1 Afterword: QUICKSILVER and REVELATIONS
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Art, AIDS, SF Tales of the City
Art, AIDS, SF Tales of the City GLEN HELFAND In considering San Francisco of the AIDS years, I keep and the magnetic Rick Jacobsen, who started Kiki recalling an unnerving telephone conversation I had Gallery in 1993 (fig. 00) and organized the incendiary in the early 1990s with a Los Angeles–based editor Sick Joke exhibition to tackle the subject of AIDS humor of a lifestyle magazine. Before we began discussing and irony as a coping strategy (with a logo of the the article I would be writing for her, she asked me HIV-awareness red ribbon slyly restyled as a noose) sympathetically, “So, are there people dying in the (fig. 00). And there was the High Risk book series, with streets there?” Certainly she wasn’t being literal; she dashing, urgent covers designed by Rex Ray (fig. 00). was responding to news coverage of the health cri- Most of all, when I think about that time, I see a city sis, which conjured an image of a city overtaken by on fire with the urgency of grappling with mortal coils, catastrophe. and with the erotic power of seizing a moment as if it This was not the city as I knew it. While indeed were your last. catastrophic things were in effect—there was even The scale of these memories, and this is just a sliver the Loma Prieta earthquake of 1989 to rock the foun- of them, is as elastic as are aspects of the city itself. dations—San Francisco in those years was filled with San Francisco is geographically and demographically a vitality, creative passion, and sense of community compact, which tends to magnify the cultural condi- that I feel lucky to have experienced. -
(Un)Disciplined Bodies: Ascetic Transformation in Performance Art
(Un)Disciplined Bodies: Ascetic Transformation in Performance Art Tatiana A. Koroleva A Thesis In the Department Of Humanities Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Humanities) at Concordia University Montreal, Quebec, Canada April, 2014 © Tatiana A. Koroleva, 2014 ABSTRACT (Un)Disciplined Bodies: Ascetic Transformation in Performance Art Tatiana A. Koroleva, Ph.D. Concordia University, 2014 This dissertation investigates different modalities of self-transformation enacted in ritualistic performance art by the examination of the work of three contemporary performance artists – Marina Abramović, Linda Montano and Ron Athey. Drawing on theoretical models of ritual, in particular the model of ascetic ritual developed in the works of Gavin Flood and Richard Valantasis, Georges Bataille’s theory of sacrifice, concepts of wounded healing by Laurence J. Kirmayer and Jess Groesbeck, and recent studies of ascetic self-injury in psychiatry and psychoanalysis, I argue that ritualistic performance provides a useful model of the therapy of the body that undermines rigid models of the individual self. Ritualistic performance employs a variety of methods of re-patterning of the dominant standard of individuality and formation of alternative model of the body associated with the ascetic self. In view of significance of the transcendence of the body in the work of these artists I employ a theory of “transformation” to reflect upon performative methodology developed in the artworks of Abramović, Montano, and Athey. iii AKNOWLEDGEMENTS I would like to acknowledge the support and generosity I have received from my academic advisors: Mark Sussman, Tim Clark, and Shaman Hatley. Their work and contributions have been invaluable to the research and writing for this dissertation. -
ON PAIN in PERFORMANCE ART by Jareh Das
BEARING WITNESS: ON PAIN IN PERFORMANCE ART by Jareh Das Thesis submitted in fulfilment of the requirements for the degree of PhD Department of Geography Royal Holloway, University of London, 2016 1 Declaration of Authorship I, Jareh Das hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19th December 2016 2 Acknowledgments This thesis is the result of the generosity of the artists, Ron Athey, Martin O’Brien and Ulay. They, who all continue to create genre-bending and deeply moving works that allow for multiple readings of the body as it continues to evolve alongside all sort of cultural, technological, social, and political shifts. I have numerous friends, family (Das and Krys), colleagues and acQuaintances to thank all at different stages but here, I will mention a few who have been instrumental to this process – Deniz Unal, Joanna Reynolds, Adia Sowho, Emmanuel Balogun, Cleo Joseph, Amanprit Sandhu, Irina Stark, Denise Kwan, Kirsty Buchanan, Samantha Astic, Samantha Sweeting, Ali McGlip, Nina Valjarevic, Sara Naim, Grace Morgan Pardo, Ana Francisca Amaral, Anna Maria Pinaka, Kim Cowans, Rebecca Bligh, Sebastian Kozak and Sabrina Grimwood. They helped me through the most difficult parts of this thesis, and some were instrumental in the editing of this text. (Jo, Emmanuel, Anna Maria, Grace, Deniz, Kirsty and Ali) and even encouraged my initial application (Sabrina and Rebecca). I must add that without the supervision and support of Professor Harriet Hawkins, this thesis would not have been completed. -
Performing Identities Performance Studies Serap Erinc
PERFORMANCE ART Special Topics in Performance Studies Performance Art: Performing Identities Performance Studies Serap Erincin Department of Communication [email protected] Louisiana State University Office Hours: T. 2.00pm – 3.00pm T/TH: 12 pm – 1.20pm T. 6.00pm – 7.00pm 137 Coates Office: 227 Coates In this course, participants will conceptualize, devise, direct, and perform/present solo performance art pieces based upon individual, social, or aesthetic questions, discoveries, or experiments on identity. We will discuss how individual experiences and imagination can become material for works of art while maintaining broader social and political themes such as identity politics, environmental activism, human rights, and technology. We will view works often considered shocking, marginal, or cutting edge by mostly women or international artists such as Bruguera, Orlan, Gomez-Pena, Fusco, Abromovic, Stelarc, Ono, who contextualize global concepts through personal stories and performance art (broadly construed e.g. performances, videos, installations, and sculptures). We will also discuss the work of writers who discuss performance art as an aesthetic and cultural force and who examine such works as ethnography, memory, therapy, critique, archive, or activism as well as art. Participants will develop several pieces of live, visual, or media art pieces throughout the semester, and contribute to the class blog. Class meetings will be heavily practice based and composed of a combination of lecture, discussion, in-class viewings, and student presentations/performances. Each session will also involve performance exercises that focus on performing identities. Finally, participants will critically and artistically inquire into philosophical, political, or cultural and personal questions related to the course topic through their own piece. -
Lynn Hershman Leeson's Roberta Breitmore and the Art of Becoming a Woman
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Fall 2014 Lynn Hershman Leeson's Roberta Breitmore and the Art of Becoming a Woman Maayan Glaser-Koren San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Glaser-Koren, Maayan, "Lynn Hershman Leeson's Roberta Breitmore and the Art of Becoming a Woman" (2014). Master's Theses. 4496. DOI: https://doi.org/10.31979/etd.jxs2-nfa8 https://scholarworks.sjsu.edu/etd_theses/4496 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. LYNN HERSHMAN LEESON’S ROBERTA BREITMORE AND THE ART OF BECOMING A WOMAN A Thesis Presented to The Faculty of the Department of Art History and Visual Culture San Jose Stae University In Partial Fulfillment of the Requirements for the Degree Master of Arts By Maayan Glaser-Koren December 2014 ©2014 Maayan Glaser-Koren ALL RIGHTS RESEVED The Designated Thesis Committee Approves the Thesis Titled LYNN HERSHMAN LEESON’S ROBERTA BREITMORE AND THE ART OF BECOMING A WOMAN by Maayan Glaser-Koren APPROVED FOR THE DEPARTMENT OF ART AND ART HISTORY SAN JOSÉ STATE UNIVERSITY December 2014 Dr. Dore Bowen Department of Art and Art History Dr. Beverly Grindstaff Department of Art and Art History Dr. Marilyn Wyman Department of Art and Art History ABSTRACT LYNN HERSHMAN LEESON’S ROBERTA BREITMORE AND THE ART OF BECOMING A WOMAN By Maayan Glaser-Koren Throughout the emergence of second-wave feminism in the 1970s, social and political activism inspired female artists to create powerful artworks that critiqued institutional discrimination and supported women’s reproductive rights and workplace equality. -
Directory of Artists' Fellows & Finalists
NEW YORK FOUNDATION FOR THE ARTS Directory of Artists’ Fellows & Finalists 19 85 Liliana Porter Sorrel Doris Hays Architecture Crafts Film Susan Shatter Lee Hyla Elizabeth Diller Deborah Aguado Alan Berliner Elizabeth Yamin Oliver Lake Laurie Hawkinson John Dodd Bill Brand Meredith Monk David Heymann Lorelei Hamm Ayoka Chenzira Benny Powell John Margolies Wayne Higby Abigail Child Ned Rothenberg Michael Sorkin Patricia Kinsella Kenneth Fink Inter-Arts Pril Smiley Allan Wexler* Graham Marks George Griffin Mary K. Buchen Andrew Thomas Ellen Wexler* Robert Meadow Barbara Kopple William Buchen Judith Moonelis Cinque Lee Dieter Froese Louisa Mueller Christine Noschese Julia Heyward Robert Natalini Rachel Reichman Candace Hill-Montgomery Painting Choreography Douglas Navarra Kathe Sandler James Perry Hoberman Milet Andrejevic John Bernd Betty Woodman Richard Schmiechen Tehching Hsieh Luis Cruz Azaceta Trisha Brown Spike Lee Brenda Hutchinson William Bailey Yoshiko Chuma Patrick Irwin Ross Bleckner Blondell Cummings Barbara Kruger Eugene Brodsky Caren Canier Kathy Duncan Fiction Christian Marclay Karen Andes Martha Diamond Ishmael Houston-Jones Graphics M. Jon Rubin Michael Blaine Humberto Aquino Stephen Ellis Lisa Kraus William Stephens Magda Bogin Barbara Asch Mimi Gross Ralph Lemon Fiona Templeton Ray Federman Nancy Berlin Stewart Hitch Victoria Marks David Humphrey Arthur Flowers Enid Blechman Susan Marshall Yvonne Jacquette Wendy Perron Ralph Lombreglia Rimer Cardillo David Lowe Stephen Petronio Mary Morris Lloyd Goldsmith Music Medrie MacPhee -
EXHIBITIONS at 583 BROADWAY Linda Burgess Helen Oji Bruce Charlesworth James Poag Michael Cook Katherine Porter Languag�
The New Museum of Contemporary Art New York TenthAnniversary 1977-1987 Library of Congress Calalogue Card Number: 87-42690 Copyright© 1987 The New Museum of Contemporary Art, New York. All Rights Reserved ISBN 0-915557-57-6 Plato's Cave, Remo Campopiano DESIGN: Victor Weaver, Ron Puhalsk.i'&? Associates, Inc. PRINTING: Prevton Offset Printing, Inc. INK: Harvey Brice, Superior Ink. PAPER: Sam Jablow, Marquardt and Co. 3 2 FROM THE PRESIDENT FROM THE DIRECTOR When Marcia Tu cker,our director,founded The New Museum of Contemporary Art, what were Perhaps the most important question The New Museum posed for itself at the beginning, ten the gambler's odds that it would live to celebrate its decennial? I think your average horse player would years ago, was "how can this museum be different?" In the ten years since, the answer to that question have made it a thirty-to-one shot. Marcia herself will, no doubt, dispute that statement, saying that it has changed, although the question has not. In 1977, contemporary art was altogether out of favor, and was the right idea at the right time in the right place, destined to succe�d. In any case, it did. And here it most of the major museums in the country had all but ceased innovative programming in that area. It is having its Te nth Anniversary. was a time when alternative spaces and institutes of contemporary art flourished: without them, the art And what are the odds that by now it would have its own premises, including capacious, of our own time might have.remained invisible in the not-for-profitcultural arena. -
STATE of MIND: NEW CALIFORNIA ART CIRCA 1970 February 23 – May 19, 2013 Press Preview: Thursday, February 21, 11 Am-12 Pm
1606 PASEO DE PERALTA, SANTA FE, NM 87501 SITE SANTA FE TO HOST STATE OF MIND: NEW CALIFORNIA ART CIRCA 1970 February 23 – May 19, 2013 Press Preview: Thursday, February 21, 11 am-12 pm Members’ Preview, Thursday, February 21, 5-7 pm Public Opening, Friday, February 22, 5-7 pm Curated by Constance Lewallen and Karen Moss; Co-organized by the Orange County Museum of Art and the University of California, Berkeley Art Museum and Pacific Film Archive. The exhibition tour is organized by Independent Curators International (ICI), New York. January 10, 2013 - State of Mind is one of the three anchor exhibitions that helped chart the course of Pacific Standard Time: Art in L.A. 1945-1980, the ambitious collaborative initiative of the Getty with arts institutions across southern California, celebrating the birth of the L.A. art scene. Martha Rosler, First Lady (Pat Nixon), 1967–72. Courtesy of the artist and Mitchell-Innes & Nash Gallery, New York. State of Mind: New California Art Circa 1970 is an exhibition investigating seminal conceptual and related avant-garde activities in the late 1960s and 1970s which reveal the critical interchange between artists living in California. Featuring approximately 150 works by 60 artists, State of Mind explores the growth of Conceptualism and the exploration of new methodologies, technologies and sites for artistic expression in California in response to immense social change. In 1970s California, the effects of a youth oriented counter-culture, the Civil Rights Movement, the Chicano students’ protest against racism and inequality, and the Vietnam War strongly influenced the artists in this exhibition. -
Feminist Exhibitions in the 1990. in September 2000 N
n.paradoxa online, issue 13 September 2000 Editor: Katy Deepwell n.paradoxa online issue no.13 Sept 2000 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issue 13, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue13.pdf September 2000, republished in this form:January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk n.paradoxa online issue no.13 Sept 2000 ISSN: 1462-0426 2 List of Contents Defining Experiences: Feminist Exhibitions in the 1990s 4 In September 2000, n.paradoxa asked a number of artists, critics and curators for a short quote or statement in response to the questions below: What is your most memorable experience of a feminist/ women's art exhibition in the past 10 years and why? Did it challenge or change your understanding of feminism? Responses from Yoshiko Shimada, Irina Aktuganova, Lynn Hershman, -
PERFORMANCE ARTISTS TALKING in the EIGHTIES Montano a B I-Xvi 001-538 10/30/00 16:09 Page Ii Montano a B I-Xvi 001-538 10/30/00 16:09 Page Iii
montano_a_b_i-xvi_001-538 10/30/00 16:09 Page a AHMANSON•MURPHY FINE ARTS IMPRINT has endowed this imprint to honor the memory of . who for half a century served arts and letters, beauty and learning, in equal measure by shaping with a brilliant devotion those institutions upon which they rely. montano_a_b_i-xvi_001-538 10/30/00 16:09 Page b The publisher gratefully acknowledges the generous contribution to this book provided by the Art Book Endowment of the University of California Press, which is supported by a major gift form the Ahmanson Foundation. montano_a_b_i-xvi_001-538 10/30/00 16:09 Page i PERFORMANCE ARTISTS TALKING IN THE EIGHTIES montano_a_b_i-xvi_001-538 10/30/00 16:09 Page ii montano_a_b_i-xvi_001-538 10/30/00 16:09 Page iii PERFORMANCE ARTISTS TALKING IN THE EIGHTIES athsexfoodmoney tual/deathfoodmo ey/fameritual/death xmoney/fameritua eathsexfoodmone fameritual /deathse COMPILED BY LINDA M. MONTANO University of California Press Berkeley Los Angeles London montano_a_b_i-xvi_001-538 10/30/00 16:09 Page iv Grateful acknowledgment is made for permission to reprint interviews with Nancy Barber, Alison Knowles, Leslie Labowitz, Suzanne Lacy, Susan Mogul, and Bonnie Sherk from “Food and Art,” High Performance , no. (winter ‒); Ana Mendieta from Sulfur (); Annie Sprinkle and Veronica Vera from “Summer Saint Camp ,” The Drama Review , no. (spring ); Karen Finley, Mierle Laderman Ukeles, and Helene Aylon from Binnewater Tides (published by the Women’s Studio Workshop) – (–); and Carolee Schneemann from Flue (published by Franklin Furnace) (). University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. -
The New Museum
:The Newp Museum583 BROADWAY NEW YORK, NEW YORK 10012 (212) 219-1222 O F c 0 NT EM 0 R A R y ART FOR IMMEDIATE RELEASE August 1994 News Contact: Charlayne Haynes Media Preview Katie Clifford Thursday, September 22 tel. 212-219-1222 12-2 p.m. fax 212-431-5328 refreshments Visiting Hours An installation by Bob Flanagan in collaboration with Sheree Rose Has Its East Coast Premiere at The New Museum of Contemporary Art September 23-December 31, 1994 In Visiting Hours, Los Angeles poet, performance, and visual artist Bob Flanagan, with his companion, photographer Sheree Rose, reflects on his life-long struggle with cystic fibrosis and invites visitors to consider complex connections between pleasure and pain. Suggesting a fantastical hospital setting, Visiting Hours unfolds through autobiographical texts, performance documentation, thematic 0 ... environments, sculptures, toys, and play areas. At the center of the ...0 ~ exhibition is a small hospital room where Flanagan, in bed and dressed in a hospital gown, holds visiting hours for the public. Here, visitors are welcome to talk with the artist about any issues they wish to raise. "I was born with a genetic illness," Flanagan writes, "that I was supposed to succumb to at two, then ten, then twenty, and so on. And, in a never-ending battle not just to survive but to subdue my stubborn disease, I've learned to fight sickness with sickness." Now in his early 40's and one of the oldest survivors of cystic fibrosis, Flanagan at a young age discovered a way to derive pleasure from a life experience shaped by pain, embracing an extreme masochism. -
Linda Montano: Always Creative SITE Santa Fe 1606 Paseo De Peralta, Santa Fe
LINDA MONTANO: ALWAYS CREATIVE SITE SANTA FE 1606 PASEO DE PERALTA, SANTA FE My technique for feeling life’s ecstasy has been negation, taking something away, discipline…. I am in a perpetual state of letting go of control. down her spine, but the most interesting part –Linda Montano is the live snakes that wind around her neck and back and symbolically refer to the coiled Tantric energy that is supposedly located at the IN 1986, THE NEW MUSEUM IN NEW YORK base of the spine. in the convent, this experience set the tone the chakra under investigation. But Montano’s opened the exhibition Choices: Making an Art of Death is an eternal mystery and, on a for the artist’s inclination toward a highly art-life piece had a public component as well Everyday Life, curated by the museum’s founder fundamentally deep level, the loss of someone disciplined control of her mind-body systems and that’s where the New Museum comes in and director, the late Marcia Tucker. This show we love is never easily integrated into our in order to reach a heightened state of being, again. Once a month, for seven years, Montano included such artists as Marina Abramovic and landscapes of memory. The power of loss plus Montano’s spiritual edge is part of her sat in a room in the museum painted to match Ulay, James Lee Byars, Spalding Gray, Tehching is palpable in Montano’s video Mitchell’s driving wheel. the color of her clothes for that year, and she Hsieh, and Linda Montano.