insert confusing boot comment*
• .

“[When you see it,] you sort of try to identify —
what is your position here? How do you stand up to
this object? How do you come to it, without any sort
of judgment? So I think there are a lot of things that
we’re encountering — you can’t identify a gender,
race, or class, so you’re just looking for that one
thing.”

What does Nick Cave seem
like as a PERSON?
Describing Soundsuits!
https://www.youtube.com/watch?v=PwupTQt9zxY
• KT: He seems like a curious person… choosing objects
he finds and pushing into new ideas even if they aren’t
his first intention.
• Arielle: His suits have cool and creative ideas behind
it.
• Chess: The suits are innovative. I didn’t know I had
expectations until I realized he didn’t quite fit them.
• Janel: I was expecting his voice to be more
masculine. This doesn’t take away from his art,
which is BOMB.
• JJ: As a person, he seems pretty chill. Like he keeps to
himself.
• HEEBS: He seems calm and reserved. IT’s funny to see
that his art is so loud and colorful and BIG!

What does Nick Cave seem
like as a PERSON?
Describing Soundsuits!
https://www.youtube.com/watch?v=PwupTQt9zxY
• Sean: He seems laid back. The way he talks about
his artwork is proud, accomplished, like he’s done
a lot.
• Jess: He seems like he just goes with the process.
Like he’s not totally sure how he’s going to get all
the materials.. The idea develops with the
process.
• Rachel: The more it develops the more inspiration
you get.
• Lina: Changing an idea in the process can change
the meaning itself. Cave was talking about the suit
being inspired by Rodney King but he also realized
that this armor makes a sound…this changed the
meaning of it.

TM 13
2015
Mixed media
While Cave’s enigmatic, otherworldly Soundsuits are as
vibrant as ever, there’s one that holds an especially
timely message: TM 13 was created in 2015 in memory
of Trayvon Martin, the unarmed Florida teenager who
was fatally shot by former neighborhood watch
leader George Zimmerman in 2012.
The sculpture takes the form of a black man in a hooded
sweatshirt—a nod to Martin’s much-discussed attire at
the time of the attack—with molds of Santa Claus, a
teddy bear, an angel, and other traditional symbols of
childlike innocence strapped to the figure with netting.

Enclosed in the woven net, the figure
resembles a hunted animal that has
been captured. The toe of a single
sneaker pops out from beneath the
covering. The title of the work refers
to Martin’s initials and to the year
Zimmerman was acquitted.
Cave said of this piece, “Being
caught in someone else’s perception
of one’s own skin, own home, own
self, makes navigating your own path
infinitely more dangerous,”
How do you navigate that danger?

• KT: (train situation): You can walk away, find
another car at the next stop. Flee. Or turn up your
music in the corner and avoid eye contact.
• Erin (train sitch): Pretend you’re sleeping. (avoid
confrontation)
• long term solution: Change your appearance to
be seen in a different way. Or accepted by
society(ies)
• (school situation)
• KT: (home situation): AVOID THE PARENTS
WHEN YOU KNOW YOU”RE IN TROUBLE. Pin it
on a younger sibling.
• Spend 2 hours in the shower or bathroom.
OR…Pretend to sleep.
• Go out of your way to do nice things to cover it
up…
• Alex: If you know the person, you can maybe
slowly change their mind…but on the train, it’s a
• Chess: If we find ourselves in a position
where other people’s assumptions are
significant, we don’t want to be perceived
as a threat. So we start making
assumptions about the assumer.
• Raian: I keep my distance from the
assumer…move to a different part of
the train.
• JJ: There’s a lot of variables here.
• Heebs: Everyone can be a threat. You
can’t just assume someone is dangerous
because of their skin color or whatever.
• Dolfo: It’s second nature that we want to
identify potential threats. If it’s tangible we
can stop it.
• Janel: If somebody looks at me, I’ll look
back at them. Then there’s an eye-roll,
then I’ll hold my bag and phone closer.
What actions can we take to ease these
negative perceptions?

• Michelle: There are some folks who
decide to be wise and avoid dangers and
others like to face it head on. Both can
backfire.
• Angel: When people are not comfortable,
they may stick to the “norm” until they’re
in a different space. They may pretend to
be someone they’re not…this can have a
big toll on your life.
• Brianna OG-Art Historian! Norms really
do take a toll on people, they hide behind
it...like a “Dr. Jekyll/Mr. Hyde” situation.
Hiding who you truly are can kill your true
self. You lose track of all those layers
underneath it all.
• Brave person (John): The biggest
danger is losing who you really
are…or who you used to be.
How do you navigate that danger?NAVIGATION/ Maneuvering TO-DO LIST
 Don’t provoke the norm. ??
Learn to Code-Switch. “match the
vibe”
Surround yourself with people who are
accepting.
This is a bit unrealistic…not
everyone is going to be accepting.
 Find a location to test out that identity?
 Be yourself up front and PAY ATTENTION
to who’s okay with you.

How I go about looking for materials
is that I jump on a plane, one-way
ticket, and I’ll fly to Washington
State, and I’ll rent a cargo van, and
then I just pull out my phone and plug
in antique malls as I’m traveling
back to Chicago, Illinois. So that’s
how I go about scouting and looking
for materials.
I’m learning about the culture of the
Northwest, versus Southeast, and
just what are the differences, in terms
of excess and surplus, that are going
on there. It’s just so much stuff.
And, you know, people think that I’m
a hoarder, and I say I’m not,
because what I need is really outside
of my door. When I need it, I can go
out and get it, because it’s just
available, in that sense.
Where do we go shopping for materials in NYC?
How do artists find new sources for non-traditional
materials?
• Wing: Thrift stores!! (not the vintage shop)
• Michael: Go to Astoria. Find the antique shop.
There’s a great horse-lamp
• Jess: Different ethnic neighborhoods for specific
things. Like Butala in Jackson Heights
• Steph: Street festivals, Chelsea Market
• Kozak: FASHION DISTRICT 37th and 7th ave!
And Materials for the Arts (LIC)

How I go about looking for materials
is that I jump on a plane, one-way
ticket, and I’ll fly to Washington
State, and I’ll rent a cargo van, and
then I just pull out my phone and plug
in antique malls as I’m traveling
back to Chicago, Illinois. So that’s
how I go about scouting and looking
for materials.
I’m learning about the culture of the
Northwest, versus Southeast, and
just what are the differences, in terms
of excess and surplus, that are going
on there. It’s just so much stuff.
And, you know, people think that I’m
a hoarder, and I say I’m not,
because what I need is really outside
of my door. When I need it, I can go
out and get it, because it’s just
available, in that sense.
Where do we go shopping for materials in NYC?
How do artists find new sources for non-traditional
materials?
• Thift shops (NOT vintage stores)
• THE GARBAGE Go dumpster diving
• The park!
• Neighbors!
• Wealthy neighborhoods on trash collection day.
• Gio: Go to “Shocking Art Supplies.”

In 2013, Chicago-based
artist Nick Cave transformed
Grand Central Terminal’s
Vanderbilt Hall with a piece
called HEARD•NY.
He created a herd of thirty
colorful life-size horses that
broke into choreographed
movement—or
“crossings”— twice a day,
accompanied by live music.
The project was presented
by Creative Time and MTA
Arts for Transit as part of a
series of events celebrating
the centennial of Grand
LOCAL NEWS!

For HEARD•NY, Chicago-
based artist Nick Cave
transformed Grand Central
Terminal’s Vanderbilt Hall
with a herd of thirty colorful
life-size horses that broke
into choreographed
movement—or
“crossings”— twice a day,
accompanied by live music.
The project was presented
by Creative Time and MTA
Arts for Transit as part of a
series of events celebrating
the centennial of Grand

NYTIMES VIDEO:
https://www.youtube.com/watch?v=iBALj_Um1fc

How is this piece different than Cave’s other work
we’ve seen?
• Gio: The performers do a lot more in the suits than
we can see. Each movement is a lot more rigorous
than we can tell when they’re wearing the suit.
• JJ: The pictures just look like it’s fun, but the video
seems much more serious. There’s a lot of practice
that goes into this, and identity
• KT: Similar to his other soundsuits, you need to see
it in motion in order to experience it fully. This work
seems site specific to GCT.
• Anna: How do they breathe in the suit? Similar to
Doomocracy, this is site specific and a “pretty crazy
idea to bring to life.”
• Alex: They seem really interactive with the public.
• HEEBZ: Lots of unrealistic colors but the
movements make it seem like real animals… There’s
so much dedication put in by the dancers, from Alvin
Ailey.

How is this piece different than Cave’s other work
we’ve seen?
• Rachel: This is more interactive. It’s not in a
traditional art space like a museum. ALSO…people
at GCT are in a rush...this is like a distraction from
that.
• Sean: It’s more organic because of the dancers
from Alvin Ailey.
• Jess: Compared to his other sounds suits which
are meant to hide and shield the person…these
suits are meant to ‘amplify the personality.’ instead
of hiding, this is about expressing OUT.
• Tash: he’s working with more people. Compared to
Until at MassMoCA he’s making it more interactive
or collaborative.
• Cailan: It seems like there’s a lot more preparation
for this than the other sound suits. Getting all the
dancing worked out (Choreography)

https://www.nytimes.
com/2016/08/14/arts/
design/the-artist-
nick-cave-gets-
personal-about-race-
and-gun-
violence.html?_r=0
Reading,
Annotating,
& Generating
Questions you would
ask this artist.

Gio: Is this is most time he’s taken to produce a piece, on Paragraph 4, page 1, It says
that this was 3 ½ years in the making.
Janel: Since this was out of his comfort zone, would he do something like this again, or
just go back to soundsuits?
Anna: On page 1 he talks about how he thinks very quickly. I was wondering how he
formulates his ideas….but then when thinking about racism and heaven collide...I’m
curious how he comes up with such crazy ideas.
Jess: On page 3, it talks about how Markonish describes his piece as a “beautiful
nightmare.” I’m wondering why she would describe it this way.
HEEBZ: It’s so big and attractive, but when you find out the meaning, it’s dark.
Khiri: OBVI a lot of hardwork and planning. But there’s an improvisational element.
How? He says there’s “endless fine-tuning” (page 3)
Reading,
Annotating,
& Generating
Questions you would
ask this artist.

Tash: “Mr. Cave talks with his arms, as if he were trying to sculpt the air around
him.” It’s like he wants to show us what he thinks...not just TELL us.
Wing: Wondering why Denise Markonish wanted Nick Cave to not use soundsuits?
(page 4)
Angel: On Page 2, the interviewer asks Nick Cave how the audience should
feel….He basically says how Until embodies the ideas of the soundsuits, but in a
different format.
Cailan: Markonish states on Page 3 how the work is a “beautiful nightmare.” it has
scary aspects as well as nice ones.
Jess: On page 5, he says that this whole idea comes from “Is there Racism in
Heaven?” With America’s relation to heaven…and how the Bible was used to justify
Reading,
Annotating,
& Generating
Questions you would
ask this artist.

“My work, it’s really sort of what it’s
doing to me, as an artist. It’s honing
in and being sensitive to what’s
important to me, and I’m interested
in finding a larger purpose as a
visual artist, more than what’s
happening between museums and
galleries. That really doesn’t provide
me much.
But you know, the civic work —
where’s the purpose in the way that
I’m interested in working? Where
does that sit? What does that
mean?”
(Hyperallergic)
"I've had to come to the realization that
what I do creatively no one else does…I
am a messenger first and an artist
second…I had to accept that as my life.
And that's a hard thing, the pressure of
that.”
(The Atlantic)
Final Quotes from Nick Cave

https://art21.org/watch/art-in-the-twenty-first-century/s8/nick-cave-in-
chicago-segment/

Final Thoughts on Nick Cave
Raian: I like Nick Cave, I find some of his work
really intricate. His work is light-hearted and fun.
The only piece that I see connected to racial
problems are TM13 and Until.
Erin: I like the concept of the soundsuits, hiding
identity and skin color. His work basically has to do
with social problems.
Gio: He says it takes one object to become the
instigator. That he doesn’t have a plan, but finds it
as he’s looking for materials. His work is indicative
of his emotional/mental condition in the moment of
creation. It’s like a moment in time of his emotional
state.
Anna: I like the concept. But I’m scared to see
it...what reaction will I have.

Final Thoughts on Nick Cave
John: I understand the purpose, and how he gets his
materials is interesting but overall, i don’t feel a
connection towards him. He says he’s trying to solve
things, but I don’t see how he’s helping ME out.
Michelle: His motives are really interesting, but the
horses in particular seem like they’re just acting out.
The Soundsuits are more aesthetically pleasing.
Tash: I Like the aesthetic! It’s not-so-typical materials
from antique stores. I think if he approached things with
new media the ”change” he wants may happen faster.
Angel: There’s a lot of variety in his work. Each
soundsuit is different. They’re all related to the same
topic, but each one has it’s own twist.
Michael: I really like how he makes the soundsuits, the
form of protection against all the dangers of the
world...it’s not like a “knight in shining armor.” It’s
colorful, so you can scare away racism and show how

OKAY. One more quote…
MASS MoCA: Do you have any quick words
of wisdom that you want to impart to
students whoo are visiting Until?
Nick Cave: Dream Purposefully.

Nick Cave at Mass MoCA

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Nick Cave at Mass MoCA