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A New Benchmark

by

CK Rose

Analise Cummings was quoted as saying “I wanted to do to weightlifting what Tie Dye did to clothing in the 60s.”  Her 3-part series All the time I am Cummings explored ideas of what it means to build bodies using the weight room as an artistic universe. She built dumbbell systems using vintage Remington typewriters welded to iron bars, constructed stained-glass benches, built small alters around stationary bikes with prayer candles and whey protein offerings. Analise worked with architects to design elaborate Rube Goldberg-style exercises, where lifting one barbell set off a series of sequential actions that ended in cherry blossoms dropping from the ceiling like wind though a late Spring bloom. She hired beautiful specimens to grease themselves and inhabit this otherworldly gym. Her directive: Ignore the art. Work out like you fucking mean it.

It was a hit in the art world. But what she didn’t expect was the impact it had on weightlifting. Fitness enthusiasts flocked to the exhibit. It sanctified what they already prayed to and opened up a world of possibilities. They said it was like their televisions went from black-and-white to color. Gyms began partnering with artists and architects to build new and beautiful worlds. The movement was christened in the press as Working Art. When asked about it Annalise had this to say: “Weightlifting has been liberated from the narrow expressions of gains and losses."

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