PUBLIC ART and PERFORMANCE MAKING TEMPORARY PUBLIC ART & PERFORMANCE: What Artists Need to Know – March 2015
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All These Post-1965 Movements Under the “Conceptual Art” Umbrella
All these post-1965 movements under the “conceptual art” umbrella- Postminimalism or process art, Site Specific works, Conceptual art movement proper, Performance art, Body Art and all combinations thereof- move the practice of art away from art-as-autonomous object, and art-as-commodification, and towards art-as-experience, where subject becomes object, hierarchy between subject and object is critiqued and intersubjectivity of artist, viewer and artwork abounds! Bruce Nauman, Live-Taped Video Corridor, 1970, Conceptual Body art, Postmodern beginning “As opposed to being viewers of the work, once again they are viewers in it.” (“Subject as Object,” p. 199) http://www.youtube.com/watch?v=9IrqXiqgQBo A Postmodern beginning: Body art and Performance art as critique of art-as-object recap: -Bruce Nauman -Vito Acconci focus on: -Chris Burden -Richard Serra -Carolee Schneemann - Hannah Wilke Chapter 3, pp. 114-132 (Carolee Schneemann and Hannah Wilke, First Generation Feminism) Bruce Nauman, Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, 1967-1968. 16mm film transferred to video (black and white, sound), 10 min. Body art/Performance art, Postmodern beginning- performed elementary gestures in the privacy of his studio and documented them in a variety of media Vito Acconci, Following Piece, 1969, Body art, Performance art- outside the studio, Postmodern beginning Video documentation of the event Print made from bite mark Vito Acconci, Trademarks, 1970, Body art, Performance art, Postmodern beginning Video and Print documentation -
VIDEO and ABSTRACT EXPRESSIONISM Hermine Freed
VIDEO AND ABSTRACT EXPRESSIONISM Hermine Freed If the content of formalist art is form, then the forms in a video whereas others view us through our behavior. Through video, art work are a function of its content. Just as formal similari- we can view our behavior and personal interactions removed ties can be found in minimalist sculptures or abstract expres- from immediate feelings and experiences . Laing speaks of the sionist paintings, videotapes tend to be stylistically unique, ego boundary as the extension between man and society. The although there are likely to be conceptual similarities amongst works of Acconci, Benglis, Campus, Holt, Jonas, Morris, Nau- them. These similarities often arise out of inherent qualities in man, Serra and myself operate on that boundary line. the medium which impress different artists simultaneously . If Peter Campus and Bruce Nauman have both made live minimalist sculptors have explored the nature of the sculptural video installations which involve the viewer directly. In Cam- object, then video artists tend to explore the nature of the pus' Shadow Projection the viewer sees himself projected on a video image. As the range of possibilities is broad, so are the screen from behind with a shadow of his image superimposed sources, ideas, images, techniques, and intentions. Neverthe- over the enlarged color image. He stands between the screen less, similarities can be found in tapes of artists as seemingly and the camera (the interface between seer and seen), turns to dissimilar as Campus, Nauman, and Holt, and some of those see himself, and is frustrated because he is confronted with the similarities can be related to their (unintentional) resemblance camera and can never see his image from the front. -
Resource What Is Modern and Contemporary Art
WHAT IS– – Modern and Contemporary Art ––– – –––– – – – – – – – – – – – – – – – – – – – – – – – – – – ––– – – – – ? www.imma.ie T. 00 353 1 612 9900 F. 00 353 1 612 9999 E. [email protected] Royal Hospital, Military Rd, Kilmainham, Dublin 8 Ireland Education and Community Programmes, Irish Museum of Modern Art, IMMA THE WHAT IS– – IMMA Talks Series – – – – – – – – – – – – – – – – – – – – – ? There is a growing interest in Contemporary Art, yet the ideas and theo- retical frameworks which inform its practice can be complex and difficult to access. By focusing on a number of key headings, such as Conceptual Art, Installation Art and Performance Art, this series of talks is intended to provide a broad overview of some of the central themes and directions in Modern and Contemporary Art. This series represents a response to a number of challenges. Firstly, the 03 inherent problems and contradictions that arise when attempting to outline or summarise the wide-ranging, constantly changing and contested spheres of both art theory and practice, and secondly, the use of summary terms to describe a range of practices, many of which emerged in opposition to such totalising tendencies. CONTENTS Taking these challenges into account, this talks series offers a range of perspectives, drawing on expertise and experience from lecturers, artists, curators and critical writers and is neither definitive nor exhaustive. The inten- What is __? talks series page 03 tion is to provide background and contextual information about the art and Introduction: Modern and Contemporary Art page 04 artists featured in IMMA’s exhibitions and collection in particular, and about How soon was now? What is Modern and Contemporary Art? Contemporary Art in general, to promote information sharing, and to encourage -Francis Halsall & Declan Long page 08 critical thinking, debate and discussion about art and artists. -
Off Museum! Performance Art That Turned the Street Into 'Theatre,' Circa 1964 Tokyo
Performance Paradigm 2 (March 2006) Off Museum! Performance Art That Turned the Street into ‘Theatre,’ Circa 1964 Tokyo Midori Yoshimoto Performance art was an integral part of the urban fabric of Tokyo in the late 1960s. The so- called angura, the Japanese abbreviation for ‘underground’ culture or subculture, which mainly referred to film and theatre, was in full bloom. Most notably, Tenjô Sajiki Theatre, founded by the playwright and film director Terayama Shûji in 1967, and Red Tent, founded by Kara Jûrô also in 1967, ruled the underground world by presenting anti-authoritarian plays full of political commentaries and sexual perversions. The butoh dance, pioneered by Hijikata Tatsumi in the late 1950s, sometimes spilled out onto streets from dance halls. Students’ riots were ubiquitous as well, often inciting more physically violent responses from the state. Street performances, however, were introduced earlier in the 1960s by artists and groups, who are often categorised under Anti-Art, such as the collectives Neo Dada (originally known as Neo Dadaism Organizer; active 1960) and Zero Jigen (Zero Dimension; active 1962-1972). In the beginning of Anti-Art, performances were often by-products of artists’ non-conventional art-making processes in their rebellion against the artistic institutions. Gradually, performance art became an autonomous artistic expression. This emergence of performance art as the primary means of expression for vanguard artists occurred around 1964. A benchmark in this aesthetic turning point was a group exhibition and outdoor performances entitled Off Museum. The recently unearthed film, Aru wakamono-tachi (Some Young People), created by Nagano Chiaki for the Nippon Television Broadcasting in 1964, documents the performance portion of Off Museum, which had been long forgotten in Japanese art history. -
Is Marina Abramović the World's Best-Known Living Artist? She Might
Abrams, Amah-Rose. “Marina Abramovic: A Woman’s World.” Sotheby’s. May 10, 2021 Is Marina Abramović the world’s best-known living artist? She might well be. Starting out in the radical performance art scene in the early 1970s, Abramović went on to take the medium to the masses. Working with her collaborator and partner Ulay through the 1980s and beyond, she developed long durational performance art with a focus on the body, human connection and endurance. In The Lovers, 1998, she and Ulay met in the middle of the Great Wall of China and ended their relationship. For Balkan Baroque, 1997, she scrubbed clean a huge number of cow bones, winning the Golden Lion at the Venice Biennale for her work. And in The Artist is Present 2010, performed at MoMA in New York, she sat for eight hours a day engaging in prolonged eye contact over three months – it was one of the most popular exhibits in the museum’s history. Since then, she has continued to raise the profile of artists around the world by founding the Marina Abramović Institute, her organisation aimed at expanding the accessibility of time- based work and creating new possibilities for collaboration among thinkers of all fields. MARINA ABRAMOVIĆ / ULAY, THE LOVERS, MARCH–JUNE 1988, A PERFORMANCE THAT TOOK PLACE ACROSS 90 DAYS ON THE GREAT WALL OF CHINA. © MARINA ABRAMOVIĆ AND ULAY, COURTESY: THE MARINA ABRAMOVIĆ ARCHIVES / DACS 2021. Fittingly for someone whose work has long engaged with issues around time, Marina Abramović has got her lockdown routine down. She works out, has a leisurely breakfast, works during the day and in the evening, she watches films. -
Robert Morris, Minimalism, and the 1960S
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
The Performativity of Performance Documentation
THE PERFORMATIVITY OF PERFORMANCE DOCUMENTATION Philip Auslander onsider two familiar images from the history of performance and body art: one from the documentation of Chris Burden’s Shoot (1971), the notori- ous piece for which the artist had a friend shoot him in a gallery, and Yves CKlein’s famous Leap into the Void (1960), which shows the artist jumping out of a second-story window into the street below. It is generally accepted that the first image is a piece of performance documentation, but what is the second? Burden really was shot in the arm during Shoot, but Klein did not really jump unprotected out the window, the ostensible performance documented in his equally iconic image. What difference does it make to our understanding of these images in relation to the concept of performance documentation that one documents a performance that “really” happened while the other does not? I shall return to this question below. As a point of departure for my analysis here, I propose that performance docu- mentation has been understood to encompass two categories, which I shall call the documentary and the theatrical. The documentary category represents the traditional way in which the relationship between performance art and its documentation is conceived. It is assumed that the documentation of the performance event provides both a record of it through which it can be reconstructed (though, as Kathy O’Dell points out, the reconstruction is bound to be fragmentary and incomplete1) and evidence that it actually occurred. The connection between performance and docu- ment is thus thought to be ontological, with the event preceding and authorizing its documentation. -
Fluxus: the Is Gnificant Role of Female Artists Megan Butcher
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College Summer 7-2018 Fluxus: The iS gnificant Role of Female Artists Megan Butcher Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Contemporary Art Commons, and the Other History Commons Recommended Citation Butcher, Megan, "Fluxus: The iS gnificant Role of Female Artists" (2018). Honors College Theses. 178. https://digitalcommons.pace.edu/honorscollege_theses/178 This Thesis is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Abstract The Fluxus movement of the 1960s and early 1970s laid the groundwork for future female artists and performance art as a medium. However, throughout my research, I have found that while there is evidence that female artists played an important role in this art movement, they were often not written about or credited for their contributions. Literature on the subject is also quite limited. Many books and journals only mention the more prominent female artists of Fluxus, leaving the lesser-known female artists difficult to research. The lack of scholarly discussion has led to the inaccurate documentation of the development of Fluxus art and how it influenced later movements. Additionally, the absence of research suggests that female artists’ work was less important and, consequently, keeps their efforts and achievements unknown. It can be demonstrated that works of art created by little-known female artists later influenced more prominent artists, but the original works have gone unacknowledged. -
A Brief History of Video Art
Kate Horsfield Busting the Tube: A Brief History of Video Art Source: Feedback: The Video Data Bank Catalog of Video Art and Artist Interviews, 2006 Setting the Stage end of social oppression and his support personal situation of each woman, discuss for all efforts of radical liberation inspired the new feminist literature and strategize on The 1960s was a decade of sweeping young activists to envision a new society what actions could be done to change the social change driven by political confron- based on alternative institutions and modes oppression of women in society. The goal tation and creative and ideological activ- of thought that did not replicate social or was to create a mass movement for social ism inspired by the civil rights movement, economic oppression of minority or other change by helping women understand how the Beat poets, the Vietnam war contro- disenfranchised groups. To drive this social they could alter their positions as objects (of versy, and the rise of a rebellious youth change, Marcuse’s concept called for a male desire) to subjects that could deter- movement stimulated by politics, drugs, more engaged individual personally com- mine their own future. The new subjectivity and rock’n’roll. As the decade progressed, mitted to political ideas that would lead to of the feminist movement demanded that its tension increased between the tradition- change. This individual could become a followers analyze power relations between alist mainstream and the youthful coun- new subject by stepping out of the bland- the genders and how institutional struc- terculture that desired a more open and ness of the 1950s to change his or her tures enforce gender inequality or support egalitarian society. -
Capabilities of Rationalism and Minimalism for Contemporary
International Journal of Scientific & Engineering Research, Volume 7, Issue 1, January-2016 339 ISSN 2229-5518 Capabilities of Rationalism and Minimalism for Contemporary Graffiti and Environmental Graphic: A Descriptive, Analytical and Comparative Case Study Seyed Maziar Mohsenian* Enghelab–e Eslami Technical College (EITTC), Tehran, Iran Abstract— In early centuries, human created some magical and ritual artworks on the wall of caves, with the limited facilities, to achieve some goals. During time and by developing of sciences and technologies, factors such as change in material, variety of tastes, ideas and so on allow art to be applicable in various fields. One of the art branches which have a wide and multi–dimensional applicability from definition and performance points of view is graffiti. In the current time, graffiti is a symbol of urban and popular art. Although use of paintings, colors and decorative elements for decoration of architecture has been common since ancient era, graffiti is changed due to changing in urban structures and establishing new urbanism concepts in recent years. For creating graffiti in the current time, it has not confine to performing on a vertical wall using tools such as brush and color but we can see different artworks sometimes are comparable to the artworks of various art branches such as minimal art and utilize the characteristics of such art branches to create new graffiti. The current research aims to describe the capabilities of contemporary graffiti and environmental graphic of Iran and it can be used to calm urban space, which its critical foundation, decorative purposes and constitutional concepts of minimal art. -
The Convergence of Video, Art and Television at WGBH (1969)
The Medium is the Medium: the Convergence of Video, Art and Television at WGBH (1969). By James A. Nadeau B.F.A. Studio Art Tufts University, 2001 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEPTEMBER 2006 ©2006 James A. Nadeau. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known of hereafter created. Signature of Author: ti[ - -[I i Department of Comparative Media Studies August 11, 2006 Certified by: v - William Uricchio Professor of Comparative Media Studies JThesis Supervisor Accepted by: - v William Uricchio Professor of Comparative Media Studies OF TECHNOLOGY SEP 2 8 2006 ARCHIVES LIBRARIES "The Medium is the Medium: the Convergence of Video, Art and Television at WGBH (1969). "The greatest service technology could do for art would be to enable the artist to reach a proliferating audience, perhaps through TV, or to create tools for some new monumental art that would bring art to as many men today as in the middle ages."I Otto Piene James A. Nadeau Comparative Media Studies AUGUST 2006 Otto Piene, "Two Contributions to the Art and Science Muddle: A Report on a symposium on Art and Science held at the Massachusetts Institute of Technology, March 20-22, 1968," Artforum Vol. VII, Number 5, January 1969. p. 29. INTRODUCTION Video, n. "That which is displayed or to be displayed on a television screen or other cathode-ray tube; the signal corresponding to this." Oxford English Dictionary, 2006. -
Download Performance
TEACHER GUIDE Getting Started with Contemporary Art Artists working today often push the boundaries of traditional media like painting and sculpture. This guide is part of a series designed for high school teachers to use in conjunction with a visit to the Hammer Museum, where students might encounter a range of contemporary art forms. Use the information and discussion prompts below while engaging with performance art during your visit or in preparation for your visit using images available on the Hammer website. The post-visit activity is designed to extend student learning in the classroom after your visit. PERFORMANCE ART Performance art began in the early 20th century as a challenge to traditional, “motionless” works like painting and sculpture. Key Concepts • Time-based: A focus on ephemerality, or impermanence, as a result of actions performed live • Space: The site of the performance • Performer/audience relationship: Challenges traditional relationship between viewer and artist; the viewer may be a participant • The body: As the artist’s medium, it is the center of the performance and places emphasis on subjectivity, or the individuality of the performer Discussion Prompts 1. Consider examples of performances (e.g. concerts or sports). What are the elements of a performance? 2. What are the similarities and differences between performance art and a “traditional” performance? 3. “Live-ness” is a key component of performance art and yet images are integral to extending the life of a performance. Do you think this changes the work of art? Post-Visit Activity There are aspects of performance in everyday life: any decisions about how we dress, move, or interact with people are performative actions.