A History of Performance
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OF POSITIONS and Half POSITIONS Having Several MARKS At
OF POSITIONS AND half POSITIONS having several MARKS at once Diagram illustrating The Bretagne, from Weaver’s Orchesography p.114, 2nd ed. Printed for, & sold by Ino. Walsh [ca. 1715] i. Of Positions and half Positions having several Marks at once In 1705 English Dancing-Master John Weaver’s Orchesography or The Art of Dancing by Characters and Demonstrative Figures was first printed. This text sought to explain the whole art of dance, with tables of steps and rules for the motions of the arms so that anyone could learn various dances. “Of Positions and half Positions having several Marks at once” is a chapter heading taken from this publication. Weaver (1673-1760) choreographed many ballets and pantomimes, some of which were performed at the Theatre Royal at Drury Lane. A series of lectures given by Weaver in 1721 were one of the first attempts to base dancing and dance instruction on anatomy and knowledge of the body.1 Importantly, Orchesography is “an exact and just translation from the French of Monsieur Feuillet.” Raoul Auger Feuillet (1653-1709) put into print the choreography or dance notation invented by Pierre Beauchamps (1631-1705) dancing master to Louis XIV (1638-1715). This text marks the birth of choreography, linking indelibly body, space, and printed symbols.2 For Feuillet, all dancing was comprised of a small number of essential motions and his system created a planimetric representation of the dancing body, emphasizing possible directions and the paths it may take in space, as well as the motions of the feet and legs. Such a path was notated by a line, and steps or positions by embellished characters on either side. -
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 -
Fluxus Feminus
FluxusFeminus KathyO'Dell There's no denyingit: Fluxus was an inclusiveoperation. The 1993 retro- spectiveexhibition "In the Spiritof Fluxus,"brilliantly organized by Elizabeth Armstrongand JoanRothfuss of the WalkerArt Center, confirmed that there were probablymore women and artistsof color associatedwith Fluxus than with any otherprevious grouping of artistsin Westernart history. This is no insignificantfact, given the originsof Fluxusin the earlyI960s in the wake of the seeminglymonolithic, white, male-dominatedphenomenon of Abstract Expressionism.Charlotte Moorman, Nam June Paik, Alison Knowles, Ben- jamin Patterson,Carolee Schneemann,Kate Millett, Shigeko Kubota, and Yako Ono are onlya few of the artistswho at one timeor anotherwere asso- ciatedwith Fluxus and were representedin the exhibition. Inclusivityis a relativeterm, however, and when it comesto figuringFluxus into the discourseon, say, genderissues, the titleof thisexhibition should be takenvery seriously. For it was, indeed, "in the spiritof Fluxus" thatits prac- tices be inclusive.But the historicalreality was somewhatdifferent-a history impossibleto documentin exhibitionformat due to the amorphousnature of its underpinnings.It is thishistory I wish to explorehere, in an effortto ex- pose those underpinningsand the affectthey had on work by women associ- ated withthe artisticactivities that came to be knownas "Fluxus."' As is well-documentedin numeroustexts, one of the mostrecent being the substantivecatalog that accompanied the exhibition (see Armstrongand Rothfuss 1993), it was Lithuanian architectand graphic designer George Maciunas who in 1962 bestowed the name "Fluxus" on an arrayof interna- tionalartists who shareda particularsensibility from which theywould work for many years, up to and including the present moment. For the same amount of time,this shared sensibility has defiedfirm definition-a predict- able and no doubt intentionaloutcome of Maciunas's neologizinga name for the groupfrom a rootword signifyingconstant change and transition. -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
Vol. 3, Spring 2001
The University of Iowa School of ArtNEWSLETTER &History Volume 3 Spring/Summer 2001 Art Greetings Warm greetings from the School of Art and Adams, who taught contemporary African Art History! After one of the coldest and art with us this spring will be joining us from harshest winters on record here we as an assistant professor of art history this enjoyed a magnificent spring (although we fall. Over the next few weeks we expect Dorothy are all keeping an eye on the river which to add a faculty member in graphic design is getting higher every day). As the and several visitors in art and art history Johnson, spring semester draws to a close we are for the next academic year. looking forward to the M.F.A. show in the Director Museum of Art and are still enjoying the Growth & Development faculty show at the Museum which is one The School continues to grow every year. of the largest and most diverse we have The numbers of our faculty members seen. This year, thanks to the generosity increase as we try to keep up with ever- of the College, the Vice President for growing enrollments at the undergraduate Research and the University Foundation, and graduate levels. This year we have we are going to have a catalogue of the well over 700 undergraduate majors and faculty exhibit in full color. over 200 graduate students. In addition, we serve thousands of non-majors, espe- Farewells cially in our General Education classes in This is also the time of year for farewells. -
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. -
The Life and Times of Penny Arcade. Matthew Hes Ridan Ames Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1996 "I Am Contemporary!": The Life and Times of Penny Arcade. Matthew heS ridan Ames Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Ames, Matthew Sheridan, ""I Am Contemporary!": The Life and Times of Penny Arcade." (1996). LSU Historical Dissertations and Theses. 6150. https://digitalcommons.lsu.edu/gradschool_disstheses/6150 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced 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 comer and continuing from left to right in equal sections with small overlaps. -
NO BINGO for FELONS Arcadia University Art Gallery Exhibition Checklist August 28 – November 3, 2013 Height Precedes Width Precedes Depth
NO BINGO FOR FELONS Arcadia University Art Gallery Exhibition Checklist August 28 – November 3, 2013 Height precedes width precedes depth. Frank Bender Anna Duval 1977 fiberglass, clay, paint, wig 12” x 8" x 10” Courtesy of Frank Bender Forensics, LLC World-renowned forensic artist Frank Bender began his career without any formal training in forensics. As a graduate of the Pennsylvania Academy and an artist interested in anatomy, he had the opportunity to see the remains of an unidentified crime victim presented to him by a medical examiner. Studying the victim, he believed he could render a reliable sculptural likeness solely from the remains. His attempt, included in this exhibition—Bender’s first reconstruction— eventually led to the successful identification of murder victim Anna Duval by a New Jersey State Police detective. It is one of dozens of busts by Bender that proved instrumental in solving crimes, demonstrating his uncanny instincts both with rendering the body as well as the psychology of the subjects with which he worked. Jennifer Bolande The Porn Series 1982/83 black and white photography 16” x 20" framed Courtesy of the artist Bloande's Porn Series is described by the artist as "cropped stills from 50s retro porn films by Irving Klaw. Watching them really fast, I noticed these moments of calm at the beginning or the end, with all of this ‘activity’ in between. It was this kind of aporia, with just an empty set, before that particular kind of narrative ride takes place." In these noir-ish images we see the spaces between transgression. -
Tonya Lockyer METAPHYSICAL CHOREOGRAPHY in NORTH
Tonya Lockyer 0740114 May 22, 2007 METAPHYSICAL CHOREOGRAPHY IN NORTH AMERICA 1984 to 1996 From 1984-1996, American choreographers Paula Josa-Jones and Marie Chouinard were in many ways very representative of their times. They produced a global vision born out of cross- pollination and international inspiration. They shared many values with the neo-expressionism of European Tanztheatre and Japanese Butoh. And they shared philosophical and aesthetic concerns with American feminist performance art, which reached its nader in the 80ʼs. Yet when their intuitive, expressive work intersected with the dominant, conservative, post-modern formalism of American modern dance, it resulted in their work being radicalized and marginalized to the “fringes.” They did not fit into the dominant critical view of what defined American modern dance. Despite the critical acclaim their work received, and the prominent venues that presented their work, they are often omitted from dance history surveys of this period or given only small mention. The dances that we choose to remember in our historical canons say much about our national and communal identities. Yet it is often a select, powerful few who determine the relevance of a work of art, or who are privileged with interpretation of social significance. The 80ʼs are rightly remembered as a time of materialism, ambition, gender bending, and anxiety. Many American choreographers who embraced virtuosity, spectacle and/or the politics of the body in their work reflected these social concerns. Yet I hope to bring to light how certain dance historical cliché do not reflect the diversity of artistic responses during this time period. -
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. -
SUZANNE LACY, FEMINISM and QUILTING by JACQUELINE
EVER PRESENT, NEVER PRESENTED: SUZANNE LACY, FEMINISM AND QUILTING by JACQUELINE WITKOWSKI B.A. (Hons), DePaul University, 2010 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Art History) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) September 2014 © Jacqueline Witkowski, 2014 Abstract Seated at tables of four, over four hundred women aged 55-95 years old unfold tablecloths of yellow, red, and black. With their choreographed and synchronized gesturing hands, they mimic traditional Euro-American quilt patterns. This performance, titled The Crystal Quilt, was produced by Los Angeles-based artist Suzanne Lacy in 1987 as the culminating work to the two- year long, statewide initiative Whisper Minnesota (1985-1987). There is a continued resonance of the quilt in Lacy’s oeuvre, as The Crystal Quilt was the third project to reference quilts and quilt making. The first project, Evalina and I: Crimes, Quilts, Art (1975-78), and a smaller commemorative project (1980), employed tactile quilting projects instead of the conceptual quilt arrangement that Lacy would incorporate in 1987. The formal and historical attributes of this textile practice have been largely ignored in contemporary scholarship on the artist, thus raising the question of how this very specific medium encouraged her artistic and activist agenda. The primary focus of this thesis is an exploration of how Lacy mediates these two approaches, one of feminism and the other inspired by conceptual artist Allan Kaprow, through the medium of the quilt. Neither Lacy’s quilt works nor the use of craft during the second wave feminist movement has been sufficiently analyzed within craft scholarship.