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Wikipedia

Performance art

January 01, 1970

"Live art" redirects here. For the album, see Live Art.
Not to be confused with Performing arts.

Performance art is an artwork or art exhibition created through actions executed by the artist or other participants. It may be witnessed live or through documentation, spontaneously developed or written, and is traditionally presented to a public in a fine art context in an interdisciplinary mode.[1] Also known as artistic action, it has been developed through the years as a genre of its own in which art is presented live. It had an important and fundamental role in 20th century avant-garde art.[2][3]

Conceptual work by Yves Klein at Rue Gentil-Bernard, Fontenay-aux-Roses, October 1960. Le Saut dans le Vide (Leap into the Void).

It involves five basic elements: time, space, body, and presence of the artist, and the relation between the creator and the public. The actions, generally developed in art galleries and museums, can take place in the street, any kind of setting or space and during any time period.[4] Its goal is to generate a reaction, sometimes with the support of improvisation and a sense of aesthetics. The themes are commonly linked to life experiences of the artist themselves, the need for denunciation or social criticism and with a spirit of transformation.[5]

The term "performance art" and "performance" became widely used in the 1970s, even though the history of performance in visual arts dates back to futurist productions and cabarets from the 1910s.[6][1] Art critic and performance artist John Perreault credits Marjorie Strider with the invention of the term in 1969.[7] The main pioneers of performance art include Carolee Schneemann,[8] Marina Abramović,[9] Ana Mendieta,[10] Chris Burden,[11] Hermann Nitsch, Joseph Beuys, Nam June Paik, Tehching Hsieh, Yves Klein and Vito Acconci.[12] Some of the main exponents more recently are Tania Bruguera,[13] Abel Azcona,[14] Regina José Galindo,[15] Marta Minujín,[16] Melati Suryodarmo and Petr Pavlensky. The discipline is linked to the happenings and "events" of the Fluxus movement, Viennese Actionism, body art and conceptual art.[17]

Definition edit

 
Helen Moller dance performance. Photo by Arnold Genthe, early 20th century.[18]
 
Georgia O'Keeffe, photographed during a performative process, 1919

The definition and historical and pedagogical contextualization of performance art is controversial. One of the handicaps comes from the term itself, which is polysemic, and one of its meanings relates to the scenic arts. This meaning of performance in the scenic arts context is opposite to the meaning of performance art, since performance art emerged with a critical and antagonistic position towards scenic arts. Performance art only adjoins the scenic arts in certain aspects such as the audience and the present body, and still not every performance art piece contains these elements.[19]

The meaning of the term in the narrower sense is related to postmodernist traditions in Western culture. From about the mid-1960s into the 1970s, often derived from concepts of visual art, with respect to Antonin Artaud, Dada, the Situationists, Fluxus, installation art, and conceptual art, performance art tended to be defined as an antithesis to theatre, challenging orthodox art forms and cultural norms. The ideal had been an ephemeral and authentic experience for performer and audience in an event that could not be repeated, captured or purchased.[20] The widely discussed difference, how concepts of visual arts and concepts of performing arts are used, can determine the meanings of a performance art presentation.[19]

Performance art is a term usually reserved to refer to a conceptual art which conveys a content-based meaning in a more drama-related sense, rather than being simple performance for its own sake for entertainment purposes. It largely refers to a performance presented to an audience, but which does not seek to present a conventional theatrical play or a formal linear narrative, or which alternately does not seek to depict a set of fictitious characters in formal scripted interactions. It therefore can include action or spoken word as a communication between the artist and audience, or even ignore expectations of an audience, rather than following a script written beforehand.

Some types of performance art nevertheless can be close to performing arts. Such performance may use a script or create a fictitious dramatic setting, but still constitute performance art in that it does not seek to follow the usual dramatic norm of creating a fictitious setting with a linear script which follows conventional real-world dynamics; rather, it would intentionally seek to satirize or to transcend the usual real-world dynamics which are used in conventional theatrical plays.

Performance artists often challenge the audience to think in new and unconventional ways, break conventions of traditional arts, and break down conventional ideas about "what art is". As long as the performer does not become a player who repeats a role, performance art can include satirical elements; use robots and machines as performers, as in pieces of the Survival Research Laboratories; involve ritualised elements (e.g. Shaun Caton); or borrow elements of any performing arts such as dance, music, and circus. It can also involve intersection with architecture.

Some artists, e.g. the Viennese Actionists and neo-Dadaists, prefer to use the terms "live art", "action art", "actions", "intervention" (see art intervention) or "manoeuvre" to describe their performing activities. As genres of performance art appear body art, fluxus-performance, happening, action poetry, and intermedia.

Origins edit

 
Revived Cabaret Voltaire on the Spiegelgasse street 1 in Zürich, 2011

Performance art is a form of expression that was born as an alternative artistic manifestation. The discipline emerged in 1916 parallel to dadaism, under the umbrella of conceptual art. The movement was led by Tristan Tzara, one of the pioneers of Dada. Western culture theorists have set the origins of performance art in the beginnings of the 20th century, along with constructivism, Futurism and Dadaism. Dada was an important inspiration because of their poetry actions, which drifted apart from conventionalisms, and futurist artists, specially some members of Russian futurism, could also be identified as part of the starting process of performance art.[21][22]

 
Original plaque of the Cabaret Voltaire in Zürich
 
Original poster of the first function of the Cabaret Voltaire, by Marcel Słodki (1916)

Cabaret Voltaire edit

Main article: Cabaret Voltaire (Zürich)

The Cabaret Voltaire was founded in Zürich, Switzerland by the couple Hugo Ball and Emmy Hennings for artistic and political purposes, and was a place where new tendencies were explored. Located on the upper floor of a theater, whose exhibitions they mocked in their shows, the works interpreted in the cabaret were avant garde and experimental. It is thought that the Dada movement was founded in the ten-meter-square locale.[23][24] Moreover, Surrealists, whose movement descended directly from Dadaism, used to meet in the Cabaret. On its brief existence—barely six months, closing the summer of 1916—the Dadaist Manifesto was read and it held the first Dada actions, performances, and hybrid poetry, plastic art, music and repetitive action presentations. Founders such as Richard Huelsenbeck, Marcel Janco, Tristan Tzara, Sophie Taeuber-Arp and Jean Arp participated in provocative and scandalous events that were fundamental and the basis of the foundation for the anarchist movement called Dada.[25]

 
Grand opening of the first Dada exhibition: International Dada Fair, Berlin, June 5, 1920. From left to right: Raoul Hausmann, Hannah Höch (sitting), Otto Burchard, Johannes Baader, Wieland Herzfelde, Margarete Herzfelde, Dr. Oz (Otto Schmalhausen), George Grosz and John Heartfield.[26]

Dadaism was born with the intention of destroying any system or established norm in the art world.[27] It is an anti-art movement, anti-literary and anti-poetry, that questioned the existence of art, literature and poetry itself. Not only was it a way of creating, but of living; it created a whole new ideology.[28] It was against eternal beauty, the eternity of principles, the laws of logic, the immobility of thought and clearly against anything universal. It promoted change, spontaneity, immediacy, contradiction, randomness and the defense of chaos against the order and imperfection against perfection, ideas similar to those of performance art. They stood for provocation, anti-art protest and scandal, through ways of expression many times satirical and ironic. The absurd or lack of value and the chaos protagonized[clarification needed] their breaking actions with traditional artistic form.[27][28][29][30]

Cabaret Voltaire closed in 1916, but was revived in the 21st century.

 
Left to right, futurists Benedikt Lifshits, Nikolái Burluik, Vladímir Mayakovski, David Burliuk and Alekséi Kruchónyj. Between 1912 and 1913.
 
Bauhaus Dessau building, 2005

Futurism edit

Main article: Futurism

Futurism was an artistic avant garde movement that appeared in 1909. It first started as a literary movement, even though most of the participants were painters. In the beginning it also included sculpture, photography, music and cinema. The First World War put an end to the movement, even though in Italy it went on until the 1930s. One of the countries where it had the most impact was Russia.[31] In 1912 manifestos such as the Futurist Sculpture Manifesto and the Futurist Architecture arose, and in 1913 the Manifesto of Futurist Lust by Valentine de Saint-Point, dancer, writer and French artist. The futurists spread their theories through encounters, meetings and conferences in public spaces, that got close to the idea of a political concentration, with poetry and music-halls, which anticipated performance art.[31][32][33]

Bauhaus edit

Main article: Bauhaus

The Bauhaus, an art school founded in Weimar in 1919, included an experimental performing arts workshops with the goal of exploring the relationship between the body, space, sound and light. The Black Mountain College, founded in the United States by instructors of the original Bauhaus who were exiled by the Nazi Party, continued incorporating experimental performing arts in the scenic arts training twenty years before the events related to the history of performance in the 1960s.[34] The name Bauhaus derives from the German words Bau, construction and Haus, house; ironically, despite its name and the fact that his founder was an architect, the Bauhaus did not have an architecture department the first years of its existence.[35][36]

Action painting edit

Main article: Action Painting

In the 1940s and 1950s, the action painting technique or movement gave artists the possibility of interpreting the canvas as an area to act in, rendering the paintings as traces of the artist's performance in the studio [37] According to art critic Harold Rosenberg, it was one of the initiating processes of performance art, along with abstract expressionism. Jackson Pollock is the action painter par excellence, who carried out many of his actions live.[38] In Europe Yves Klein did his Anthropométries using (female) bodies to paint canvasses as a public action. Names to be highlighted are Willem de Kooning and Franz Kline, whose work include abstract and action painting.[37][39][40]

Nouveau réalisme edit

Main article: Nouveau réalisme

Nouveau réalisme is another one of the artistic movements cited in the beginnings of performance art. It was a painting movement founded in 1960 by art critic Pierre Restany and painter Yves Klein, during the first collective exhibition in the Apollinaire Gallery in Milan. Nouveau réalisme was, along with Fluxus and other groups, one of the many avant garde tendencies of the 1960s. Pierre Restany created various performance art assemblies in the Tate Modern, amongst other spaces.[41] Yves Klein is one of the main exponents of the movement. He was a clear pioneer of performance art, with his conceptual pieces like Zone de Sensibilité Picturale Immatérielle (1959–62), Anthropométries (1960), and the photomontage Saut dans le vide.[42][43] All his works have a connection with performance art, as they are created as a live action, like his best-known artworks of paintings created with the bodies of women. The members of the group saw the world as an image, from which they took parts and incorporated them into their work; they sought to bring life and art closer together.[44][45][46]

Gutai edit

Main article: Gutai

One of the other movements that anticipated performance art was the Japanese movement Gutai, who made action art or happening. It emerged in 1955 in the region of Kansai (Kyōto, Ōsaka, Kōbe). The main participants were Jirō Yoshihara, Sadamasa Motonaga, Shozo Shimamoto, Saburō Murakami, Katsuō Shiraga, Seichi Sato, Akira Ganayama and Atsuko Tanaka.[47] The Gutai group arose after World War II. They rejected capitalist consumerism, carrying out ironic actions with latent aggressiveness (object breaking, actions with smoke). They influenced groups such as Fluxus and artists like Joseph Beuys and Wolf Vostell.[47][48][49]

Land art and performance edit

Main article: Land art

In the late 1960s, diverse land art artists such as Robert Smithson or Dennis Oppenheim created environmental pieces that preceded performance art in the 1970s. Works by conceptual artists from the early 1980s, such as Sol LeWitt, who made mural drawing into a performance act, were influenced by Yves Klein and other land art artists.[50][51][52] Land art is a contemporary art movement in which the landscape and the artwork are deeply bound. It uses nature as a material (wood, soil, rocks, sand, wind, fire, water, etc.) to intervene on itself. The artwork is generated with the place itself as a starting point. The result is sometimes a junction between sculpture and architecture, and sometimes a junction between sculpture and landscaping that is increasingly taking a more determinant role in contemporary public spaces. When incorporating the artist's body in the creative process, it acquires similarities with the beginnings of performance art.

1960s edit

 
Exploding Plastic Inevitable by Ann Arbor

In the 1960s, with the purpose of evolving the generalized idea of art and with similar principles of those originary from Cabaret Voltaire or Futurism, a variety of new works, concepts and a growing number of artists led to new kinds of performance art. Movements clearly differentiated from Viennese Actionism, avant garde performance art in New York City, process art, the evolution of The Living Theatre or happening, but most of all the consolidation of the pioneers of performance art.[53]

 
Pioneers of Viennese Actionism during an exhibition in the Hermann Nitsch foundation

Viennese actionism edit

Main article: Viennese Actionism

The term Viennese Actionism (Wiener Aktionismus) comprehends a brief and controversial art movement of the 20th century, which is remembered for the violence, grotesque and visual of their artworks.[54] It is located in the Austrian vanguard of the 1960s, and it had the goal of bringing art to the ground of performance art, and is linked to Fluxus and Body Art. Amongst their main exponents are Günter Brus, Otto Muehl and Hermann Nitsch, who developed most of their actionist activities between 1960 and 1971. Hermann, pioneer of performance art, presented in 1962 his Theatre of Orgies and Mysteries (Orgien und Mysterien Theater).[55][56][57] Marina Abramović participated as a performer in one of his performances in 1975.

New York and avant-garde performance edit

 
Photography exhibition in The Velvet Underground and Andy Warhol Factory

In the early 1960s, New York City harbored many movements, events and interests regarding performance art. Amongst others, Andy Warhol began creating films and videos,[58] and mid decade he sponsored The Velvet Underground and staged events and performative actions in New York, such as the Exploding Plastic Inevitable (1966), that included live rock music, explosive lights and films.[59][60][61][62]

The Living Theatre edit

Main article: The Living Theatre
 
The Living Theatre presenting their work The Brig in Myfest 2008 in Berlin-Kreuzberg

Indirectly influential for art-world performance, particularly in the United States, were new forms of theatre, embodied by the San Francisco Mime Troupe and the Living Theatre and showcased in Off-Off Broadway theaters in SoHO and at La MaMa in New York City. The Living Theatre is a theater company created in 1947 in New York. It is the oldest experimental theatre in the United States.[63] Throughout its history it has been led by its founders: actress Judith Malina, who had studied theatre with Erwin Piscator, with whom she studied Bertolt Brecht's and Meyerhold's theory; and painter and poet Julian Beck. After Beck's death in 1985, the company member Hanon Reznikov became co-director along with Malina. Because it is one of the oldest random theatre or live theatre groups nowadays, it is looked upon by the rest.[clarification needed] They understood theatre as a way of life, and the actors lived in a community under libertary[clarification needed] principles. It was a theatre campaign dedicated to transformation of the power organization of an authoritarian society and hierarchical structure. The Living Theatre chiefly toured in Europe between 1963 and 1968, and in the U.S. in 1968. A work of this period, Paradise Now, was notorious for its audience participation and a scene in which actors recited a list of social taboos that included nudity, while disrobing.[64]

 
Fluxus manifesto

Fluxus edit

Main article: Fluxus
 
Portrait of John Cage, 1988

Fluxus, a Latin word that means flow, is a visual arts movement related to music, literature, and dance. Its most active moment was in the 1960s and 1970s. They proclaimed themselves against the traditional artistic object as a commodity and declared themselves a sociological art movement. Fluxus was informally organized in 1962 by George Maciunas (1931–1978). This movement had representation in Europe, the United States and Japan.[65] The Fluxus movement, mostly developed in North America and Europe under the stimulus of John Cage, did not see the avant-garde as a linguistic renovation, but it sought to make a different use of the main art channels that separate themselves from specific language; it tries to be interdisciplinary and to adopt mediums and materials from different fields. Language is not the goal, but the mean for a renovation of art, seen as a global art.[66] As well as Dada, Fluxus escaped any attempt for a definition or categorization. As one of the movement's founders, Dick Higgins, stated:

Fluxus started with the work, and then came together, applying the name Fluxus to work which already existed. It was as if it started in the middle of the situation, rather than at the beginning.[67][68]

Robert Filliou places Fluxus opposite to conceptual art for its direct, immediate and urgent reference to everyday life, and turns around Duchamp's proposal, who starting from Ready-made, introduced the daily into art, whereas Fluxus dissolved art into the daily, many times with small actions or performances.[69]

John Cage was an American composer, music theorist, artist, and philosopher. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century.[70][71][72][73] He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives.[74][75]

Cage's friend Sari Dienes can be seen as an important link between the Abstract Expressionists, Neo-Dada artists like Robert Rauschenberg and Ray Johnson, and Fluxus. Dienes inspired all these artists to blur the lines between life, Zen, performative art-making techniques and "events," in both pre-meditated and spontaneous ways.[76]

Process art edit

Main article: Process Art

Process art is an artistic movement where the end product of art and craft, the objet d’art (work of art/found object), is not the principal focus; the process of its making is one of the most relevant aspects if not the most important one: the gathering, sorting, collating, associating, patterning, and moreover the initiation of actions and proceedings. Process artists saw art as pure human expression. Process art defends the idea that the process of creating the work of art can be an art piece itself. Artist Robert Morris predicated "anti-form", process and time over an objectual finished product.[77][78][79]

 
Joseph Beuys in a Documenta Kassel event

Happening edit

Main article: Happening

Wardrip-Fruin and Montfort in The New Media Reader, "The term 'Happening' has been used to describe many performances and events, organized by Allan Kaprow and others during the 1950s and 1960s, including a number of theatrical productions that were traditionally scripted and invited only limited audience interaction."[80] A happening allows the artist to experiment with the movement of the body, recorded sounds, written and talked texts, and even smells. One of Kaprow's first works was Happenings in the New York Scene, written in 1961.[81] Allan Kaprow's happenings turned the public into interpreters. Often the spectators became an active part of the act without realizing it. Other actors who created happenings were Jim Dine, Al Hansen, Claes Oldenburg, Robert Whitman and Wolf Vostell: Theater is in the Street (Paris, 1958).[82][83]

Main artists edit

 
Portrait of Joseph Beuys and Andy Warhol in Naples

The works by performance artists after 1968 showed many times influences from the political and cultural situation that year. Barbara T. Smith with Ritual Meal (1969) was at the vanguard of body and scenic feminist art in the seventies, which included, amongst others, Carolee Schneemann and Joan Jonas. These, along with Yoko Ono, Joseph Beuys, Nam June Paik, Wolf Vostell, Allan Kaprow, Vito Acconci, Chris Burden and Dennis Oppenheim were pioneers in the relationship between body art and performance art, as well as the Zaj collective in Spain with Esther Ferrer and Juan Hidalgo.

 
Carolee Schneemann, performing her piece Interior Scroll. Yves Klein in France, and Carolee Schneemann, Yayoi Kusama, Charlotte Moorman, and Yoko Ono in New York City were pioneers of performance based works of art, that often entailed nudity.

Barbara Smith is an artist and United States activist. She is one of the main African-American exponents of feminism and LGBT activism in the United States. In the beginning of the 1970s she worked as a teacher, writer and defender of the black feminism current.[84] She has taught at numerous colleges and universities in the last five years. Smith's essays, reviews, articles, short stories and literary criticism have appeared in a range of publications, including The New York Times, The Guardian, The Village Voice and The Nation.[85][86][87]

Carolee Schneemann[88] was an American visual experimental artist, known for her multi-media works on the body, narrative, sexuality and gender.[89] She created pieces such as Meat Joy (1964) and Interior Scroll (1975).[90] Schneemann considered her body a surface for work.[91] She described herself as a "painter who has left the canvas to activate the real space and the lived time."[92][failed verification]

Joan Jonas (born July 13, 1936) is an American visual artist and a pioneer of video and performance art, who is one of the most important female artists to emerge in the late 1960s and early 1970s.[93] Jonas' projects and experiments provided the foundation on which much video performance art would be based. Her influences also extended to conceptual art, theatre, performance art and other visual media. She lives and works in New York and Nova Scotia, Canada.[94][95] Immersed in New York's downtown art scene of the 1960s, Jonas studied with the choreographer Trisha Brown for two years.[96] Jonas also worked with choreographers Yvonne Rainer and Steve Paxton.[97]

Yoko Ono was part of the avant-garde movement of the 1960s. She was part of the Fluxus movement.[98] She is known for her performance art pieces in the late 1960s, works such as Cut Piece, where visitors could intervene in her body until she was left naked.[99] One of her best known pieces is Wall piece for orchestra (1962).[100][101]

Joseph Beuys was a German Fluxus, happening, performance artist, painter, sculptor, medallist and installation artist. In 1962 his actions alongside the Fluxus neodadaist movement started, group in which he ended up becoming the most important member. His most relevant achievement was his socialization of art, making it more accessible for every kind of public.[102] In How to Explain Pictures to a Dead Hare (1965) he covered his face with honey and gold leaf and explained his work to a dead hare that lay in his arms. In this work he linked spacial and sculptural, linguistic and sonorous factors to the artist's figure, to his bodily gesture, to the conscience of a communicator whose receptor is an animal.[103] Beuys acted as a shaman with healing and saving powers toward the society that he considered dead.[104] In 1974 he carried out the performance I Like America and America Likes Me where Beuys, a coyote and materials such as paper, felt and thatch constituted the vehicle for its creation. He lived with the coyote for three days. He piled United States newspapers, a symbol of capitalism.[105] With time, the tolerance between Beuys and the coyote grew and he ended up hugging the animal. Beuys repeats many elements used in other works.[106] Objects that differ form Duchamp's ready-mades, not for their poor[clarification needed] and ephemerality, but because they are part of Beuys's own life, who placed them after living with them and leaving his mark on them. Many have an autobiographical meaning, like the honey or the grease used by the tartars who saved[clarification needed] in World War Two. In 1970 he made his Felt Suit. Also in 1970, Beuys taught sculpture in the Kunstakademie Düsseldorf.[107] In 1979, the Solomon R. Guggenheim Museum of New York City exhibited a retrospective of his work from the 1940s to 1970.[108][109][110]

Nam June Paik was a South Korean performance artist, composer and video artist from the second half of the 20th century. He studied music and art history in the University of Tokyo. Later, in 1956, he traveled to Germany, where he studied Music Theory in Munich, then continued in Cologne in the Freiburg conservatory. While studying in Germany, Paik met the composers Karlheinz Stockhausen and John Cage and the conceptual artists Sharon Grace as well as George Maciunas, Joseph Beuys and Wolf Vostell and was from 1962 on, a member of the experimental art movement Fluxus.[111][112] Nam June Paik then began participating in the Neo-Dada art movement, known as Fluxus, which was inspired by the composer John Cage and his use of everyday sounds and noises in his music.[113] He was mates with Yoko Ono as a member of Fluxus.[114]

Wolf Vostell was a German artist, one of the most representative of the second half of the 20th century, who worked with various mediums and techniques such as painting, sculpture, installation, decollage, video art, happening and fluxus.[115]

Vito Acconci[116][117] was an influential American performance, video and installation artist, whose diverse practice eventually included sculpture, architectural design, and landscape design. His foundational performance and video art[118] was characterized by "existential unease," exhibitionism, discomfort, transgression and provocation, as well as wit and audacity,[117] and often involved crossing boundaries such as public–private, consensual–nonconsensual, and real world–art world.[119][120] His work is considered to have influenced artists including Laurie Anderson, Karen Finley, Bruce Nauman, and Tracey Emin, among others.[119] Acconci was initially interested in radical poetry, but by the late 1960s, he began creating Situationist-influenced performances in the street or for small audiences that explored the body and public space. Two of his most famous pieces were Following Piece (1969), in which he selected random passersby on New York City streets and followed them for as long as he was able, and Seedbed (1972), in which he claimed that he masturbated while under a temporary floor at the Sonnabend Gallery, as visitors walked above and heard him speaking.[121]

Chris Burden was an American artist working in performance, sculpture and installation art. Burden became known in the 1970s for his performance art works, including Shoot (1971), in which he arranged for a friend to shoot him in the arm with a small-caliber rifle. A prolific artist, Burden created many well-known installations, public artworks and sculptures before his death in 2015.[122][123][124] Burden began to work in performance art in the early 1970s. He made a series of controversial performances in which the idea of personal danger as artistic expression was central. His first significant performance work, Five Day Locker Piece (1971), was created for his master's thesis at the University of California, Irvine,[122] and involved his being locked in a locker for five days.[125]

Dennis Oppenheim was an American conceptual artist, performance artist, earth artist, sculptor and photographer. Dennis Oppenheim's early artistic practice is an epistemological questioning about the nature of art, the making of art and the definition of art: a meta-art which arose when strategies of the Minimalists were expanded to focus on site and context. As well as an aesthetic agenda, the work progressed from perceptions of the physical properties of the gallery to the social and political context, largely taking the form of permanent public sculpture in the last two decades of a highly prolific career, whose diversity could exasperate his critics.[126]

Yayoi Kusama is a Japanese artist who, throughout her career, has worked with a great variety of media including:sculpture, installation, painting, performance, film, fashion, poetry, fiction, and other arts; the majority of them exhibited her interest in psychedelia, repetition and patterns. Kusama is a pioneer of the pop art, minimalism and feminist art movements and influenced her coetaneous, Andy Warhol and Claes Oldenburg.[127] She has been acknowledged as one of the most important living artists to come out of Japan and a very relevant voice in avant garde art.[128][129]

1970s edit

 
Installation by Bruce Nauman with various video performances
 
Gilbert and George in London, 2007

In the 1970s, artists that had derived to works related to performance art evolved and consolidated themselves as artists with performance art as their main discipline, deriving into installations created through performance, video performance, or collective actions, or in the context of a socio-historical and political context.

Video performance edit

In the early 1970s the use of video format by performance artists was consolidated. Some exhibitions by Joan Jonas and Vito Acconci were made entirely of video, activated by previous performative processes. In this decade, various books that talked about the use of the means of communication, video and cinema by performance artists, like Expanded Cinema, by Gene Youngblood, were published. One of the main artists who used video and performance, with notorious audiovisual installations, is the South Korean artist Nam June Paik, who in the early 1960s had already been in the Fluxus movement until becoming a media artist and evolving into the audiovisual installations he is known for.

Carolee Schneemann's and Robert Whitman's 1960s work regarding their video-performances must be taken into consideration as well. Both were pioneers of performance art, turning it into an independent art form in the early seventies.[130]

Joan Jonas started to include video in her experimental performances in 1972, while Bruce Nauman scenified[clarification needed] his acts to be directly recorded on video.[131] Nauman is an American multimedia artist, whose sculptures, videos, graphic work and performances have helped diversify and develop culture from the 1960s on. His unsettling artworks emphasized the conceptual nature of art and the creation process.[132] His priority is the idea and the creative process over the result. His art uses an incredible array of materials and especially his own body.[133][134]

Gilbert and George are Italian artist Gilbert Proesch and English artist George Passmore, who have developed their work inside conceptual art, performance and body art. They were best known for their live-sculpture acts.[135][136] One of their first makings was The Singing Sculpture, where the artists sang and danced "Underneath the Arches", a song from the 1930s. Since then they have forged a solid reputation as live-sculptures, making themselves works of art, exhibited in front of spectators through diverse time intervals. They usually appear dressed in suits and ties, adopting diverse postures that they maintain without moving, though sometimes they also move and read a text, and occasionally they appear in assemblies or artistic installations.[137] Apart from their sculptures, Gilbert and George have also made pictorial works, collages and photomontages, where they pictured themselves next to diverse objects from their immediate surroundings, with references to urban culture and a strong content; they addressed topics such as sex, race, death and HIV, religion or politics,[138] critiquing many times the British government and the established power. The group's most prolific and ambitious work was Jack Freak Pictures, where they had a constant presence of the colors red, white and blue in the Union Jack. Gilbert and George have exhibited their work in museums and galleries around the world, like the Stedelijk van Abbemuseum of Eindhoven (1980), the Hayward Gallery in London (1987), and the Tate Modern (2007). They have participated in the Venice Biennale. In 1986 they won the Turner Prize.[139]

Endurance art edit

Main article: Endurance art

Endurance performance art deepens the themes of trance, pain, solitude, deprivation of freedom, isolation or exhaustion.[140] Some of the works, based on the passing of long periods of time are also known as long-durational performances.[141] One of the pioneering artists was Chris Burden in California since the 1970s.[142] In one of his best known works, Five days in a locker (1971) he stayed for five days inside a school locker, in Shoot (1971) he was shot with a firearm, and inhabited for twenty two days a bed inside an art gallery in Bed Piece (1972).[143] Another example of endurance artist is Tehching Hsieh. During a performance created in 1980–1981 (Time Clock Piece), where he stayed a whole year repeating the same action around a metaphorical clock. Hsieh is also known for his performances about deprivation of freedom; he spent an entire year confined.[144] In The House With the Ocean View (2003), Marina Abramović lived silently for twelve days without food.[145] The Nine Confinements or The Deprivation of Liberty is a conceptual endurance artwork of critical content carried out in the years 2013 and 2016. All of them have in common the illegitimate deprivation of freedom.

Performance in a political context edit

In the mid-1970s, behind the Iron Curtain, in major Eastern Europe cities such as Budapest, Kraków, Belgrade, Zagreb, Novi Sad and others, scenic arts of a more experimental content flourished. Against political and social control, different artists who made performance of political content arose. Orshi Drozdik's performance series, titled Individual Mythology 1975–77 and the NudeModel 1976–77. All her actions were critical of the patriarchal discourse in art and the forced emancipation programme and constructed by the equally patriarchal state.[146] Drozdik showed a pioneer and feminist point of view on both, becoming one of the precursors of this type of critical art in Eastern Europe.[147] In the 1970s, performance art, due to its fugacity,[clarification needed] had a solid presence in the Eastern European avant-garde, specially in Poland and Yugoslavia, where dozens of artists who explored the body conceptually and critically emerged.

 
Cell where Tehching Hsieh carried out his endurance art work; the piece is now in the Modern Art Museum of New York collection

The Other edit

 
Ulay and Marina Abramović, The Other collective in one of their works

In the mid-1976s, Ulay and Marina Abramović founded the collective The Other in the city of Amsterdam. When Abramović and Ulay[148] started their collaboration. The main concepts they explored were the ego and artistic identity. This was the start of a decade of collaborative work.[149] Both artists were interested in the tradition of their cultural heritage and the individual's desire for rituals.[150] In consecuense,[clarification needed] they formed a collective named The Other. They dressed and behaved as one, and created a relation of absolute confidence. They created a series of works in which their bodies created additional spaces for the audience's interaction. In Relation in Space they ran around the room, two bodies like two planets, meshing masculine and feminine energies into a third component they called "that self".[151] Relation in Movement (1976) had the couple driving their car inside the museum, doing 365 spins. A black liquid dripped out of the car, forming a sculpture, and each round represented a year.[152] After this, they created Breathing In/Breathing Out, where both of them united their lips and inspired the air expired by the other one until they used up all oxygen. Exactly 17 minutes after the start of the performance, both of them fell unconscious, due to their lungs filling with carbon dioxide. This piece explored the idea of the ability of a person to absorb the life out of another one, changing them and destroying them. In 1988, after some years of a tense relationship, Abramović and Ulay decided to make a spiritual travel that would put an end to the collective. They walked along the Great Wall of China, starting on opposite ends and finding each other halfway. Abramović conceived this walk on a dream, and it gave her what she saw as an appropriate and romantic ending to the relationship full of mysticism, energy and attraction.[153] Ulay started on the Gobi dessert and Abramovic in the Yellow sea. Each one of them walked 2500 kilometres, found each other in the middle and said goodbye.

Main artists edit

In 1973, Laurie Anderson interpreted Duets on Ice in the streets of New York. Marina Abramović, in the performance Rhythm 10, included conceptually the violation of a body.[154] Thirty years later, the topic of rape, shame and sex exploitation would be reimagined in the works of contemporary artists such as Clifford Owens,[155] Gillian Walsh, Pat Oleszko and Rebecca Patek, amongst others.[156] New artists with radical acts consolidated themselves as the main precursors of performance, like Chris Burden, with the 1971 work Shoot, where an assistant shot him in the arm from a five-meter distance, and Vito Acconci the same year with Seedbed. The work Eye Body (1963) by Carolee Schneemann en 1963, had already been considered a prototype of performance art. In 1975, Schneemann recurred to innovative solo acts such as Interior Scroll, that showed the feminine body as an artistic media.

One of the main artists was Gina Pane,[157] French artist of Italian origins. She studied at the École nationale supérieure des Beaux-Arts in París from 1960 until 1965[158] and was a member of the performance art movement in the 1970 in France, called "Art Corporel".[159] Parallel to her art, Pane taught in the Ecole des Beaux-Arts in Mans from 1975 until 1990 and directed an atelier dedicated to performance art in the Pompidou Centre from 1978 to 1979.[159] One of her best known works is The Conditioning (1973), in which she was lied into a metal bed spring over an area of lit candles. The Conditioning was created as an homage to Marina Abramović, part of her Seven Easy Pieces(2005) in the Solomon R. Guggenheim Museum in New York City in 2005. Great part of her works are protagonized by self-inflicted pain, separating her from most of other woman artists in the 1970s. Through the violence of cutting her skin with razors or extinguishing fires with her bare hands and feet, Pane has the intention of inciting a real experience in the visitor, who would feel moved for its discomfort.[157] The impactful nature of these first performance art pieces or actions, as she preferred to call them, many times eclipsed her prolific photographic and sculptural work. Nonetheless, the body was the main concern in Panes's work, either literally or conceptually.


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    Portrait of Ulay in 1972
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    Abramovic and Ulay's Furgone
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    Exhibition of Marina Abramović's first works in Stockholm
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    Installation by Bruce Nauman in Germany
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    Video installation by Nam June Paik
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    Gilbert and George in a presentation
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    Orshi Drozdik in one of her exhibitions

1980s edit

The technique of performance art edit

Until the 1980s, performance art has demystified virtuosism,[clarification needed] this being one of its key characteristics. Nonetheless, from the 1980s on it started to adopt some technical brilliancy.[160] In reference to the work Presence and Resistance[161] by Philip Auslander, the dance critic Sally Banes writes, "... by the end of the 1980s, performance art had become so widely known that it no longer needed to be defined; mass culture, especially television, had come to supply both structure and subject matter for much performance art; and several performance artists, including Laurie Anderson, Spalding Gray, Eric Bogosian, Willem Dafoe, and Ann Magnuson, had indeed become crossover artists in mainstream entertainment."[162] In this decade the parameters and technicalities built to purify and perfect performance art were defined.

 
Critic and performance expert RoseLee Goldberg during a symposium in Moscow
 
Tehching Hsieh exhibition in the Modern Art Museum of New York, where the artist made a daily self-portrait

Critique and investigation of performance art edit

Despite the fact that many performances are held within the circle of a small art-world group, Roselee Goldberg notes in Performance Art: From Futurism to the Present that "performance has been a way of appealing directly to a large public, as well as shocking audiences into reassessing their own notions of art and its relation to culture. Conversely, public interest in the medium, especially in the 1980s, stems from an apparent desire of that public to gain access to the art world, to be a spectator of its ritual and its distinct community, and to be surprised by the unexpected, always unorthodox presentations that the artists devise." In this decade, publications and compilations about performance art and its best known artists emerged.

Performance art from a political context edit

In the 1980s, the political context played an important role in the artistic development and especially in performance, as almost every one of the works created with a critical and political discourse were in this discipline. Until the decline of the European Eastern bloc during the late 1980s, performance art had actively been rejected by most communist governments. With the exception of Poland and Yugoslavia, performance art was more or less banned in countries where any independent public event was feared. In the GDR, Czechoslovakia, Hungary and Latvia it happened in apartments, at seemingly spontaneous gatherings in artist studios, in church-controlled settings, or was covered as another activity, like a photo-shoot. Isolated from the western conceptual context, in different settings it could be like a playful protest or a bitter comment, using subversive metaphors to express dissent with the political situation.[163] Amongst the most remarkable performance art works of political content in this time were those of Tehching Hsieh between July 1983 and July 1984, Art/Life: One Year Performance (Rope Piece).[164]

Performance poetry edit

In 1982 the terms "poetry" and "performance" were first used together. Performance poetry appeared to distinguish text-based vocal performances from performance art, especially the work of escenic[clarification needed] and musical performance artists, such as Laurie Anderson, who worked with music at that time. Performance poets relied more on the rhetorical and philosophical expression in their poetics than performance artists, who arose from the visual art genres of painting and sculpture. Many artists since John Cage fuse performance with a poetical base.

Feminist performance art edit

Main article: Feminist Performance Art
 
Portrait of Lynda Benglis, 1974
 
Portrait of Pina Bausch, 1985

Since 1973 the Feminist Studio Workshop in the Woman's Building of Los Ángeles had an impact in the wave of feminist acts, but until 1980 they did not completely fuse. The conjunction between feminism and performance art progressed through the last decade. In the first two decades of performance art development, works that had not been conceived as feminist are seen as such now.[clarification needed]

Still, not until 1980 did artists self-define themselves as feminists. Artist groups in which women influenced by the 1968 student movement as well as the feminist movement stood out.[165] This connection has been treated in contemporary art history research. Some of the women whose innovative input in representations and shows was the most relevant were Pina Bausch and the Guerrilla Girls who emerged in 1985 in New York City,[166] anonymous feminist and anti-racist art collective.[167][168][169][170] They chose that name because they used guerrilla tactics in their activism [167] to denounce discrimination against women in art through political and performance art.[171][172][173][174] Their first performance was placing posters and making public appearances in museums and galleries in New York, to critique the fact that some groups of people were discriminated against for their gender or race.[175] All of this was done anonymously; in all of these appearances they covered their faces with gorilla masks (this was due to the similar pronunciation of the words "gorilla" and "guerrilla"). They used as nicknames the names of female artists who had died.[176] From the 1970s until the 1980s, amongst the works that challenged the system and their usual strategies of representation, the main ones feature women's bodies, such as Ana Mendieta's works in New York City where her body is outraged and abused, or the artistic representations by Louise Bourgeois with a rather minimalist discourse that emerge in the late seventies and eighties. Special mention to the works created with feminine and feminist corporeity[clarification needed] such as Lynda Benglis and her phallic performative actions, who reconstructed the feminine image to turn it into more than a fetish. Through feminist performance art the body becomes a space for developing these new discourses and meanings. Artist Eleanor Antin, creator in the 1970s and 1980s, worked on the topics of gender, race and class. Cindy Sherman, in her first works in the seventies and already in her artistic maturity in the eighties, continues her critical line of overturning the imposed self, through her use of the body as an object of privilege.

 
Exhibition by Cindy Sherman in the United States

Cindy Sherman is an American photographer and artist. She is one of the most representative post-war artists and exhibited more than the work of three decades of her work in the MoMA. Even though she appears in most of her performative photographies, she does not consider them self-portraits. Sherman uses herself as a vehicle to represent a great array of topics of the contemporary world, such as the part women play in our society and the way they are represented in the media as well as the nature of art creation. In 2020 she was awarded with the Wolf prize in arts.[177]

Judy Chicago is an artist and pioneer of feminist art and performance art in the United States. Chicago is known for her big collaborative art installation pieces on images of birth and creation, that examine women's part in history and culture. In the 1970s, Chicago has founded the first feminist art programme in the United States. Chicago's work incorporates a variety of artistic skills such as sewing, in contrast with skills that required a lot of workforce, like welding and pyrotechnics. Chicago's best known work is The Dinner Party, that was permanently installed in the Elizabeth A. Sackler Center for Feminist Art in the Brooklyn Museum. The Dinner Party celebrated the achievements of women throughout history and is widely considered as the first epic feminist artwork. Other remarkable projects include International Honor Quilt, The Birth Project,[178] Powerplay,[179] and The Holocaust Project.[180]

Expansion to Latin America edit

In this decade performance art spread until reaching Latin America through the workshops and programmes that universities and academic institutions offered. It mainly developed in Mexico, Colombia -with artists such as Maria Teresa Hincapié—, in Brasil and in Argentina.[181]

 
Women interacting with the work Listening to the sounds of death by Teresa Margolles in the Museo de la Memoria y la Tolerancia of Mexico City

Ana Mendieta was a conceptual and performance artist born in Cuba and raised in the United States. She's mostly known for her artworks and performance art pieces in land art. Mendieta's work was known mostly in the feminist art critic environment. Years after her death, specially since the Whitney Museum of American Art retrospective in 2004[182] and the retrospective in the Haywart Gallery in London in 2013[183] she is considered a pioneer of performance art and other practices related to body art and land art, sculpture and photography.[184] She described her own work as earth-body art.[185][186]

Tania Bruguera is a Cuban artist specialized in performance art and political art. Her work mainly consists of her interpretation of political and social topics.[187] She has developed concepts such as "conduct art" to define her artistic practices with a focus on the limits of language and the body confronted to the reaction and behavior of the spectators. She also came up with "useful art", that it ought to transform certain political and legal aspects of society. Brugera's work revolves around power and control topics, and a great portion of her work questions the current state of her home country, Cuba. In 2002 she created the Cátedra Arte de Conducta in La Habana.[188][189][190]

 
Argentinean Marta Minujín during a performance art piece

Regina José Galindo is a Guatemalan artist specialized in performance art. Her work is characterized by its explicit political and critical content, using her own body as a tool of confrontation and social transformation.[191] Her artistic career has been marked by the Guatemalan Civil War that took place from 1960 to 1996, which triggered a genocide of more than 200 thousand people, many of them indigenous, farmers, women and children.[181] With her work, Galindo denounces violence, sexism (one of her the main topics is femicide), the western beauty standards, the repression of the estates and the abuse of power, especially in the context of her country, even though her language transgresses borders. Since her beginnings she only used her body as media, which she occasionally takes to extreme situations (like in Himenoplasty (2004) where she goes through a hymen reconstruction, a work that won the Golden Lyon in the Venice Biennale), to later have volunteers or hired people to interact with her, so that she loses control over the action.[192]

1990s edit

 
Performance in the Romanian Pavilion of the Venice Biennial
 
Exhibition by Chinese artist Tehching Hsieh with documentation of his first performance artworks

The 1990s was a period of absence for classic European performance, so performance artists kept a low profile. Nevertheless, Eastern Europe experienced a peak. On the other hand, Latin American performance continued to boom, as well as feminist performance art. There also was a peak of this discipline in Asian countries, whose motivation emerged from the Butō dance in the 1950s, but in this period they professionalized and new Chinese artists arose, earning great recognition. There was also a general professionalization in the increase of exhibitions dedicated to performance art, at the opening of the Venice Art Biennial to performance art, where various artists of this discipline have won the Leone d'Oro, including Anne Imhof, Regina José Galindo or Santiago Sierra.

 
Museum and centre specialized in performance art in Taitung University

Performance with political context edit

While the Soviet Bloc dissolved, some forbidden performance art pieces began to spread. Young artists from the former Eastern Bloc, including Russia, devoted themselves to performance art. Scenic arts emerged around the same time in Cuba, the Caribbean and China. "In these contexts, performance art became a new critical voice with a social strength similar to that of Western Europe, the United States and South America in the sixties and early seventies. It must be emphasized that the rise of performance art in the 1990s in Eastern Europe, China, South Africa, Cuba and other places must not be considered secondary or an imitation of the West".[193]

Professionalization of performance art edit

In the Western World, in the 1990s, performance art joined the mainstream culture. Diverse performance artworks, live, photographed or through documentation started to become part of galleries and museums that began to understand performance art as an art discipline.[194] Nevertheless, it was not until the next decade that a major institutionalization happened, when every museum started to incorporate performance art pieces into their collections and dedicating great exhibitions and retrospectives, museums such as the Tate Modern in London, the MoMA in New York City or the Pompidou Centre in Paris. From the 1990s on, many more performance artists were invited to important biennials like the Venice Biennale, the Sao Paulo Biennial and the Lyon Biennial.

Performance in China edit

Main article: Performance art in China

In the late 1990s, Chinese contemporary art and performance art received great recognition internationally, as 19 Chinese artists were invited to the Venice Biennial.[195][196] Performance art in China and its history had been growing since the 1970s due to the interest between art, process and tradition in Chinese culture, but it gained recognition from the 1990s on.[197][193] In China, performance art is part of the fine arts education programme, and is becoming more and more popular.[197][198] In the early 1990s, Chinese performance art was already acclaimed in the international art scene.[199][197][200]

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    Performance art in the Lyon Biennale
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    Performance art in the Lyon Biennale
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    Performance at the entrance of the Romanian Pavilion at the Venice Biennale
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    Performative installation by Joseph Beuys in the Tate Modern of London
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    Video installation with the Chinese artist Ai Weiwei
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    Tehching Hsieh exhibition in downtown New York City
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    China Pavilion at the Venice Biennale
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    Portrait of Wang Xiaoshuai
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    Liu Xiaodong during a performance artwork

Since the 2000s edit

New-media performance edit

 
New media performance art, 2009

In the late 1990s and into the 2000s, a number of artists incorporated technologies such as the World Wide Web, digital video, webcams, and streaming media, into performance artworks.[201] Artists such as Coco Fusco, Shu Lea Cheang, and Prema Murthy produced performance art that drew attention to the role of gender, race, colonialism, and the body in relation to the Internet.[202] Other artists, such as Critical Art Ensemble, Electronic Disturbance Theater, and Yes Men, used digital technologies associated with hacktivism and interventionism to raise political issues concerning new forms of capitalism and consumerism.[203][204]

In the second half of the decade, computer-aided forms of performance art began to take place.[205] Many of these works led to the development of algorithmic art, generative art, and robotic art, in which the computer itself, or a computer-controlled robot, becomes the performer.[206]

Coco Fusco is an interdisciplinary Cuban-American artist, writer and curator who lives and works in the United States. Her artistic career began in 1988. In her work, she explores topics such as identity, race, power and gender through performance. She also makes videos, interactive installations and critical writing.[207][19]

Radical performance edit

 
Petr Pavlensky cutting his own ear in a political action in the Red Square of Moscow
 
Protest for the liberation of Pussy Riot
 
Pussy Riot during a performance with Tania Bruguera

During the 2000s and 2010s, artists such as Pussy Riot, Tania Bruguera, and Petr Pavlensky have been judged for diverse artistic actions.[208]

On February 21, 2012, as a part of their protest against the re-election of Vladímir Putin, various women of the artistic collective Pussy Riot entered the Cathedral of Christ the Saviour of Moscow of the Russian Orthodox Church. They made the sign of the cross, bowed before the shrine, and started to interpret a performance compound by a song and a dance under the motto "Virgin Mary, put Putin Away". On March 3, they were detained.[209] On March 3, 2012, Maria Alyokhina and Nadezhda Tolokonnikova,[210][211] Pussy Riot members, were arrested by the Russian authorities and accused of vandalism. At first, they both denied being members of the group and started a hunger strike for being incarcerated and taken apart from their children until the trials began in April.[212] On March 16 another woman, Yekaterina Samutsévitch, who had been previously interrogated as a witness, was arrested and accused as well.[citation needed] On July 5, formal charges against the group and a 2800-page accusation were filed.[213] That same day they were notified that they had until July 9 to prepare their defense. In reply, they announced a hunger strike, pleading that two days was an inappropriate time frame to prepare their defense.[214] On July 21, the court extended their preventive prison to last six more months.[215] The three detained members were recognized as political prisoners by the Union of Solidarity with Political Prisoners.[216] Amnesty International considers them to be prisoners of conscience for "the severity of the response of the Russian authorities".[217]

 
The artist Abel Azcona during The Fathers at museum of Madrid, 2018

Since 2012, artist Abel Azcona has been prosecuted for some of his works. The demand that gained the most repercussion[clarification needed] was the one carried out by the Archbishopric of Pamplona and Tudela,[218] in representation of the Catholic Church.[219] The Church demanded Azcona for desecration and blasphemy crimes, hate crime and attack against the religious freedom and feelings for his work Amen or The Pederasty.[220][221] In 2016, Azcona was denounced for extolling terrorism[222][223] for his exhibition Natura Morta,[224] in which the artist recreated situations of violence, historical memory, terrorism or war conflicts through performance and hyperrealistic sculptures and installations.[225]

In December 2014 Tania Bruguera was detained in La Habana to prevent her from carrying out new reivindicative[clarification needed] works. Her performance art pieces have earned her harsh critiques, and she has been accused of promoting resistance and public disturbances.[226][227] In December 2015 and January 2016, Bruguera was detained for organizing a public performance in the plaza de la Revolución of La Habana. She was detained along with other Cuban artists, activists and reporters who took part in the campaign Yo También Exijo, which was created after the declarations of Raúl Castro and Barack Obama in favor of restoring their diplomatic relationship. During the performance El Susurro de Tatlin #6 she set microphones and talkers[clarification needed] in the Plaza de la Revolución so the Cubans could express their feelings regarding the new political climate. The event had great repercussion in international media, including a presentation of El Susurro de Tatlin #6 in Times Square, and an action in which various artists and intellectuals expressed themselves in favour of the liberation of Bruguera by sending an open letter to Raúl Castro signed by thousands of people around the world asking for the return of her passport and claiming criminal injustice, as she only gave a microphone to the people so they could give their opinion.[228][229][230][231][232]

In November 2015 and October 2017 Petr Pavlensky was arrested for carrying out a radical performance art piece in which he set on fire the entry of the Lubyanka Building, headquarters of the Federal Security Service of Russia, and a branch office of the Bank of France.[233] On both occasions he sprayed the main entrance with gasoline; in the second performance he sprayed the inside as well, and ignited it with a lighter. The doors of the building were partially burnt. Both times Pavlenski was arrested without resistance and accused of debauchery. A few hours after the actions, several political and artistic reivindicative videos appeared on the internet.[234]

Institutionalization of performance art / performance collecting processes edit

 
Marina Abramović performing The Artist Is Present, MoMA, Nueva York, 2010

Since the 2000s, big museums, institutions and collections have supported performance art. Since January 2003, Tate Modern in London has had a curated programme of live art and performance.[235] With exhibitions by artists such as Tania Bruguera or Anne Imhof.[236] In 2012 The Tanks at Tate Modern were opened: the first dedicated spaces for performance, film and installation in a major modern and contemporary art museum.

The Museum of Modern Art held a major retrospective and performance recreation of Marina Abramović's work, the biggest exhibition of performance art in MoMA's history, from March 14 to 31, 2010.[237][238] The exhibition consisted of more than twenty pieces by the artist, most of them from the years 1960–1980. Many of them were re-activated by other young artists of multiple nationalities selected for the show.[239] In parallel to the exhibition, Abramovic performed The Artist is Present, a 726-hour and 30-minute static, silent piece, in which she sat immobile in the museum's atrium, while spectators were invited to take turns sitting opposite her.[240] The work is an updated reproduction of one of the pieces from 1970, shown in the exhibition, where Abramovic stayed for full days next to Ulay, who was her sentimental companion. The performance attracted celebrities such as Björk, Orlando Bloom and James Franco[241] who participated and received media coverage.[242]

Against the background of the institutionalisation of performance, the Bruxelles-based initiative A Performance Affair[243] and the London-based format Performance Exchange[244] inquire about the collectability of performance works. With The Non-fungible Body?, the Austrian museum and culture centre OÖLKG/OK reflects upon recent developments in institutionalizing performance through a discursive festival format that was presented for the first time in June 2022.

Collective reivindication performance art edit

 
A Rapist in Your Path in the main street of Mexico City

In 2014 the performance art piece Carry That Weight is created, also known as "the mattress performance". The artist behind this piece is Emma Sulkowicz who, during her end of degree thesis in visual arts in the Columbia University in the city of New York City. In September 2014, Sulkowicz's piece began, as she started carrying her own mattress around the Columbia University campus.[245] This work was created by the artist with the goal of denouncing her rape in that same mattress years before, in her own dormitory, which she reported and was not heard by the university or the justice,[246] so she decided to carry the mattress with her for the entire semester, without leaving it at any moment, until her graduation ceremony in May 2015. The piece generated great controversy, but was supported by a bunch of her companions and activists who joined Sulkowicz multiple times when carrying the mattress, making the work an international revindication. Art critic Jerry Saltz considered the artwork to be one of the most important of the year 2014. [247]

In 2019 the collective performance art piece A Rapist in Your Path was created by a feminist group from Valparaíso, Chile named Lastesis, which consisted of a demonstration against the women's rights violations in the context of the 2019-2020 Chilean protests.[248][249][250] It was first performed in front of the Second Police Station of the Carabineros de Chile in Valparaíso on November 18, 2019.[251] A second performance done by 2000 Chilean women on November 25, 2019, as a part of the International Day for the Elimination of Violence against Women, was filmed and became viral on social media.[252] Its reach became global[253][254] after feminist movements in dozens of countries adopted and translated the performance for their own protests and demands for the cessation and punishment of femicide and sexual violence, amongst others.[255]

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    Companions of Emma Sulkowicz and the artist herself carrying the mattress to the graduation as a complaint
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    Sulkowicz with the instructions for her performance in the Columbia University
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    Part of Sulkowicz's performance, an action called "Llevemos el peso entre todas" (Carry That Weight Together)
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    Sulkowicz's portrait in one of the presentations of the work
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    Roberta Smith, New York Times art critic (left), discussing Mattress Performance with Sulkowicz, Brooklyn Museum, December 14, 2014
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    Mexican interpretation of A Rapist in Your Path in Oaxaca, November 27, 2019
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    A Rapist in Your Path presented in the context of the 2019-2020 Chilean protests
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    Peruvian interpretation of A Rapist in Your Path in Lima, December 12, 2019
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    A Rapist in Your Path presented in the context of the 2019-2020 Chilean protests
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    A child intervening during the performance of A Rapist in Your Path

See also edit

References edit

  1. ^ a b "Performance Art". Tate Modern. Retrieved May 20, 2020.
  2. ^ "Performance Art Movement Overview". The Art Story. Retrieved May 12, 2020.
  3. ^ "Media & Performance". Moma Museo of Modern Art. Retrieved May 20, 2020.
  4. ^ Taylor y Fuentes, Diana y Macela (2011). (PDF). Fondo de Cultura Económica. Archived from the original (PDF) on February 14, 2019. Retrieved February 8, 2019.
  5. ^ Franco Peplo, Fernando (2014). "El concepto de performance según Erving Goffman y Judith Butler" (PDF). Colección Documentos de trabajo. Editorial CEA. Año1. Número 3. Retrieved February 8, 2019.
  6. ^ "Etimología de performance". Etimologías de Chile. 2019. Retrieved May 20, 2020.
  7. ^ Perreault, John (1982). "Marjorie Strider: An Overview". In Van Wagner, Judith K. (ed.). Marjorie Strider: 10 Years, 1970-1980. Myers Fine Art Gallery. pp. 11–15.
  8. ^ Carreño Rio, Rodrigo. "Carolee Schneemann, Pionera y Referente". Le Miau Noir. Retrieved June 8, 2020.
  9. ^ "Marina Abramovic, pionera del performance". The Vault. April 8, 2018. Retrieved June 8, 2020.
  10. ^ "Ana Mendieta, la pionera cubana de la performance, está en Madrid". Diario de Cuba. February 14, 2020. Retrieved June 8, 2020.
  11. ^ Calvo, Irene (May 14, 2015). "Chris Burden, el body art y la performance de los 70: referentes actuales". Ah Magazine. Retrieved June 8, 2020.
  12. ^ Davis, Ben (April 28, 2017). "Vito Acconci, Transgressive Progenitor of Performance Art, Dies at 77". London Arte Week. Retrieved June 30, 2020.
  13. ^ "The Top 10 Living Artists of 2015". Artsy. 2015. Retrieved June 30, 2020.
  14. ^ "Abel Azcona, mejor artista de performance". Hoyu es arte. February 22, 2016. Retrieved June 30, 2020.
  15. ^ Toledo, Manuel (June 10, 2005). "Guatemalteca gana Leon de Oro". BBC Mundo. Retrieved November 28, 2022.
  16. ^ E. Cué, Carlos (February 17, 2017). "Marta Minujín "Desde los años sesenta no se ha hecho nada nuevo en arte"". El Pais. Retrieved June 30, 2020.
  17. ^ Fischer-Lichte, Erika. The Transformative Power of Performance: A New Aesthetics. New York and London 2008, Routledge. ISBN 978-0415458566.
  18. ^ Moller, Helen Dunham, Curtis Dancing with Helen Moller. New York: John Lane company. — 1918.
  19. ^ a b c Carlson, Marvin (1998) [1996]. Performance: A Critical Introduction. London and New York: Routledge. pp. 2, 103–105. ISBN 0-415-13703-9.
  20. ^ Parr, Adrian (2005). Adrian Parr (ed.). Becoming + Performance Art. Edinburgh University Press. pp. 25, 2. ISBN 0748618996. Retrieved October 26, 2010. {{cite book}}: |work= ignored (help)
  21. ^ "Performanceras y dadaístas". Con la a. 2020. Retrieved May 23, 2020.
  22. ^ Rojas, Diego (May 20, 2017). "La performance, esa forma radical y perturbadora del arte contemporáneo". Infobae. Retrieved May 23, 2020.
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Bibliography edit

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  • Bäckström, Per. "Performing the Poem: The Cross-Aesthetic Art of the Nordic Neo-Avant-Garde", The Angel of History. Literature, History and Culture. Vesa Haapala, Hannamari Helander, Anna Hollsten, Pirjo Lyytikäinen & Rita Paqvalen (eds.), Helsinki: The Department of Finnish Language and Literature, University of Helsinki, 2009.
  • Bäckström, Per. “Kisses Sweeter than Wine: Öyvind Fahlström and Billy Klüver: The Swedish Neo-Avant-Garde in New York”, Artl@s Bulletin, vol. 6, 2017: 2 Migrations, Transfers, and Resemantization.
  • Bäckström, Per. “The Intermedial Cluster.Åke Hodell's Lågsniff”, Acta Universitatis Sapientiae, Series Film & Media Studies, de Gruyter, no. 10 2015.
  • Bäckström, Per. ”’The Trumpet in the Bottom’. Öyvind Fahlström and the Uncanny”, Edda 2017: 2.
  • Beisswanger, Lisa: Performance on Display. Zur Geschichte lebendiger Kunst im Museum. Deutscher Kunstverlag, Berlin 2021. ISBN 978-3-422-98448-6 (in German)
  • Beuys Brock Vostell. Aktion Demonstration Partizipation 1949–1983. ZKM – Zentrum für Kunst und Medientechnologie, Hatje Cantz, Karlsruhe, 2014, ISBN 978-3-7757-3864-4.
  • Battcock, Gregory; Nickas, Robert (1984). The Art of Performance: A Critical Anthology. New York, E.P. Dutton. ISBN 0-525-48039-0
  • Carlson, Marvin (1996). Performance: A Critical Introduction. London and New York: Routledge. ISBN 0-415-13702-0, ISBN 0-415-13703-9
  • Carr, C. (1993). On Edge: Performance at the End of the Twentieth Century. Wesleyan University Press. ISBN 0-8195-5267-4, ISBN 0-8195-6269-6
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  • Phelan, Peggy: Unmarked. The Politics of Performance. Routledge, London 1993. ISBN 978-0-415-06822-2
  • Rockwell, John (2004). "Preserve Performance Art?" New York Times, April 30.
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  • Smith, Roberta (2005). "Performance Art Gets Its Biennial". New York Times, November 2.
  • Best, Susan, "The Serial Spaces of Ana Mendieta" Art History, April 2007 https://doi.org/10.1111/j.1467-8365.2007.00532.x
  • Best, Susan, "Ana Mendieta: Affect Miniatiarizatin, Emotional Ties and the Silueta Series," Visualizing Feeling: Affect and the Feminine Avant-Garde (London: I B Tauris, 2011) 92–115 ISBN 978-1-78076-709-3
  • Del Valle, Alejandro (2015). "Primitivism in the Art of Ana Mendieta". PhD. Universitat Pompeu Fabra. Retrieved July 8, 2017.
  • Hirshhorn Museum and Sculpture Garden. Traditional Fine Arts Organization, Inc.

External links edit

 
Wikimedia Commons has media related to Performance art.
 
Wikiversity has learning resources about Performance art
 
Wikiquote has quotations related to Performance art.
  • Live Art Archives at the University of Bristol Theatre Collection
  • Thomas Dreher: Intermedia Art: Performance Art (most articles in German)

January 01, 1970
performance, live, redirects, here, album, live, confused, with, performing, arts, artwork, exhibition, created, through, actions, executed, artist, other, participants, witnessed, live, through, documentation, spontaneously, developed, written, traditionally,. Live art redirects here For the album see Live Art Not to be confused with Performing arts Performance art is an artwork or art exhibition created through actions executed by the artist or other participants It may be witnessed live or through documentation spontaneously developed or written and is traditionally presented to a public in a fine art context in an interdisciplinary mode 1 Also known as artistic action it has been developed through the years as a genre of its own in which art is presented live It had an important and fundamental role in 20th century avant garde art 2 3 Conceptual work by Yves Klein at Rue Gentil Bernard Fontenay aux Roses October 1960 Le Saut dans le Vide Leap into the Void It involves five basic elements time space body and presence of the artist and the relation between the creator and the public The actions generally developed in art galleries and museums can take place in the street any kind of setting or space and during any time period 4 Its goal is to generate a reaction sometimes with the support of improvisation and a sense of aesthetics The themes are commonly linked to life experiences of the artist themselves the need for denunciation or social criticism and with a spirit of transformation 5 The term performance art and performance became widely used in the 1970s even though the history of performance in visual arts dates back to futurist productions and cabarets from the 1910s 6 1 Art critic and performance artist John Perreault credits Marjorie Strider with the invention of the term in 1969 7 The main pioneers of performance art include Carolee Schneemann 8 Marina Abramovic 9 Ana Mendieta 10 Chris Burden 11 Hermann Nitsch Joseph Beuys Nam June Paik Tehching Hsieh Yves Klein and Vito Acconci 12 Some of the main exponents more recently are Tania Bruguera 13 Abel Azcona 14 Regina Jose Galindo 15 Marta Minujin 16 Melati Suryodarmo and Petr Pavlensky The discipline is linked to the happenings and events of the Fluxus movement Viennese Actionism body art and conceptual art 17 Contents 1 Definition 2 Origins 2 1 Cabaret Voltaire 2 2 Futurism 2 3 Bauhaus 2 4 Action painting 2 5 Nouveau realisme 2 6 Gutai 2 7 Land art and performance 3 1960s 3 1 Viennese actionism 3 2 New York and avant garde performance 3 3 The Living Theatre 3 4 Fluxus 3 5 Process art 3 6 Happening 3 7 Main artists 4 1970s 4 1 Video performance 4 2 Endurance art 4 3 Performance in a political context 4 4 The Other 4 5 Main artists 5 1980s 5 1 The technique of performance art 5 2 Critique and investigation of performance art 5 3 Performance art from a political context 5 4 Performance poetry 5 5 Feminist performance art 5 6 Expansion to Latin America 6 1990s 6 1 Performance with political context 6 2 Professionalization of performance art 6 3 Performance in China 7 Since the 2000s 7 1 New media performance 7 2 Radical performance 7 3 Institutionalization of performance art performance collecting processes 7 4 Collective reivindication performance art 8 See also 9 References 10 Bibliography 11 External linksDefinition edit nbsp Helen Moller dance performance Photo by Arnold Genthe early 20th century 18 nbsp Georgia O Keeffe photographed during a performative process 1919 The definition and historical and pedagogical contextualization of performance art is controversial One of the handicaps comes from the term itself which is polysemic and one of its meanings relates to the scenic arts This meaning of performance in the scenic arts context is opposite to the meaning of performance art since performance art emerged with a critical and antagonistic position towards scenic arts Performance art only adjoins the scenic arts in certain aspects such as the audience and the present body and still not every performance art piece contains these elements 19 The meaning of the term in the narrower sense is related to postmodernist traditions in Western culture From about the mid 1960s into the 1970s often derived from concepts of visual art with respect to Antonin Artaud Dada the Situationists Fluxus installation art and conceptual art performance art tended to be defined as an antithesis to theatre challenging orthodox art forms and cultural norms The ideal had been an ephemeral and authentic experience for performer and audience in an event that could not be repeated captured or purchased 20 The widely discussed difference how concepts of visual arts and concepts of performing arts are used can determine the meanings of a performance art presentation 19 Performance art is a term usually reserved to refer to a conceptual art which conveys a content based meaning in a more drama related sense rather than being simple performance for its own sake for entertainment purposes It largely refers to a performance presented to an audience but which does not seek to present a conventional theatrical play or a formal linear narrative or which alternately does not seek to depict a set of fictitious characters in formal scripted interactions It therefore can include action or spoken word as a communication between the artist and audience or even ignore expectations of an audience rather than following a script written beforehand Some types of performance art nevertheless can be close to performing arts Such performance may use a script or create a fictitious dramatic setting but still constitute performance art in that it does not seek to follow the usual dramatic norm of creating a fictitious setting with a linear script which follows conventional real world dynamics rather it would intentionally seek to satirize or to transcend the usual real world dynamics which are used in conventional theatrical plays Performance artists often challenge the audience to think in new and unconventional ways break conventions of traditional arts and break down conventional ideas about what art is As long as the performer does not become a player who repeats a role performance art can include satirical elements use robots and machines as performers as in pieces of the Survival Research Laboratories involve ritualised elements e g Shaun Caton or borrow elements of any performing arts such as dance music and circus It can also involve intersection with architecture Some artists e g the Viennese Actionists and neo Dadaists prefer to use the terms live art action art actions intervention see art intervention or manoeuvre to describe their performing activities As genres of performance art appear body art fluxus performance happening action poetry and intermedia Origins edit nbsp Revived Cabaret Voltaire on the Spiegelgasse street 1 in Zurich 2011 Performance art is a form of expression that was born as an alternative artistic manifestation The discipline emerged in 1916 parallel to dadaism under the umbrella of conceptual art The movement was led by Tristan Tzara one of the pioneers of Dada Western culture theorists have set the origins of performance art in the beginnings of the 20th century along with constructivism Futurism and Dadaism Dada was an important inspiration because of their poetry actions which drifted apart from conventionalisms and futurist artists specially some members of Russian futurism could also be identified as part of the starting process of performance art 21 22 nbsp Original plaque of the Cabaret Voltaire in Zurich nbsp Original poster of the first function of the Cabaret Voltaire by Marcel Slodki 1916 Cabaret Voltaire edit Main article Cabaret Voltaire Zurich The Cabaret Voltaire was founded in Zurich Switzerland by the couple Hugo Ball and Emmy Hennings for artistic and political purposes and was a place where new tendencies were explored Located on the upper floor of a theater whose exhibitions they mocked in their shows the works interpreted in the cabaret were avant garde and experimental It is thought that the Dada movement was founded in the ten meter square locale 23 24 Moreover Surrealists whose movement descended directly from Dadaism used to meet in the Cabaret On its brief existence barely six months closing the summer of 1916 the Dadaist Manifesto was read and it held the first Dada actions performances and hybrid poetry plastic art music and repetitive action presentations Founders such as Richard Huelsenbeck Marcel Janco Tristan Tzara Sophie Taeuber Arp and Jean Arp participated in provocative and scandalous events that were fundamental and the basis of the foundation for the anarchist movement called Dada 25 nbsp Grand opening of the first Dada exhibition International Dada Fair Berlin June 5 1920 From left to right Raoul Hausmann Hannah Hoch sitting Otto Burchard Johannes Baader Wieland Herzfelde Margarete Herzfelde Dr Oz Otto Schmalhausen George Grosz and John Heartfield 26 Dadaism was born with the intention of destroying any system or established norm in the art world 27 It is an anti art movement anti literary and anti poetry that questioned the existence of art literature and poetry itself Not only was it a way of creating but of living it created a whole new ideology 28 It was against eternal beauty the eternity of principles the laws of logic the immobility of thought and clearly against anything universal It promoted change spontaneity immediacy contradiction randomness and the defense of chaos against the order and imperfection against perfection ideas similar to those of performance art They stood for provocation anti art protest and scandal through ways of expression many times satirical and ironic The absurd or lack of value and the chaos protagonized clarification needed their breaking actions with traditional artistic form 27 28 29 30 Cabaret Voltaire closed in 1916 but was revived in the 21st century nbsp Left to right futurists Benedikt Lifshits Nikolai Burluik Vladimir Mayakovski David Burliuk and Aleksei Kruchonyj Between 1912 and 1913 nbsp Bauhaus Dessau building 2005 Futurism edit Main article Futurism Futurism was an artistic avant garde movement that appeared in 1909 It first started as a literary movement even though most of the participants were painters In the beginning it also included sculpture photography music and cinema The First World War put an end to the movement even though in Italy it went on until the 1930s One of the countries where it had the most impact was Russia 31 In 1912 manifestos such as the Futurist Sculpture Manifesto and the Futurist Architecture arose and in 1913 the Manifesto of Futurist Lust by Valentine de Saint Point dancer writer and French artist The futurists spread their theories through encounters meetings and conferences in public spaces that got close to the idea of a political concentration with poetry and music halls which anticipated performance art 31 32 33 Bauhaus edit Main article Bauhaus The Bauhaus an art school founded in Weimar in 1919 included an experimental performing arts workshops with the goal of exploring the relationship between the body space sound and light The Black Mountain College founded in the United States by instructors of the original Bauhaus who were exiled by the Nazi Party continued incorporating experimental performing arts in the scenic arts training twenty years before the events related to the history of performance in the 1960s 34 The name Bauhaus derives from the German words Bau construction and Haus house ironically despite its name and the fact that his founder was an architect the Bauhaus did not have an architecture department the first years of its existence 35 36 Action painting edit Main article Action Painting In the 1940s and 1950s the action painting technique or movement gave artists the possibility of interpreting the canvas as an area to act in rendering the paintings as traces of the artist s performance in the studio 37 According to art critic Harold Rosenberg it was one of the initiating processes of performance art along with abstract expressionism Jackson Pollock is the action painter par excellence who carried out many of his actions live 38 In Europe Yves Klein did his Anthropometries using female bodies to paint canvasses as a public action Names to be highlighted are Willem de Kooning and Franz Kline whose work include abstract and action painting 37 39 40 Nouveau realisme edit Main article Nouveau realisme Nouveau realisme is another one of the artistic movements cited in the beginnings of performance art It was a painting movement founded in 1960 by art critic Pierre Restany and painter Yves Klein during the first collective exhibition in the Apollinaire Gallery in Milan Nouveau realisme was along with Fluxus and other groups one of the many avant garde tendencies of the 1960s Pierre Restany created various performance art assemblies in the Tate Modern amongst other spaces 41 Yves Klein is one of the main exponents of the movement He was a clear pioneer of performance art with his conceptual pieces like Zone de Sensibilite Picturale Immaterielle 1959 62 Anthropometries 1960 and the photomontage Saut dans le vide 42 43 All his works have a connection with performance art as they are created as a live action like his best known artworks of paintings created with the bodies of women The members of the group saw the world as an image from which they took parts and incorporated them into their work they sought to bring life and art closer together 44 45 46 Gutai edit Main article Gutai One of the other movements that anticipated performance art was the Japanese movement Gutai who made action art or happening It emerged in 1955 in the region of Kansai Kyōto Ōsaka Kōbe The main participants were Jirō Yoshihara Sadamasa Motonaga Shozo Shimamoto Saburō Murakami Katsuō Shiraga Seichi Sato Akira Ganayama and Atsuko Tanaka 47 The Gutai group arose after World War II They rejected capitalist consumerism carrying out ironic actions with latent aggressiveness object breaking actions with smoke They influenced groups such as Fluxus and artists like Joseph Beuys and Wolf Vostell 47 48 49 Land art and performance edit Main article Land art In the late 1960s diverse land art artists such as Robert Smithson or Dennis Oppenheim created environmental pieces that preceded performance art in the 1970s Works by conceptual artists from the early 1980s such as Sol LeWitt who made mural drawing into a performance act were influenced by Yves Klein and other land art artists 50 51 52 Land art is a contemporary art movement in which the landscape and the artwork are deeply bound It uses nature as a material wood soil rocks sand wind fire water etc to intervene on itself The artwork is generated with the place itself as a starting point The result is sometimes a junction between sculpture and architecture and sometimes a junction between sculpture and landscaping that is increasingly taking a more determinant role in contemporary public spaces When incorporating the artist s body in the creative process it acquires similarities with the beginnings of performance art nbsp Portrait of Valentine de Saint Point in the space of creation nbsp Intervened cover by Russian Futurist Olga Rozanova 1912 nbsp Portrait of Willem de Kooning action painting painter in his studio nbsp Installation by Gutai Group in the 2009 Venice Biennial nbsp Installation by Dennis Oppenheim in Hesse Germany nbsp Land art work by Robert Smithson nbsp Portrait of Pierre Restany in one of his openings nbsp Freeing of 1001 blue balloons sculpture aerostatique by Yves Klein1960s edit nbsp Exploding Plastic Inevitable by Ann Arbor In the 1960s with the purpose of evolving the generalized idea of art and with similar principles of those originary from Cabaret Voltaire or Futurism a variety of new works concepts and a growing number of artists led to new kinds of performance art Movements clearly differentiated from Viennese Actionism avant garde performance art in New York City process art the evolution of The Living Theatre or happening but most of all the consolidation of the pioneers of performance art 53 nbsp Pioneers of Viennese Actionism during an exhibition in the Hermann Nitsch foundation Viennese actionism edit Main article Viennese Actionism The term Viennese Actionism Wiener Aktionismus comprehends a brief and controversial art movement of the 20th century which is remembered for the violence grotesque and visual of their artworks 54 It is located in the Austrian vanguard of the 1960s and it had the goal of bringing art to the ground of performance art and is linked to Fluxus and Body Art Amongst their main exponents are Gunter Brus Otto Muehl and Hermann Nitsch who developed most of their actionist activities between 1960 and 1971 Hermann pioneer of performance art presented in 1962 his Theatre of Orgies and Mysteries Orgien und Mysterien Theater 55 56 57 Marina Abramovic participated as a performer in one of his performances in 1975 New York and avant garde performance edit nbsp Photography exhibition in The Velvet Underground and Andy Warhol Factory In the early 1960s New York City harbored many movements events and interests regarding performance art Amongst others Andy Warhol began creating films and videos 58 and mid decade he sponsored The Velvet Underground and staged events and performative actions in New York such as the Exploding Plastic Inevitable 1966 that included live rock music explosive lights and films 59 60 61 62 The Living Theatre edit Main article The Living Theatre nbsp The Living Theatre presenting their work The Brig in Myfest 2008 in Berlin Kreuzberg Indirectly influential for art world performance particularly in the United States were new forms of theatre embodied by the San Francisco Mime Troupe and the Living Theatre and showcased in Off Off Broadway theaters in SoHO and at La MaMa in New York City The Living Theatre is a theater company created in 1947 in New York It is the oldest experimental theatre in the United States 63 Throughout its history it has been led by its founders actress Judith Malina who had studied theatre with Erwin Piscator with whom she studied Bertolt Brecht s and Meyerhold s theory and painter and poet Julian Beck After Beck s death in 1985 the company member Hanon Reznikov became co director along with Malina Because it is one of the oldest random theatre or live theatre groups nowadays it is looked upon by the rest clarification needed They understood theatre as a way of life and the actors lived in a community under libertary clarification needed principles It was a theatre campaign dedicated to transformation of the power organization of an authoritarian society and hierarchical structure The Living Theatre chiefly toured in Europe between 1963 and 1968 and in the U S in 1968 A work of this period Paradise Now was notorious for its audience participation and a scene in which actors recited a list of social taboos that included nudity while disrobing 64 nbsp Fluxus manifesto Fluxus edit Main article Fluxus nbsp Portrait of John Cage 1988 Fluxus a Latin word that means flow is a visual arts movement related to music literature and dance Its most active moment was in the 1960s and 1970s They proclaimed themselves against the traditional artistic object as a commodity and declared themselves a sociological art movement Fluxus was informally organized in 1962 by George Maciunas 1931 1978 This movement had representation in Europe the United States and Japan 65 The Fluxus movement mostly developed in North America and Europe under the stimulus of John Cage did not see the avant garde as a linguistic renovation but it sought to make a different use of the main art channels that separate themselves from specific language it tries to be interdisciplinary and to adopt mediums and materials from different fields Language is not the goal but the mean for a renovation of art seen as a global art 66 As well as Dada Fluxus escaped any attempt for a definition or categorization As one of the movement s founders Dick Higgins stated Fluxus started with the work and then came together applying the name Fluxus to work which already existed It was as if it started in the middle of the situation rather than at the beginning 67 68 Robert Filliou places Fluxus opposite to conceptual art for its direct immediate and urgent reference to everyday life and turns around Duchamp s proposal who starting from Ready made introduced the daily into art whereas Fluxus dissolved art into the daily many times with small actions or performances 69 John Cage was an American composer music theorist artist and philosopher A pioneer of indeterminacy in music electroacoustic music and non standard use of musical instruments Cage was one of the leading figures of the post war avant garde Critics have lauded him as one of the most influential composers of the 20th century 70 71 72 73 He was also instrumental in the development of modern dance mostly through his association with choreographer Merce Cunningham who was also Cage s romantic partner for most of their lives 74 75 Cage s friend Sari Dienes can be seen as an important link between the Abstract Expressionists Neo Dada artists like Robert Rauschenberg and Ray Johnson and Fluxus Dienes inspired all these artists to blur the lines between life Zen performative art making techniques and events in both pre meditated and spontaneous ways 76 Process art edit Main article Process Art Process art is an artistic movement where the end product of art and craft the objet d art work of art found object is not the principal focus the process of its making is one of the most relevant aspects if not the most important one the gathering sorting collating associating patterning and moreover the initiation of actions and proceedings Process artists saw art as pure human expression Process art defends the idea that the process of creating the work of art can be an art piece itself Artist Robert Morris predicated anti form process and time over an objectual finished product 77 78 79 nbsp Joseph Beuys in a Documenta Kassel event Happening edit Main article Happening Wardrip Fruin and Montfort in The New Media Reader The term Happening has been used to describe many performances and events organized by Allan Kaprow and others during the 1950s and 1960s including a number of theatrical productions that were traditionally scripted and invited only limited audience interaction 80 A happening allows the artist to experiment with the movement of the body recorded sounds written and talked texts and even smells One of Kaprow s first works was Happenings in the New York Scene written in 1961 81 Allan Kaprow s happenings turned the public into interpreters Often the spectators became an active part of the act without realizing it Other actors who created happenings were Jim Dine Al Hansen Claes Oldenburg Robert Whitman and Wolf Vostell Theater is in the Street Paris 1958 82 83 Main artists edit nbsp Portrait of Joseph Beuys and Andy Warhol in Naples The works by performance artists after 1968 showed many times influences from the political and cultural situation that year Barbara T Smith with Ritual Meal 1969 was at the vanguard of body and scenic feminist art in the seventies which included amongst others Carolee Schneemann and Joan Jonas These along with Yoko Ono Joseph Beuys Nam June Paik Wolf Vostell Allan Kaprow Vito Acconci Chris Burden and Dennis Oppenheim were pioneers in the relationship between body art and performance art as well as the Zaj collective in Spain with Esther Ferrer and Juan Hidalgo nbsp Carolee Schneemann performing her piece Interior Scroll Yves Klein in France and Carolee Schneemann Yayoi Kusama Charlotte Moorman and Yoko Ono in New York City were pioneers of performance based works of art that often entailed nudity Barbara Smith is an artist and United States activist She is one of the main African American exponents of feminism and LGBT activism in the United States In the beginning of the 1970s she worked as a teacher writer and defender of the black feminism current 84 She has taught at numerous colleges and universities in the last five years Smith s essays reviews articles short stories and literary criticism have appeared in a range of publications including The New York Times The Guardian The Village Voice and The Nation 85 86 87 Carolee Schneemann 88 was an American visual experimental artist known for her multi media works on the body narrative sexuality and gender 89 She created pieces such as Meat Joy 1964 and Interior Scroll 1975 90 Schneemann considered her body a surface for work 91 She described herself as a painter who has left the canvas to activate the real space and the lived time 92 failed verification Joan Jonas born July 13 1936 is an American visual artist and a pioneer of video and performance art who is one of the most important female artists to emerge in the late 1960s and early 1970s 93 Jonas projects and experiments provided the foundation on which much video performance art would be based Her influences also extended to conceptual art theatre performance art and other visual media She lives and works in New York and Nova Scotia Canada 94 95 Immersed in New York s downtown art scene of the 1960s Jonas studied with the choreographer Trisha Brown for two years 96 Jonas also worked with choreographers Yvonne Rainer and Steve Paxton 97 Yoko Ono was part of the avant garde movement of the 1960s She was part of the Fluxus movement 98 She is known for her performance art pieces in the late 1960s works such as Cut Piece where visitors could intervene in her body until she was left naked 99 One of her best known pieces is Wall piece for orchestra 1962 100 101 Joseph Beuys was a German Fluxus happening performance artist painter sculptor medallist and installation artist In 1962 his actions alongside the Fluxus neodadaist movement started group in which he ended up becoming the most important member His most relevant achievement was his socialization of art making it more accessible for every kind of public 102 In How to Explain Pictures to a Dead Hare 1965 he covered his face with honey and gold leaf and explained his work to a dead hare that lay in his arms In this work he linked spacial and sculptural linguistic and sonorous factors to the artist s figure to his bodily gesture to the conscience of a communicator whose receptor is an animal 103 Beuys acted as a shaman with healing and saving powers toward the society that he considered dead 104 In 1974 he carried out the performance I Like America and America Likes Me where Beuys a coyote and materials such as paper felt and thatch constituted the vehicle for its creation He lived with the coyote for three days He piled United States newspapers a symbol of capitalism 105 With time the tolerance between Beuys and the coyote grew and he ended up hugging the animal Beuys repeats many elements used in other works 106 Objects that differ form Duchamp s ready mades not for their poor clarification needed and ephemerality but because they are part of Beuys s own life who placed them after living with them and leaving his mark on them Many have an autobiographical meaning like the honey or the grease used by the tartars who saved clarification needed in World War Two In 1970 he made his Felt Suit Also in 1970 Beuys taught sculpture in the Kunstakademie Dusseldorf 107 In 1979 the Solomon R Guggenheim Museum of New York City exhibited a retrospective of his work from the 1940s to 1970 108 109 110 nbsp Portrait of Barbara Smith nbsp Conference by Yoko Ono in the Viena Biennial 2012 nbsp Portrait of Yoko Ono nbsp Video art piece from the Brooklyn Museum with an interview with Carolee Schneemann nbsp Joan Jonas during a performance documented on video and installed 1972 nbsp Portrait of artist Joan Jonas nbsp Portrait of Joseph Beuys in a conference performance 1978 nbsp Joseph Beuys in a video art piece Nam June Paik was a South Korean performance artist composer and video artist from the second half of the 20th century He studied music and art history in the University of Tokyo Later in 1956 he traveled to Germany where he studied Music Theory in Munich then continued in Cologne in the Freiburg conservatory While studying in Germany Paik met the composers Karlheinz Stockhausen and John Cage and the conceptual artists Sharon Grace as well as George Maciunas Joseph Beuys and Wolf Vostell and was from 1962 on a member of the experimental art movement Fluxus 111 112 Nam June Paik then began participating in the Neo Dada art movement known as Fluxus which was inspired by the composer John Cage and his use of everyday sounds and noises in his music 113 He was mates with Yoko Ono as a member of Fluxus 114 Wolf Vostell was a German artist one of the most representative of the second half of the 20th century who worked with various mediums and techniques such as painting sculpture installation decollage video art happening and fluxus 115 Vito Acconci 116 117 was an influential American performance video and installation artist whose diverse practice eventually included sculpture architectural design and landscape design His foundational performance and video art 118 was characterized by existential unease exhibitionism discomfort transgression and provocation as well as wit and audacity 117 and often involved crossing boundaries such as public private consensual nonconsensual and real world art world 119 120 His work is considered to have influenced artists including Laurie Anderson Karen Finley Bruce Nauman and Tracey Emin among others 119 Acconci was initially interested in radical poetry but by the late 1960s he began creating Situationist influenced performances in the street or for small audiences that explored the body and public space Two of his most famous pieces were Following Piece 1969 in which he selected random passersby on New York City streets and followed them for as long as he was able and Seedbed 1972 in which he claimed that he masturbated while under a temporary floor at the Sonnabend Gallery as visitors walked above and heard him speaking 121 Chris Burden was an American artist working in performance sculpture and installation art Burden became known in the 1970s for his performance art works including Shoot 1971 in which he arranged for a friend to shoot him in the arm with a small caliber rifle A prolific artist Burden created many well known installations public artworks and sculptures before his death in 2015 122 123 124 Burden began to work in performance art in the early 1970s He made a series of controversial performances in which the idea of personal danger as artistic expression was central His first significant performance work Five Day Locker Piece 1971 was created for his master s thesis at the University of California Irvine 122 and involved his being locked in a locker for five days 125 Dennis Oppenheim was an American conceptual artist performance artist earth artist sculptor and photographer Dennis Oppenheim s early artistic practice is an epistemological questioning about the nature of art the making of art and the definition of art a meta art which arose when strategies of the Minimalists were expanded to focus on site and context As well as an aesthetic agenda the work progressed from perceptions of the physical properties of the gallery to the social and political context largely taking the form of permanent public sculpture in the last two decades of a highly prolific career whose diversity could exasperate his critics 126 Yayoi Kusama is a Japanese artist who throughout her career has worked with a great variety of media including sculpture installation painting performance film fashion poetry fiction and other arts the majority of them exhibited her interest in psychedelia repetition and patterns Kusama is a pioneer of the pop art minimalism and feminist art movements and influenced her coetaneous Andy Warhol and Claes Oldenburg 127 She has been acknowledged as one of the most important living artists to come out of Japan and a very relevant voice in avant garde art 128 129 nbsp Video installation performance by Nam June Paik in 2008 nbsp Video installation performance by Nam June Paik in Dusseldorf nbsp Portrait of Wolf Vostell in 1980 nbsp Portrait of Allan Kaprow in 1973 nbsp Vito Acconci during a video performance in 1973 nbsp Installation by Vito Acconci in the Luigi Pecci Contemporary Art Centre nbsp Installation by Dennis Oppenheim in the Vancouver Sculpture Biennial1970s edit nbsp Installation by Bruce Nauman with various video performances nbsp Gilbert and George in London 2007 In the 1970s artists that had derived to works related to performance art evolved and consolidated themselves as artists with performance art as their main discipline deriving into installations created through performance video performance or collective actions or in the context of a socio historical and political context Video performance edit In the early 1970s the use of video format by performance artists was consolidated Some exhibitions by Joan Jonas and Vito Acconci were made entirely of video activated by previous performative processes In this decade various books that talked about the use of the means of communication video and cinema by performance artists like Expanded Cinema by Gene Youngblood were published One of the main artists who used video and performance with notorious audiovisual installations is the South Korean artist Nam June Paik who in the early 1960s had already been in the Fluxus movement until becoming a media artist and evolving into the audiovisual installations he is known for Carolee Schneemann s and Robert Whitman s 1960s work regarding their video performances must be taken into consideration as well Both were pioneers of performance art turning it into an independent art form in the early seventies 130 Joan Jonas started to include video in her experimental performances in 1972 while Bruce Nauman scenified clarification needed his acts to be directly recorded on video 131 Nauman is an American multimedia artist whose sculptures videos graphic work and performances have helped diversify and develop culture from the 1960s on His unsettling artworks emphasized the conceptual nature of art and the creation process 132 His priority is the idea and the creative process over the result His art uses an incredible array of materials and especially his own body 133 134 Gilbert and George are Italian artist Gilbert Proesch and English artist George Passmore who have developed their work inside conceptual art performance and body art They were best known for their live sculpture acts 135 136 One of their first makings was The Singing Sculpture where the artists sang and danced Underneath the Arches a song from the 1930s Since then they have forged a solid reputation as live sculptures making themselves works of art exhibited in front of spectators through diverse time intervals They usually appear dressed in suits and ties adopting diverse postures that they maintain without moving though sometimes they also move and read a text and occasionally they appear in assemblies or artistic installations 137 Apart from their sculptures Gilbert and George have also made pictorial works collages and photomontages where they pictured themselves next to diverse objects from their immediate surroundings with references to urban culture and a strong content they addressed topics such as sex race death and HIV religion or politics 138 critiquing many times the British government and the established power The group s most prolific and ambitious work was Jack Freak Pictures where they had a constant presence of the colors red white and blue in the Union Jack Gilbert and George have exhibited their work in museums and galleries around the world like the Stedelijk van Abbemuseum of Eindhoven 1980 the Hayward Gallery in London 1987 and the Tate Modern 2007 They have participated in the Venice Biennale In 1986 they won the Turner Prize 139 Endurance art edit Main article Endurance art Endurance performance art deepens the themes of trance pain solitude deprivation of freedom isolation or exhaustion 140 Some of the works based on the passing of long periods of time are also known as long durational performances 141 One of the pioneering artists was Chris Burden in California since the 1970s 142 In one of his best known works Five days in a locker 1971 he stayed for five days inside a school locker in Shoot 1971 he was shot with a firearm and inhabited for twenty two days a bed inside an art gallery in Bed Piece 1972 143 Another example of endurance artist is Tehching Hsieh During a performance created in 1980 1981 Time Clock Piece where he stayed a whole year repeating the same action around a metaphorical clock Hsieh is also known for his performances about deprivation of freedom he spent an entire year confined 144 In The House With the Ocean View 2003 Marina Abramovic lived silently for twelve days without food 145 The Nine Confinements or The Deprivation of Liberty is a conceptual endurance artwork of critical content carried out in the years 2013 and 2016 All of them have in common the illegitimate deprivation of freedom Performance in a political context edit In the mid 1970s behind the Iron Curtain in major Eastern Europe cities such as Budapest Krakow Belgrade Zagreb Novi Sad and others scenic arts of a more experimental content flourished Against political and social control different artists who made performance of political content arose Orshi Drozdik s performance series titled Individual Mythology 1975 77 and the NudeModel 1976 77 All her actions were critical of the patriarchal discourse in art and the forced emancipation programme and constructed by the equally patriarchal state 146 Drozdik showed a pioneer and feminist point of view on both becoming one of the precursors of this type of critical art in Eastern Europe 147 In the 1970s performance art due to its fugacity clarification needed had a solid presence in the Eastern European avant garde specially in Poland and Yugoslavia where dozens of artists who explored the body conceptually and critically emerged nbsp Cell where Tehching Hsieh carried out his endurance art work the piece is now in the Modern Art Museum of New York collection The Other edit nbsp Ulay and Marina Abramovic The Other collective in one of their works In the mid 1976s Ulay and Marina Abramovic founded the collective The Other in the city of Amsterdam When Abramovic and Ulay 148 started their collaboration The main concepts they explored were the ego and artistic identity This was the start of a decade of collaborative work 149 Both artists were interested in the tradition of their cultural heritage and the individual s desire for rituals 150 In consecuense clarification needed they formed a collective named The Other They dressed and behaved as one and created a relation of absolute confidence They created a series of works in which their bodies created additional spaces for the audience s interaction In Relation in Space they ran around the room two bodies like two planets meshing masculine and feminine energies into a third component they called that self 151 Relation in Movement 1976 had the couple driving their car inside the museum doing 365 spins A black liquid dripped out of the car forming a sculpture and each round represented a year 152 After this they created Breathing In Breathing Out where both of them united their lips and inspired the air expired by the other one until they used up all oxygen Exactly 17 minutes after the start of the performance both of them fell unconscious due to their lungs filling with carbon dioxide This piece explored the idea of the ability of a person to absorb the life out of another one changing them and destroying them In 1988 after some years of a tense relationship Abramovic and Ulay decided to make a spiritual travel that would put an end to the collective They walked along the Great Wall of China starting on opposite ends and finding each other halfway Abramovic conceived this walk on a dream and it gave her what she saw as an appropriate and romantic ending to the relationship full of mysticism energy and attraction 153 Ulay started on the Gobi dessert and Abramovic in the Yellow sea Each one of them walked 2500 kilometres found each other in the middle and said goodbye Main artists edit In 1973 Laurie Anderson interpreted Duets on Ice in the streets of New York Marina Abramovic in the performance Rhythm 10 included conceptually the violation of a body 154 Thirty years later the topic of rape shame and sex exploitation would be reimagined in the works of contemporary artists such as Clifford Owens 155 Gillian Walsh Pat Oleszko and Rebecca Patek amongst others 156 New artists with radical acts consolidated themselves as the main precursors of performance like Chris Burden with the 1971 work Shoot where an assistant shot him in the arm from a five meter distance and Vito Acconci the same year with Seedbed The work Eye Body 1963 by Carolee Schneemann en 1963 had already been considered a prototype of performance art In 1975 Schneemann recurred to innovative solo acts such as Interior Scroll that showed the feminine body as an artistic media One of the main artists was Gina Pane 157 French artist of Italian origins She studied at the Ecole nationale superieure des Beaux Arts in Paris from 1960 until 1965 158 and was a member of the performance art movement in the 1970 in France called Art Corporel 159 Parallel to her art Pane taught in the Ecole des Beaux Arts in Mans from 1975 until 1990 and directed an atelier dedicated to performance art in the Pompidou Centre from 1978 to 1979 159 One of her best known works is The Conditioning 1973 in which she was lied into a metal bed spring over an area of lit candles The Conditioning was created as an homage to Marina Abramovic part of her Seven Easy Pieces 2005 in the Solomon R Guggenheim Museum in New York City in 2005 Great part of her works are protagonized by self inflicted pain separating her from most of other woman artists in the 1970s Through the violence of cutting her skin with razors or extinguishing fires with her bare hands and feet Pane has the intention of inciting a real experience in the visitor who would feel moved for its discomfort 157 The impactful nature of these first performance art pieces or actions as she preferred to call them many times eclipsed her prolific photographic and sculptural work Nonetheless the body was the main concern in Panes s work either literally or conceptually nbsp Portrait of Ulay in 1972 nbsp Abramovic and Ulay s Furgone nbsp Exhibition of Marina Abramovic s first works in Stockholm nbsp Installation by Bruce Nauman in Germany nbsp Video installation by Nam June Paik nbsp Gilbert and George in a presentation nbsp Orshi Drozdik in one of her exhibitions1980s editThe technique of performance art edit Until the 1980s performance art has demystified virtuosism clarification needed this being one of its key characteristics Nonetheless from the 1980s on it started to adopt some technical brilliancy 160 In reference to the work Presence and Resistance 161 by Philip Auslander the dance critic Sally Banes writes by the end of the 1980s performance art had become so widely known that it no longer needed to be defined mass culture especially television had come to supply both structure and subject matter for much performance art and several performance artists including Laurie Anderson Spalding Gray Eric Bogosian Willem Dafoe and Ann Magnuson had indeed become crossover artists in mainstream entertainment 162 In this decade the parameters and technicalities built to purify and perfect performance art were defined nbsp Critic and performance expert RoseLee Goldberg during a symposium in Moscow nbsp Tehching Hsieh exhibition in the Modern Art Museum of New York where the artist made a daily self portrait Critique and investigation of performance art edit Despite the fact that many performances are held within the circle of a small art world group Roselee Goldberg notes in Performance Art From Futurism to the Present that performance has been a way of appealing directly to a large public as well as shocking audiences into reassessing their own notions of art and its relation to culture Conversely public interest in the medium especially in the 1980s stems from an apparent desire of that public to gain access to the art world to be a spectator of its ritual and its distinct community and to be surprised by the unexpected always unorthodox presentations that the artists devise In this decade publications and compilations about performance art and its best known artists emerged Performance art from a political context edit In the 1980s the political context played an important role in the artistic development and especially in performance as almost every one of the works created with a critical and political discourse were in this discipline Until the decline of the European Eastern bloc during the late 1980s performance art had actively been rejected by most communist governments With the exception of Poland and Yugoslavia performance art was more or less banned in countries where any independent public event was feared In the GDR Czechoslovakia Hungary and Latvia it happened in apartments at seemingly spontaneous gatherings in artist studios in church controlled settings or was covered as another activity like a photo shoot Isolated from the western conceptual context in different settings it could be like a playful protest or a bitter comment using subversive metaphors to express dissent with the political situation 163 Amongst the most remarkable performance art works of political content in this time were those of Tehching Hsieh between July 1983 and July 1984 Art Life One Year Performance Rope Piece 164 Performance poetry edit In 1982 the terms poetry and performance were first used together Performance poetry appeared to distinguish text based vocal performances from performance art especially the work of escenic clarification needed and musical performance artists such as Laurie Anderson who worked with music at that time Performance poets relied more on the rhetorical and philosophical expression in their poetics than performance artists who arose from the visual art genres of painting and sculpture Many artists since John Cage fuse performance with a poetical base Feminist performance art edit Main article Feminist Performance Art nbsp Portrait of Lynda Benglis 1974 nbsp Portrait of Pina Bausch 1985 Since 1973 the Feminist Studio Workshop in the Woman s Building of Los Angeles had an impact in the wave of feminist acts but until 1980 they did not completely fuse The conjunction between feminism and performance art progressed through the last decade In the first two decades of performance art development works that had not been conceived as feminist are seen as such now clarification needed Still not until 1980 did artists self define themselves as feminists Artist groups in which women influenced by the 1968 student movement as well as the feminist movement stood out 165 This connection has been treated in contemporary art history research Some of the women whose innovative input in representations and shows was the most relevant were Pina Bausch and the Guerrilla Girls who emerged in 1985 in New York City 166 anonymous feminist and anti racist art collective 167 168 169 170 They chose that name because they used guerrilla tactics in their activism 167 to denounce discrimination against women in art through political and performance art 171 172 173 174 Their first performance was placing posters and making public appearances in museums and galleries in New York to critique the fact that some groups of people were discriminated against for their gender or race 175 All of this was done anonymously in all of these appearances they covered their faces with gorilla masks this was due to the similar pronunciation of the words gorilla and guerrilla They used as nicknames the names of female artists who had died 176 From the 1970s until the 1980s amongst the works that challenged the system and their usual strategies of representation the main ones feature women s bodies such as Ana Mendieta s works in New York City where her body is outraged and abused or the artistic representations by Louise Bourgeois with a rather minimalist discourse that emerge in the late seventies and eighties Special mention to the works created with feminine and feminist corporeity clarification needed such as Lynda Benglis and her phallic performative actions who reconstructed the feminine image to turn it into more than a fetish Through feminist performance art the body becomes a space for developing these new discourses and meanings Artist Eleanor Antin creator in the 1970s and 1980s worked on the topics of gender race and class Cindy Sherman in her first works in the seventies and already in her artistic maturity in the eighties continues her critical line of overturning the imposed self through her use of the body as an object of privilege nbsp Exhibition by Cindy Sherman in the United States Cindy Sherman is an American photographer and artist She is one of the most representative post war artists and exhibited more than the work of three decades of her work in the MoMA Even though she appears in most of her performative photographies she does not consider them self portraits Sherman uses herself as a vehicle to represent a great array of topics of the contemporary world such as the part women play in our society and the way they are represented in the media as well as the nature of art creation In 2020 she was awarded with the Wolf prize in arts 177 Judy Chicago is an artist and pioneer of feminist art and performance art in the United States Chicago is known for her big collaborative art installation pieces on images of birth and creation that examine women s part in history and culture In the 1970s Chicago has founded the first feminist art programme in the United States Chicago s work incorporates a variety of artistic skills such as sewing in contrast with skills that required a lot of workforce like welding and pyrotechnics Chicago s best known work is The Dinner Party that was permanently installed in the Elizabeth A Sackler Center for Feminist Art in the Brooklyn Museum The Dinner Party celebrated the achievements of women throughout history and is widely considered as the first epic feminist artwork Other remarkable projects include International Honor Quilt The Birth Project 178 Powerplay 179 and The Holocaust Project 180 nbsp Students in a Martha Rosler exhibition nbsp The Guerrilla Girls in an opening in London nbsp Works of the Guerrilla Girls in an exhibition in the Museum of Modern Art Manhattan New York nbsp Guerrilla Girls exhibition nbsp Installation by Louise Bourgeois in a Brazilian museum nbsp Portrait of Judy Chicago Expansion to Latin America edit In this decade performance art spread until reaching Latin America through the workshops and programmes that universities and academic institutions offered It mainly developed in Mexico Colombia with artists such as Maria Teresa Hincapie in Brasil and in Argentina 181 nbsp Women interacting with the work Listening to the sounds of death by Teresa Margolles in the Museo de la Memoria y la Tolerancia of Mexico City Ana Mendieta was a conceptual and performance artist born in Cuba and raised in the United States She s mostly known for her artworks and performance art pieces in land art Mendieta s work was known mostly in the feminist art critic environment Years after her death specially since the Whitney Museum of American Art retrospective in 2004 182 and the retrospective in the Haywart Gallery in London in 2013 183 she is considered a pioneer of performance art and other practices related to body art and land art sculpture and photography 184 She described her own work as earth body art 185 186 Tania Bruguera is a Cuban artist specialized in performance art and political art Her work mainly consists of her interpretation of political and social topics 187 She has developed concepts such as conduct art to define her artistic practices with a focus on the limits of language and the body confronted to the reaction and behavior of the spectators She also came up with useful art that it ought to transform certain political and legal aspects of society Brugera s work revolves around power and control topics and a great portion of her work questions the current state of her home country Cuba In 2002 she created the Catedra Arte de Conducta in La Habana 188 189 190 nbsp Argentinean Marta Minujin during a performance art piece Regina Jose Galindo is a Guatemalan artist specialized in performance art Her work is characterized by its explicit political and critical content using her own body as a tool of confrontation and social transformation 191 Her artistic career has been marked by the Guatemalan Civil War that took place from 1960 to 1996 which triggered a genocide of more than 200 thousand people many of them indigenous farmers women and children 181 With her work Galindo denounces violence sexism one of her the main topics is femicide the western beauty standards the repression of the estates and the abuse of power especially in the context of her country even though her language transgresses borders Since her beginnings she only used her body as media which she occasionally takes to extreme situations like in Himenoplasty 2004 where she goes through a hymen reconstruction a work that won the Golden Lyon in the Venice Biennale to later have volunteers or hired people to interact with her so that she loses control over the action 192 1990s edit nbsp Performance in the Romanian Pavilion of the Venice Biennial nbsp Exhibition by Chinese artist Tehching Hsieh with documentation of his first performance artworks The 1990s was a period of absence for classic European performance so performance artists kept a low profile Nevertheless Eastern Europe experienced a peak On the other hand Latin American performance continued to boom as well as feminist performance art There also was a peak of this discipline in Asian countries whose motivation emerged from the Butō dance in the 1950s but in this period they professionalized and new Chinese artists arose earning great recognition There was also a general professionalization in the increase of exhibitions dedicated to performance art at the opening of the Venice Art Biennial to performance art where various artists of this discipline have won the Leone d Oro including Anne Imhof Regina Jose Galindo or Santiago Sierra nbsp Museum and centre specialized in performance art in Taitung University Performance with political context edit While the Soviet Bloc dissolved some forbidden performance art pieces began to spread Young artists from the former Eastern Bloc including Russia devoted themselves to performance art Scenic arts emerged around the same time in Cuba the Caribbean and China In these contexts performance art became a new critical voice with a social strength similar to that of Western Europe the United States and South America in the sixties and early seventies It must be emphasized that the rise of performance art in the 1990s in Eastern Europe China South Africa Cuba and other places must not be considered secondary or an imitation of the West 193 Professionalization of performance art edit In the Western World in the 1990s performance art joined the mainstream culture Diverse performance artworks live photographed or through documentation started to become part of galleries and museums that began to understand performance art as an art discipline 194 Nevertheless it was not until the next decade that a major institutionalization happened when every museum started to incorporate performance art pieces into their collections and dedicating great exhibitions and retrospectives museums such as the Tate Modern in London the MoMA in New York City or the Pompidou Centre in Paris From the 1990s on many more performance artists were invited to important biennials like the Venice Biennale the Sao Paulo Biennial and the Lyon Biennial Performance in China edit Main article Performance art in China In the late 1990s Chinese contemporary art and performance art received great recognition internationally as 19 Chinese artists were invited to the Venice Biennial 195 196 Performance art in China and its history had been growing since the 1970s due to the interest between art process and tradition in Chinese culture but it gained recognition from the 1990s on 197 193 In China performance art is part of the fine arts education programme and is becoming more and more popular 197 198 In the early 1990s Chinese performance art was already acclaimed in the international art scene 199 197 200 nbsp Performance art in the Lyon Biennale nbsp Performance art in the Lyon Biennale nbsp Performance at the entrance of the Romanian Pavilion at the Venice Biennale nbsp Performative installation by Joseph Beuys in the Tate Modern of London nbsp Video installation with the Chinese artist Ai Weiwei nbsp Tehching Hsieh exhibition in downtown New York City nbsp China Pavilion at the Venice Biennale nbsp Portrait of Wang Xiaoshuai nbsp Liu Xiaodong during a performance artworkSince the 2000s editNew media performance edit nbsp New media performance art 2009 In the late 1990s and into the 2000s a number of artists incorporated technologies such as the World Wide Web digital video webcams and streaming media into performance artworks 201 Artists such as Coco Fusco Shu Lea Cheang and Prema Murthy produced performance art that drew attention to the role of gender race colonialism and the body in relation to the Internet 202 Other artists such as Critical Art Ensemble Electronic Disturbance Theater and Yes Men used digital technologies associated with hacktivism and interventionism to raise political issues concerning new forms of capitalism and consumerism 203 204 In the second half of the decade computer aided forms of performance art began to take place 205 Many of these works led to the development of algorithmic art generative art and robotic art in which the computer itself or a computer controlled robot becomes the performer 206 Coco Fusco is an interdisciplinary Cuban American artist writer and curator who lives and works in the United States Her artistic career began in 1988 In her work she explores topics such as identity race power and gender through performance She also makes videos interactive installations and critical writing 207 19 Radical performance edit nbsp Petr Pavlensky cutting his own ear in a political action in the Red Square of Moscow nbsp Protest for the liberation of Pussy Riot nbsp Pussy Riot during a performance with Tania Bruguera During the 2000s and 2010s artists such as Pussy Riot Tania Bruguera and Petr Pavlensky have been judged for diverse artistic actions 208 On February 21 2012 as a part of their protest against the re election of Vladimir Putin various women of the artistic collective Pussy Riot entered the Cathedral of Christ the Saviour of Moscow of the Russian Orthodox Church They made the sign of the cross bowed before the shrine and started to interpret a performance compound by a song and a dance under the motto Virgin Mary put Putin Away On March 3 they were detained 209 On March 3 2012 Maria Alyokhina and Nadezhda Tolokonnikova 210 211 Pussy Riot members were arrested by the Russian authorities and accused of vandalism At first they both denied being members of the group and started a hunger strike for being incarcerated and taken apart from their children until the trials began in April 212 On March 16 another woman Yekaterina Samutsevitch who had been previously interrogated as a witness was arrested and accused as well citation needed On July 5 formal charges against the group and a 2800 page accusation were filed 213 That same day they were notified that they had until July 9 to prepare their defense In reply they announced a hunger strike pleading that two days was an inappropriate time frame to prepare their defense 214 On July 21 the court extended their preventive prison to last six more months 215 The three detained members were recognized as political prisoners by the Union of Solidarity with Political Prisoners 216 Amnesty International considers them to be prisoners of conscience for the severity of the response of the Russian authorities 217 nbsp The artist Abel Azcona during The Fathers at museum of Madrid 2018 Since 2012 artist Abel Azcona has been prosecuted for some of his works The demand that gained the most repercussion clarification needed was the one carried out by the Archbishopric of Pamplona and Tudela 218 in representation of the Catholic Church 219 The Church demanded Azcona for desecration and blasphemy crimes hate crime and attack against the religious freedom and feelings for his work Amen or The Pederasty 220 221 In 2016 Azcona was denounced for extolling terrorism 222 223 for his exhibition Natura Morta 224 in which the artist recreated situations of violence historical memory terrorism or war conflicts through performance and hyperrealistic sculptures and installations 225 In December 2014 Tania Bruguera was detained in La Habana to prevent her from carrying out new reivindicative clarification needed works Her performance art pieces have earned her harsh critiques and she has been accused of promoting resistance and public disturbances 226 227 In December 2015 and January 2016 Bruguera was detained for organizing a public performance in the plaza de la Revolucion of La Habana She was detained along with other Cuban artists activists and reporters who took part in the campaign Yo Tambien Exijo which was created after the declarations of Raul Castro and Barack Obama in favor of restoring their diplomatic relationship During the performance El Susurro de Tatlin 6 she set microphones and talkers clarification needed in the Plaza de la Revolucion so the Cubans could express their feelings regarding the new political climate The event had great repercussion in international media including a presentation of El Susurro de Tatlin 6 in Times Square and an action in which various artists and intellectuals expressed themselves in favour of the liberation of Bruguera by sending an open letter to Raul Castro signed by thousands of people around the world asking for the return of her passport and claiming criminal injustice as she only gave a microphone to the people so they could give their opinion 228 229 230 231 232 In November 2015 and October 2017 Petr Pavlensky was arrested for carrying out a radical performance art piece in which he set on fire the entry of the Lubyanka Building headquarters of the Federal Security Service of Russia and a branch office of the Bank of France 233 On both occasions he sprayed the main entrance with gasoline in the second performance he sprayed the inside as well and ignited it with a lighter The doors of the building were partially burnt Both times Pavlenski was arrested without resistance and accused of debauchery A few hours after the actions several political and artistic reivindicative videos appeared on the internet 234 Institutionalization of performance art performance collecting processes edit nbsp Marina Abramovic performing The Artist Is Present MoMA Nueva York 2010 Since the 2000s big museums institutions and collections have supported performance art Since January 2003 Tate Modern in London has had a curated programme of live art and performance 235 With exhibitions by artists such as Tania Bruguera or Anne Imhof 236 In 2012 The Tanks at Tate Modern were opened the first dedicated spaces for performance film and installation in a major modern and contemporary art museum The Museum of Modern Art held a major retrospective and performance recreation of Marina Abramovic s work the biggest exhibition of performance art in MoMA s history from March 14 to 31 2010 237 238 The exhibition consisted of more than twenty pieces by the artist most of them from the years 1960 1980 Many of them were re activated by other young artists of multiple nationalities selected for the show 239 In parallel to the exhibition Abramovic performed The Artist is Present a 726 hour and 30 minute static silent piece in which she sat immobile in the museum s atrium while spectators were invited to take turns sitting opposite her 240 The work is an updated reproduction of one of the pieces from 1970 shown in the exhibition where Abramovic stayed for full days next to Ulay who was her sentimental companion The performance attracted celebrities such as Bjork Orlando Bloom and James Franco 241 who participated and received media coverage 242 Against the background of the institutionalisation of performance the Bruxelles based initiative A Performance Affair 243 and the London based format Performance Exchange 244 inquire about the collectability of performance works With The Non fungible Body the Austrian museum and culture centre OOLKG OK reflects upon recent developments in institutionalizing performance through a discursive festival format that was presented for the first time in June 2022 nbsp Facade of the Guggenheim Museum in Bilbao with a Yoko Ono Banner nbsp Work by Doris Salcedo in the Tate Modern in London 2007 nbsp Marina Abramovic during her seven performances in Seven Easy Pieces 2005 in the Solomon R Guggenheim Museum nbsp Zenith shot of the performance The Artist Is Present in the Museum of Modern Art nbsp Work by Marina Abramovic reproduced for the retrospective in Bologna Italy 2018 nbsp Hermann Nitsch carrying out a performance in his homonymous museum 2009 nbsp Performance by Bryan Zanisnik called When I Was a Child I Caught a Fleeting Glimpse 2009 nbsp Exhibition dedicated to Yoko Ono in the Cultural Metropolitan Centre of Quito 2018 Collective reivindication performance art edit nbsp A Rapist in Your Path in the main street of Mexico City In 2014 the performance art piece Carry That Weight is created also known as the mattress performance The artist behind this piece is Emma Sulkowicz who during her end of degree thesis in visual arts in the Columbia University in the city of New York City In September 2014 Sulkowicz s piece began as she started carrying her own mattress around the Columbia University campus 245 This work was created by the artist with the goal of denouncing her rape in that same mattress years before in her own dormitory which she reported and was not heard by the university or the justice 246 so she decided to carry the mattress with her for the entire semester without leaving it at any moment until her graduation ceremony in May 2015 The piece generated great controversy but was supported by a bunch of her companions and activists who joined Sulkowicz multiple times when carrying the mattress making the work an international revindication Art critic Jerry Saltz considered the artwork to be one of the most important of the year 2014 247 In 2019 the collective performance art piece A Rapist in Your Path was created by a feminist group from Valparaiso Chile named Lastesis which consisted of a demonstration against the women s rights violations in the context of the 2019 2020 Chilean protests 248 249 250 It was first performed in front of the Second Police Station of the Carabineros de Chile in Valparaiso on November 18 2019 251 A second performance done by 2000 Chilean women on November 25 2019 as a part of the International Day for the Elimination of Violence against Women was filmed and became viral on social media 252 Its reach became global 253 254 after feminist movements in dozens of countries adopted and translated the performance for their own protests and demands for the cessation and punishment of femicide and sexual violence amongst others 255 nbsp Companions of Emma Sulkowicz and the artist herself carrying the mattress to the graduation as a complaint nbsp Sulkowicz with the instructions for her performance in the Columbia University nbsp Part of Sulkowicz s performance an action called Llevemos el peso entre todas Carry That Weight Together nbsp Sulkowicz s portrait in one of the presentations of the work nbsp Roberta Smith New York Times art critic left discussing Mattress Performance with Sulkowicz Brooklyn Museum December 14 2014 nbsp Mexican interpretation of A Rapist in Your Path in Oaxaca November 27 2019 nbsp A Rapist in Your Path presented in the context of the 2019 2020 Chilean protests nbsp Peruvian interpretation of A Rapist in Your Path in Lima December 12 2019 nbsp A Rapist in Your Path presented in the context of the 2019 2020 Chilean protests nbsp A child intervening during the performance of A Rapist in Your PathSee also editART MEDIA Classificatory disputes about art COUM Transmissions Danger music Digital Live Art Flash mob Graphic arts Guerrilla theatre List of performance artists Living statue New media art Noise music Poetry slam Radio dramaReferences edit a b Performance Art Tate Modern Retrieved May 20 2020 Performance Art Movement Overview The Art Story Retrieved May 12 2020 Media amp Performance Moma Museo of Modern Art Retrieved May 20 2020 Taylor y Fuentes Diana y Macela 2011 Estudios avanzados de performance PDF Fondo de Cultura Economica Archived from the original PDF on February 14 2019 Retrieved February 8 2019 Franco Peplo Fernando 2014 El concepto de performance segun Erving Goffman y Judith Butler PDF Coleccion Documentos de trabajo Editorial CEA Ano1 Numero 3 Retrieved February 8 2019 Etimologia de performance Etimologias de Chile 2019 Retrieved May 20 2020 Perreault John 1982 Marjorie Strider An Overview In Van Wagner Judith K ed Marjorie Strider 10 Years 1970 1980 Myers Fine Art Gallery pp 11 15 Carreno Rio Rodrigo Carolee Schneemann Pionera y Referente Le Miau Noir Retrieved June 8 2020 Marina Abramovic pionera del performance The Vault April 8 2018 Retrieved June 8 2020 Ana Mendieta la pionera cubana de la performance esta en Madrid Diario de Cuba February 14 2020 Retrieved June 8 2020 Calvo Irene May 14 2015 Chris Burden el body art y la performance de los 70 referentes actuales Ah Magazine Retrieved June 8 2020 Davis Ben April 28 2017 Vito Acconci Transgressive Progenitor of Performance Art Dies at 77 London Arte Week Retrieved June 30 2020 The Top 10 Living Artists of 2015 Artsy 2015 Retrieved June 30 2020 Abel Azcona mejor artista de performance Hoyu es arte February 22 2016 Retrieved June 30 2020 Toledo Manuel June 10 2005 Guatemalteca gana Leon de Oro BBC Mundo Retrieved November 28 2022 E Cue Carlos February 17 2017 Marta Minujin Desde los anos sesenta no se ha hecho nada nuevo en arte El Pais Retrieved June 30 2020 Fischer Lichte Erika The Transformative Power of Performance A New Aesthetics New York and London 2008 Routledge ISBN 978 0415458566 Moller Helen Dunham Curtis Dancing with Helen Moller New York John Lane company 1918 a b c Carlson Marvin 1998 1996 Performance A Critical Introduction London and New York Routledge pp 2 103 105 ISBN 0 415 13703 9 Parr Adrian 2005 Adrian Parr ed Becoming Performance Art Edinburgh University Press pp 25 2 ISBN 0748618996 Retrieved October 26 2010 a href Template Cite book html title Template Cite book cite book a work ignored help Performanceras y dadaistas Con la a 2020 Retrieved May 23 2020 Rojas Diego May 20 2017 La performance esa forma radical y perturbadora del arte contemporaneo Infobae Retrieved May 23 2020 Sooke Alastair July 20 2016 Cabaret Voltaire A night out at history s wildest nightclub BBC Culture Tourismus Schweiz Cabaret Voltaire Suiza Turismo in Spanish Retrieved November 16 2022 Sooke Alastair Cabaret Voltaire A night out at history s wildest nightclub Retrieved March 4 2018 World War I and Dada Museum of Modern Art MoMA a b Lomeli Natalia December 23 2015 Cabaret Voltaire El inicio del dadaismo Cultura Colectiva Retrieved May 23 2020 a b De Micheli Mario Le Avanguardie artistiche del Novecento 1959 Albright Daniel Modernism and music an anthology of sources University of Chicago Press 2004 ISBN 0 226 01266 2 Elger Dietmar Dadaismo Alemania Taschen 2004 ISBN 3 8228 2946 3 a b El Futurismo CCapitalia July 14 2005 Retrieved June 5 2020 Lajo Perez Rosina 1990 Lexico de arte Madrid Espana Akal p 87 ISBN 978 84 460 0924 5 Broccoli Betina June 29 2009 El futurismo a cien anos de la estetica de la velocidad Argentina Investiga Retrieved June 5 2020 Essers V La modernidad clasica La pintura durante la primera mitad del siglo XX en Los maestros de la pintura occidental volumen II Taschen 2005 ISBN 3 8228 4744 5 pag 555 Esaak Shelley July 3 2019 Performance Art 1960s Present Thought CO Retrieved June 7 2020 Casadeval Gema September 1 1997 Unesco declara la Bauhaus Patrimonio de la Humanidad El Mundo Retrieved June 7 2020 a b Action Painting Technique Definition Characteristics Retrieved May 26 2020 Jackson Pollock el artista de accion Totenart 2019 Retrieved May 20 2020 Rosenberg Harold The American Action Painters Retrieved May 26 2020 Action Painting Artsy Retrieved May 26 2020 Pierre Restany Modern Magic at the Tate Studio International June 1968 Tate Modern June 1968 Retrieved May 20 2020 Hannah Weitemeier de Yves Klein 1928 1962 Internacional Klein Blue Cologne Lisbon Paris Taschen 2001 8 ISBN 3 8228 5842 0 Gilbert Perlein amp Bruno Cora eds amp al Yves Klein Long Live the Immaterial An anthological retrospective catalog of an exhibition held in 2000 New York Delano Greenidge 2000 ISBN 978 0 929445 08 3 p 226 Oybin Marina January 31 2016 La revolucion del color tras las huellas de Yves Klein La Nacion Retrieved May 20 2020 Un salto al vacio Yves Klein y el nuevo arte del Siglo XX Facultad Latinoamericana de Ciencias Sociales Retrieved May 20 2020 Selfridges Camilla October 23 2017 Movimientos Del Arte Tras Yves Klein Crisol Hoy Retrieved May 20 2020 a b Everything Is Illuminated NYMag com September 23 2004 Barnes Rachel 2001 The 20th Century art book Reprinted ed London Phaidon Press ISBN 0714835420 A Visual Essay on Gutai Flash Art Vol 45 no 287 Flash Art International 2012 p 111 ISSN 0394 1493 Lopez Ianko November 3 2017 Land Art el arte de los misterios de la tierra AD Magazine Retrieved May 22 2020 Earth Art o la naturaleza en el museo www elcultural com November 13 2009 Retrieved June 5 2020 National Gallery of Art Los Angeles to New York Dwan Gallery 1959 1971 Retrieved June 5 2020 La evolucion de la performance desde los 60 70 Universidad de Salamanca May 4 2011 Retrieved June 5 2020 Lapidario Josep Pintura sangre sexo y muerte en las tripas del accionismo vienes JotDown Retrieved May 27 2020 Accionismo Vienes PDF Centro Andaluz de Arte Contemporaneo Retrieved May 27 2020 Accionismo vienes o el lenguaje brutal del cuerpo Medium July 18 2016 Retrieved June 5 2020 Ramis Mariano April 21 1965 Accionismo Vienes IDIS Retrieved June 5 2020 Andy Warhol Films www warholstars org From the research laboratories of Andy Warhol comes this issue of Aspen Magazine Evergreen Review April 1967 Joseph Branden W Summer 2002 My Mind Split Open Andy Warhol s Exploding Plastic Inevitable Grey Room 8 80 107 doi 10 1162 15263810260201616 S2CID 57560227 Osterweil Ara Blaetz Robin 2007 Women s Experimental Cinema Critical Frameworks Duke University Press p 143 ISBN 9780822340447 Martin Torgoff Martin 2004 Can t Find My Way Home America in the Great Stoned Age 1945 2000 Nueva York Simon amp Schuster p 156 ISBN 0 7432 3010 8 Beck J El Living Theatre Madrid Fundamentos 1974 pag 255 Beck J El Living Theatre Madrid Fundamentos 1974 pag 102 Simposio Happening Fluxus y otros comportamientos artisticos de la segunda mitad del siglo XX Caceres 1999 Editorial Regional de Extremadura ISBN 84 7671 607 9 Fluxus at 50 Stefan Fricke Alexander Klar Sarah Maske Kerber Verlag 2012 ISBN 978 3 86678 700 1 Dick Higgins on Fluxus interviewed 1986 Amongst the earliest pieces that would later be published by Fluxus were Brecht s event scores the earliest of which dated from around 1958 9 and works such as Valoche which had originally been exhibited in Brecht s solo show Toward s Events at 1959 Fluxus Masdearte com Retrieved June 8 2020 Pritchett Kuhn amp Garrett 2012 p He has had a greater impact on music in the 20th century than any other American composer sfn error no target CITEREFPritchettKuhnGarrett2012 help Kozinn Allan August 13 1992 John Cage 79 a Minimalist Enchanted With Sound Dies The New York Times Retrieved July 21 2007 John Cage the prolific and influential composer whose Minimalist works have long been a driving force in the world of music dance and art died yesterday at St Vincent s Hospital in Manhattan He was 79 years old and lived in Manhattan Leonard George J 1995 Into the Light of Things The Art of the Commonplace from Wordsworth to John Cage University of Chicago Press p 120 when Harvard University Press called him in a 1990 book advertisement without a doubt the most influential composer of the last half century amazingly that was too modest ISBN 978 0 226 47253 9 Greene David Mason 2007 Greene s Biographical Encyclopedia of Composers Reproducing Piano Roll Fnd p 1407 John Cage is probably the most influential of all American composers to date ISBN 978 0 385 14278 6 Perloff Junkerman 1994 93 Bernstein Hatch 2001 43 45 Bloch Mark July 2023 A New Book and a Museum Show for Sari Dienes Whitehot Magazine Retrieved September 8 2023 Gottlieb Baruch 2010 Los signos vitales del arte procesual Laboral Centro de Arte Retrieved May 17 2020 Process Art Tate Modern Retrieved June 10 2020 Process Art Guggenheim Retrieved June 10 2020 Noah Wardrip Fruin and Nick Montfort eds The New Media Reader Cambridge The MIT Press 2003 p 83 ISBN 0 262 23227 8 Montfort Nick and Noah Wardrip Fruin The New Media Reader Cambridge Massachusetts u a MIT 2003 Print Patrice Pavis Diccionario del teatro p 232 Profesorado El arte de la accion happening performance y fluxus PDF Universidad de Castilla La mancha Archived from the original PDF on March 8 2021 Retrieved November 7 2021 Smith interview by Loretta Ross Voices of Feminism Oral History Project pp 5 6 Smith Barbara interview by Loretta Ross transcript of video recording May 7 2003 Voices of Feminism Oral History Project Sophia Smith Collection p 2 Smith interview by Loretta Ross Voices of Feminism Oral History Project pp 3 4 Smith Barbara Home Girls A Black Feminist Anthology Kitchen Table Women of Color Press 1983 ISBN 0 913175 02 1 p xx Introduction Carolee Schneemann Pioneering Feminist Artist Dies Age 79 Carolee Schneeman on Feminism Activism and Ageing AnOther magazine Retrieved March 19 2016 Carolee Schneemann Remains to Be Seen New and Restored Films and Videos Time Out New York October 25 2007 Archived from the original on January 5 2013 Retrieved June 10 2020 Stiles Kristine 2003 The Painter as an Instrument of Real Time Imaging Her Erotics Essays Interviews Projects Cambridge Massachusetts MIT Press p 3 ISBN 026269297X Carolee Schneemann Speaks New England Journal of Aesthetic Research Posted 11 de octubre de 2007 self published source Faculty Joan Jonas ACT at MIT MIT Program in Art Culture and Technology Artist Joan Jonas Venice Bienniale Retrieved August 17 2014 Joan Jonas Biography Archived January 21 2011 at the Wayback Machine Electronic Arts Intermix Retrieved June 6 2020 Collection Online Joan Jonas Solomon R Guggenheim Museum Archived from the original on April 16 2014 Retrieved June 8 2014 Joan Jonas pbs org Yoko Ono La Artista desconocida mas Famosa del Mundo Yoko Ono Cut Piece y la performance feminista Mirall July 12 2017 Retrieved May 21 2020 Ana Lopez Varela September 2017 John Lennon Yoko Ono y 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University Press p 230 Christiane Paul Digital Art Thames amp Hudson London pp 14 15 Petra Stegmann The lunatics are on the loose European Fluxus Festivals 1962 1977 Down with Art Potsdam 2012 ISBN 978 3 9815579 0 9 Los mundos de Nam June Paik Museo Guggenheim September 30 2002 Retrieved June 5 2020 Shelokhonov Steve Biografia de Nam June Paik IMDb Retrieved June 5 2020 Media Art Net Vostell Wolf YOU www medienkunstnetz de April 12 2018 Russeth Andrew April 28 2017 Vito Acconci Whose Poetic Menacing Work Forms Bedrock of Performance Video Art Dies at 77 ARTnews Sarah Douglas Art Media Retrieved April 28 2017 a b Kennedy Randy April 28 2017 Vito Acconci Performance Artist and Uncommon Architect Dies at 77 The New York Times Archived from the original on April 30 2017 Retrieved April 30 2017 Scott Andrea K April 28 2017 Postscript Vito Acconci 1940 2017 The New Yorker Retrieved March 20 2018 a b Capps Kriston May 3 2017 Vito Acconci and the Shelf Life of Sensational Art The Atlantic 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Blouinartinfo France Yamamura Midori 2015 Yayoi Kusama Inventing the Singular MIT Press ISBN 9780262029476 Russeth Andrew March 6 2019 Carolee Schneemann Protean Artist Who Helped Define Contemporary Avant Garde Has Died at 79 New York Estados Unidos ArtNews Retrieved June 6 2020 Youngblood Gene 1970 Expanded Cinema New York City A Dutton To Call Until Exhaustion Jochen Gerz Retrieved June 12 2020 Bruce Nauman Retrieved June 11 2020 Bruce Nauman ArtDiscover www artdiscover com Retrieved June 11 2020 Bruce Nauman www epdlp com Retrieved June 11 2020 Ruiz Mantilla Jesus April 10 2011 Gilbert amp George amantes socios artistas El Pais Retrieved June 11 2020 Gilbert and George Guggenheim Bilbao Museo Retrieved June 11 2020 Gilbert amp George la vida como obra de arte Masdearte com February 5 2010 Retrieved June 11 2020 Ramos Charo February 2019 El arte para todos de Gilbert amp George Diario de Sevilla Retrieved June 11 2020 Gilbert amp George Intentamos estar lejos del arte para no contaminarnos Tendencias Retrieved June 11 2020 For artists in endurance performances q uestioning the limits of their bodies Tatiana A Koroleva Subversive Body in Performance Art ProQuest 2008 pp 29 44 46 Paul Allain Jen Harvie The Routledge Companion to Theatre and Performance Routledge 2014 p 221 Other terms include duration art live art or time based art Michael Fallon Creating the Future Art and Los Angeles in the 1970s Counterpoint 2014 p 106 Burden s performances were so widely observed that they took on a life beyond the artist helping create a new art genre endurance art Emily Anne Kuriyama Everything You Need to Know About Chris Burden s Art Through His Greatest Works Complex October 2 2013 Andrew Taylor Tehching Hsieh The artist who took the punches as they came Sydney Morning Herald April 30 2014 Don t try this endurance art at home That is Tehching Hsieh s advice to artists inspired to emulate the five year long performances he began in the late 1970s Thomas McEvilley Performing the Present Tense A recent piece by Marina Abramovic blended endurance art and Buddhist meditation Art in America 91 4 April 2003 Orshi Drozdik Orsolya September 2018 Sensuality and Matter Budapest Gallery Retrieved June 12 2020 Orshi Drozdik 2016 Retrieved June 12 2020 Pajares Gema March 2 2020 Muere Ulay el companero artistico y vital de Marina Abramovic La Razon Retrieved March 12 2020 Muere el artista Ulay El Cultural March 2 2020 Retrieved June 12 2020 Tate Rhythm 0 Marina Abramovic 1974 Tate Retrieved June 12 2020 Marina Abramovic y Ulay en La Artista Esta Presente MoMA 2010 YouTube Archived from the original on December 11 2021 kunstwissen de Marina Abramovic 1946 Gudrun Sachse Die Mutter aller Schmerzen In NZZ Folio 1 2007 Marina Abramovic Rhythm 10 Media Art Net Retrieved June 11 2020 Carlson Jen March 9 2012 This Sunday MoMA PS1 May Or May Not Host A Performance Art Rape Gothamist Archived from the original on August 10 2015 Retrieved June 11 2020 Kourlas Gia July 30 2013 The Margins of a Form Are Increasingly Not Where They Used to Be The New York Times Retrieved June 11 2020 a b Panel Gina Oxford Art Online Retrieved June 11 2020 Hillstrom Laurie Hillstrom Kevin 1999 St James Press ed Artistas contemporaneas Farmington Hills MI pp 507 508 ISBN 1558623728 Retrieved June 11 2020 a href Template Cite book html title Template Cite book cite book a CS1 maint location missing publisher link a b Gina Pane Broadway 1602 Retrieved June 11 2020 Banes Sally 1998 Subversive expectations performance art and paratheater in New York 1976 85 New York City The University of Michigan Press pp 120 1 ISBN 0 472 09678 8 Retrieved March 23 2011 Auslander Philip 1992 Presence and Resistance Postmodernism and Cultural politics in Contemporary American Performance Ann Arbour University of Michigan Press pp 64 65 78 79 Banes Sally 1998 Subversive expectations performance art and paratheater in New York 1976 85 New York City The University of Michigan Press pp 10 1 ISBN 0 472 09678 8 Retrieved March 23 2011 Zajanckauska Zane Interview with Ieva Astahovska Reclaiming the Invisible Past of Eastern Europe map media archive performance Archived from the original on April 16 2011 Retrieved March 1 2011 Zajanckauska Zane Interview with Ieva Astahovska Reclaiming the Invisible Past of Eastern Europe map media archive performance Archived from the original on April 16 2011 Retrieved March 23 2011 Alcazar Josefina 2001 Mujeres y performance El cuerpo como soporte PDF Centro de Investigacion Teatral Rodolfo Usigli Retrieved June 10 2020 Guerrilla Girls Our Story Retrieved September 21 2016 a b Josefina Pierucci 2017 Guerrilla Girls pp 1 5 Retrieved March 23 2018 GUERRILLA GIRLS La conciencia del mundo del arte www mujeresenred net Retrieved May 24 2019 Guerrilla Girls la potencia del arte feminista llega a Buenos Aires www clarin com November 5 2018 Retrieved May 24 2019 La guerra de Guerrilla Girls Cactus December 25 2013 Retrieved May 24 2019 Martin Yolanda Beteta April 23 2013 El desafio de las artistas contemporaneas Una aproximacion a la presencia de las creadoras en las ferias de arte contemporaneo El caso de ARCO Investigaciones Feministas 4 49 65 doi 10 5209 rev INFE 2013 v4 41877 ISSN 2171 6080 Retrieved March 23 2018 Las Guerrilla Girls la revolucion de las mujeres artistas www publico es February 2 2019 Retrieved May 24 2019 Guerrilla Girls arte feminista Distrito Arte June 9 2016 Archived from the original on May 24 2019 Retrieved May 24 2019 Aiello Julieta November 15 2018 Guerrilla Girls La muestra del iconico colectivo feminista que llega a Buenos Aires Indie Hoy Retrieved May 24 2019 Guerrilla Girls HA Retrieved May 24 2019 Tate Do Women Have To Be Naked To Get Into the Met Museum Guerrilla Girls 1989 Tate Tate Retrieved June 30 2020 Cindy Sherman Wolf Foundation January 13 2020 Retrieved January 20 2020 Chicago Judy 1985 The birth project 1st ed Doubleday ISBN 0385187106 OCLC 11159627 Chicago Judy Richard David 2012 Judy 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October 5 2016 Retrieved May 27 2020 Tania Bruguera Glosario Retrieved May 27 2020 Pinto Roberto 2003 Ejercicio de Resistencia Tania Bruguera Turin Italy Torino p 25 Pinto Roberto 2003 Ejercicio de Resistencia Tania Bruguera Turin Italy Galeria Soffiantino pp 25 26 Conversaciones con Regina Jose Galindo April 2 2016 Retrieved May 26 2020 Poetas siglo XXI Regina Jose Galindo August 23 2012 Retrieved June 5 2020 a b Montano Linda M 2000 Performance artists talking in the eighties Los Angeles London University of California Press Berkeley pp 479 1 ISBN 0 520 21022 0 Retrieved March 31 2011 Targ Brill Marlene 2009 America in the 1990s Minneapolis Lerner Publishing Group pp 93 1 ISBN 978 0 8225 7603 7 Retrieved March 11 2011 Berghuis Thomas J 2006 Performance Art in China Hong Kong Timezone 8 p 52 ISBN 9889926598 Cooper Rafi July 6 2008 Cultural revolutionary The Observer UK Retrieved May 27 2020 a b c Chan Shing Kwan September 2019 Up Against the Wall Contemporary Chinese Performance Art and the Great Wall Yishu Journal of Contemporary Chinese Art p 45 Ai Weiwei wolseleymedia com au 2008 Retrieved May 27 2020 permanent dead link He Yunchang China Public Delivery 2014 Retrieved May 27 2020 Performance by Concept 21 at the Great Wall Asia Art Archive Retrieved May 27 2020 Steve Dixon Digital Performance A History of New Media in Theater Dance Performance Art and Installation MIT Press 2015 pp 157ff and pp 457ff Kelly Dennis Gendered Ghosts in the Globalized Machine Coco Fusco and Prema Murthy Paradoxa International Feminist Art Journal Vol 23 2009 pp 79 86 See separate chapters on Shu Lea Cheang and Prema Murthy in Mark Tribe and Reena Jana New Media Art Taschen 2007 Nato Thompson ed The Interventionists Users Manual for the Creative Disruption of Everyday Life MIT Press 2006 pp 106ff 117ff See also the catalog for the 1998 Ars Electronica festival InfoWar Springer 1998 McEvilley Thomas 2012 Video as Vindication for Performance The Triumph of Anti Art Conceptual and Performance Art in the Formation of Post Modernism McPherson amp Company ISBN 978 0929701929 Anderson Nate 2009 Horrifically bad software demo becomes performance art LaViers Amy May 23 2019 Ideal Mechanization Exploring the Machine Metaphor through Theory and Performance Arts 8 2 67 arXiv 1807 02016 doi 10 3390 arts8020067 Coco Fusco IDIS Retrieved May 14 2020 Blanco Alcalde Daniel February 28 2015 Artistas disidentes en el punto de mira Revista Mito Retrieved May 15 2020 Feigin Mark Intervyu Gosti Russkaya sluzhba novostej Rusnovosti ru Archived from the original on October 29 2013 Retrieved June 9 2020 2 Pussy Riots Band Members assaulted in Moscow IANS News biharprabha com Retrieved June 30 2020 Emma S November 3 2017 Masha Alyokhina Riot Days Talks at Google YouTube Archived from the original on December 11 2021 Retrieved June 30 2020 Russian punk band Pussy Riot go on hunger strike in Moscow The Week March 6 2012 Retrieved June 9 2020 Uchastnic Pussy Riot oficialno obvinili v huliganstve po motivam religioznoj nenavisti Retrieved June 9 2020 Earle Jonathan July 5 2012 Pussy Riot Suspects Go on Hunger Strike Retrieved June 9 2020 Baczynska Gabriela July 20 2012 Russia extends jailing of Pussy Riot activists Reuters Retrieved June 9 2020 Troih predpolagaemyh uchastnic Pussy Riot priznali politzaklyuchennymi Rosbalt March 25 2012 Google translation Russia Release punk singers held after performance in church Amnesty International April 3 2012 Retrieved June 9 2020 dead link Europa Press November 24 2015 El Arzobispado de Pamplona Tudela se moviliza contra la exposicion de Abel Azcona Europa Press Retrieved June 10 2020 H Riano Peio April 9 2017 Abel Azcona Tatuarme a Donald Trump en el ano no transforma nada El Espanol Retrieved June 10 2020 Dominguez Dani June 26 2018 Abel Azcona Prefiero artistas en las carceles que artistas callados en su estudio La Marea Retrieved June 10 2020 H Riano Peio February 5 2019 El artista Abel Azcona planta al juez que lo investiga por escribir pederastia con hostias consagradas El Pais Retrieved June 10 2020 Abel Azcona de la profanacion a la humillacion de las victimas del terrorismo Infovaticana December 20 2016 Retrieved December 24 2019 Tece Gerardo February 16 2016 Conos antisistema y medias mentiras Contexto CTX Retrieved December 24 2019 Roca Umbert Fabrica de las Artes 2016 Instal lacions vives a l exposicio Naturaleza Muerta d Abel Azcona Museo Roca Umbert Retrieved December 24 2019 L art viu sobre la mort d Abel Azcona Cultura Granollers April 10 2017 Retrieved December 24 2019 Espejo Bea February 6 2015 Tania Brugera Cuba favorece hoy un arte facil y superficial El Cultural Retrieved May 16 2020 BBC January 2 2015 Tania Bruguera la artista que desafia al gobierno de Cuba Retrieved May 16 2020 Hemispheric Institute 2009 Tania Bruguera Archived from the original on October 5 2016 Retrieved June 5 2020 Tania Bruguera Glosario Retrieved November 14 2014 Pinto Roberto 2003 Ejercicio de Resistencia Tania Bruguera Turin Italy Torino p 25 Pinto Roberto 2003 Ejercicio de Resistencia Tania Bruguera Turin Italy Galeria Soffiantino pp 25 26 Corral Maria 2005 Vivian Lechuga ed Tania Bruguera Chicago Illinois p 8 ISBN 0 9769449 0 1 a href Template Cite book html title Template Cite book cite book a CS1 maint location missing publisher link Russian Artist Pyotr Pavlensky Sentenced over Paris Bank Fire ArtForum January 15 2019 Retrieved May 16 2020 Jones Jonathan November 9 2015 Pyotr Pavlensky is setting Russia s evil history ablaze The Guardian Retrieved February 24 2020 Tate Modern Performance BMW Tate Live Lupita Arte de America Latina en Europa 2016 Retrieved May 11 2020 Tate Modern 2019 Anne Imnhof Sex Tate Modern Retrieved May 13 2020 Kino Carol March 10 2010 A Rebel Form Gains Favor Fights Ensue The New York Times Retrieved April 16 2010 Marina Abramovic Performance y Polemica en el Moma Revista Arcadia March 30 2010 Retrieved May 11 2020 Cotter Holland May 30 2010 700 Hour Silent Opera Reaches Finale at MoMA The New York Times Retrieved May 11 2020 Arboleda Yazmany May 28 2010 SBringing Marina Flowers The Huffington Post Archived from the original on August 22 2011 Retrieved June 16 2010 Bell Christopher June 14 2012 Review Marina Abramovic The Artist Is Present Is A Good But Conventional Doc On An Unconventional Artist IndieWire Retrieved May 11 2020 thoughtcatalog com 2010 marina abramovic Kerr Liv Vaisberg Will APA A Performance Affair re production The Second Edition 2019 aperformanceaffair com Retrieved September 12 2022 a href Template Cite web html title Template Cite web cite web a CS1 maint multiple names authors list link Home Performance Exchange Retrieved September 12 2022 Sylvie McNamara October 28 2019 Did Emma Sulkowicz Get Redpilled At the very least she s found a new social set The Cut Retrieved February 21 2020 McDonald Soraya Nadia October 29 2014 It s hard to ignore a woman toting a mattress everywhere she goes which is why Emma Sulkowicz is still doing it The Washington Post Slatz Jerry December 10 2014 The 19 Best Art Shows of 2014 Vulture Rodriguez Darinka November 28 2019 Ellas son las chilenas que crearon Un violador en tu camino Verne Retrieved November 30 2019 Patino Daniela November 30 2019 Las protestas virales al ritmo de la musica CNN Retrieved November 30 2019 BBC November 30 2019 El violador eres tu el potente himno feminista nacido en Chile que da la vuelta al mundo Retrieved November 30 2019 Las Tesis Intervencion viralizada del colectivo feminista se expande por Chile y el mundo RedGol November 29 2019 Retrieved June 5 2020 Un violador en tu camino el canto viral de un colectivo feminista chileno contra la violencia de genero VIDEO larepublica pe November 28 2019 Retrieved June 5 2020 El mundo se une al grito de Un violador en tu camino asi las protestas Excelsior November 30 2019 Retrieved June 5 2020 El cantico chileno de Un violador en tu camino retumba en todo el mundo La Vanguardia November 30 2019 Retrieved June 5 2020 Un violador en tu camino Himno feminista de Lastesis es interpretado en todo Chile America Latina y Europa CNN Chile Retrieved June 5 2020 Bibliography editAtkins Robert 2013 A Guide to Contemporary Ideas Movements and Buzzwords 1945 to the present Abbeville Press ISBN 978 0789211514 Backstrom Per Performing the Poem The Cross Aesthetic Art of the Nordic Neo Avant Garde The Angel of History Literature History and Culture Vesa Haapala Hannamari Helander Anna Hollsten Pirjo Lyytikainen amp Rita Paqvalen eds Helsinki The Department of Finnish Language and Literature University of Helsinki 2009 Backstrom Per Kisses Sweeter than Wine Oyvind Fahlstrom and Billy Kluver The Swedish Neo Avant Garde in New York Artl s Bulletin vol 6 2017 2 Migrations Transfers and Resemantization Backstrom Per The Intermedial Cluster Ake Hodell s Lagsniff Acta Universitatis Sapientiae Series Film amp Media Studies de Gruyter no 10 2015 Backstrom Per The Trumpet in the Bottom Oyvind Fahlstrom and the Uncanny Edda 2017 2 Beisswanger Lisa Performance on Display Zur Geschichte lebendiger Kunst im Museum Deutscher Kunstverlag Berlin 2021 ISBN 978 3 422 98448 6 in German Beuys Brock Vostell Aktion Demonstration Partizipation 1949 1983 ZKM Zentrum fur Kunst und Medientechnologie Hatje Cantz Karlsruhe 2014 ISBN 978 3 7757 3864 4 Battcock Gregory Nickas Robert 1984 The Art of Performance A Critical Anthology New York E P Dutton ISBN 0 525 48039 0 Carlson Marvin 1996 Performance A Critical Introduction London and New York Routledge ISBN 0 415 13702 0 ISBN 0 415 13703 9 Carr C 1993 On Edge Performance at the End of the Twentieth Century Wesleyan University Press ISBN 0 8195 5267 4 ISBN 0 8195 6269 6 Dempsey Amy Art in the Modern Era A Guide to Styles Schools amp Movements Publisher Harry N Abrams ISBN 978 0810941724 basic definition and basic overview provided Dreher Thomas Performance Art nach 1945 Aktionstheater und Intermedia Munchen Wilhelm Fink 2001 ISBN 3 7705 3452 2 in German Fischer Lichte Erika Asthetik des Performativen Frankfurt edition suhrkamp 2004 ISBN 3 518 12373 4 in German Fischer Lichte Erika 2008 The Transformative Power of Performance A New Aesthetics New York and London Routledge ISBN 978 0415458566 Fischer Lichte Erika Arjomand Minou 2014 The Routledge Introduction to Theatre and Performance Studies New York Routledge ISBN 978 0 415 50420 1 Fischer Lichte Erika Wihstutz Benjamin 2018 Transformative Aesthetics Oxon and New York Routledge ISBN 978 1 138 05717 3 Goldberg Roselee 1998 Performance Live Art Since 1960 Harry N Abrams NY NY ISBN 978 0 8109 4360 5 Goldberg Roselee 2001 Performance Art From Futurism to the Present World of Art Thames amp Hudson Goldberg Roselee 2018 Performance Now Live Art for the 21st Century London Thames amp Hudson ISBN 978 0 500 02125 5 Gomez Pena Guillermo 2005 Ethno techno Writings on performance activism and pedagogy Routledge London ISBN 0 415 36248 2 Jones Amelia and Heathfield Adrian eds 2012 Perform Repeat Record Live Art in History Intellect Bristol ISBN 978 1 84150 489 6 Phelan Peggy Unmarked The Politics of Performance Routledge London 1993 ISBN 978 0 415 06822 2 Rockwell John 2004 Preserve Performance Art New York Times April 30 Schimmel Paul ed 1998 Out of Actions Between Performance and the Object 1949 1979 Thames and Hudson Los Angeles Library of the Congress NX456 5 P38 S35 1998 Smith Roberta 2005 Performance Art Gets Its Biennial New York Times November 2 Best Susan The Serial Spaces of Ana Mendieta Art History April 2007 https doi org 10 1111 j 1467 8365 2007 00532 x Best Susan Ana Mendieta Affect Miniatiarizatin Emotional Ties and the Silueta Series Visualizing Feeling Affect and the Feminine Avant Garde London I B Tauris 2011 92 115 ISBN 978 1 78076 709 3 Del Valle Alejandro 2015 Primitivism in the Art of Ana Mendieta PhD Universitat Pompeu Fabra Retrieved July 8 2017 Del Valle Alejandro Ana Mendieta Performance in the way of the primitive Arte Individuo y Sociedad 26 1 508 523 Ana Mendieta Earth Body Sculpture and Performance 1972 1985 Hirshhorn Museum and Sculpture Garden Traditional Fine Arts Organization Inc Ana Mendieta New Museum archiveExternal links edit nbsp Wikimedia Commons has media related to Performance art nbsp Wikiversity has learning resources about Performance art nbsp Wikiquote has quotations related to Performance art Live Art Archives at the University of Bristol Theatre Collection Thomas Dreher Intermedia Art Performance Art most articles in German Retrieved from https en wikipedia org w index php title Performance art amp oldid 1219690516, wikipedia, wiki, book, books, library,

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