ROSELEE GOLDBERG Curator at Large of Performative Practice

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ROSELEE GOLDBERG Curator at Large of Performative Practice, Centre for Performative Practice, Zeitz MOCAA RoseLee Goldberg was born in Durban, South Africa. She currently lives and works in New York, USA. Goldberg is the Curator at Large of Performative Practice, Centre for Performative Practice, Zeitz MOCAA. She studied fine arts and political science at the University of Witwatersrand (Johannesburg, South Africa) and art history at the Courtauld Institute of Art (London, UK). Goldberg is the Founding Director and Curator of Performa (New York, USA), the first biennial for performative practice in the world. She is Clinical Associate Professor of Visual Arts Administration at New York University (New York, USA). She was Curator at The Kitchen (New York, USA) from 1978-1980 and has curated exhibitions at major museums globally. She curated the exhibition Performance Now, which travelled to museums in Australia, Poland, Russia, the United States, and the United Kingdom from 2012 to 2015. In 2010, Goldberg co- curated the exhibition 100 Years: A History of Performance Art, which travelled to the Garage Museum of Contemporary Art (Moscow, Russia) and the Museum of Modern Art (New York, USA) in 2010. From 2001 to 2003, she curated Shirin Neshat and Sussan Deyhim’s Logic of the Birds, which was performed at Concertgebouw Brugge (Bruges, Belgium), Greek Theatre of Syracuse (Syracuse, Italy), Lincoln Centre (New York, USA), The Kitchen (New York, USA), Union Chapel (London, UK), and the Walker Art Center (Minneapolis, USA). RoseLee Goldberg has published extensively on performative practice, including Performance: Live Art Since 1960, New York, USA, Thames & Hudson, 2004; Laurie Anderson, New York, USA, 2000, and Performance Art: From Futurism to the Present, New York, USA, Harry N. Abrams, 1979. Goldberg was the recipient of the Independent Curators International (ICI) Agnes Gund Curatorial Award in 2010. In 2006, she received a Chevalier of the Ordre des Arts et des Lettres from the French Republic. .

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MA-2013 07 the New Yorker
Allen, Emma. “The Rapper is Present,” The New Yorker, July 11, 2013 JULY 11, 2013 THE RAPPER IS PRESENT POSTED BY EMMA ALLEN Three years ago, when the performance artist Marina Abramović sat in the atrium of the Museum of Modern Art for seven hundred and fifty hours, many of the people who had waited in long lines to sit across from her melted down in her presence. Abramović remained silent and still, enduring thirst, hunger, and back pain (and speculation as to how, exactly, she was or was not peeing), while visitors, confronted with her placid gaze, variously wept, vomited, stripped naked, and proposed marriage. But the other day, at the Pace Gallery in Chelsea, where Jay-Z was presenting his own take on Abramović’s piece—rapping for six hours in front of a rotating cast of art-world V.I.P.s—viewers’ primary response was to get up and dance. Jay-Z (or Shawn Carter, or Hova, as he’s alternately known) was continuously performing “Picasso Baby,” the second song on his new album, “Magna Carta… Holy Grail,” to a succession of visual artists, museum directors, gallerists, Hollywood folk, and Pablo’s granddaughter Diana Widmaier Picasso. These guests took turns on or near a wooden bench positioned across from a low platform on which the rapper stood, except when he was prowling around. A crowd of less famous art-world denizens and cool-looking people (some of whom had been specially cast) loitered along the walls of the gallery, except when they were invited to scurry right up to Jay-Z.
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Clifford Owens, Anthology (Nsenga Knight) , 2011
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MARINA ABRAMOVIĆ Bibliography
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How to Collect Performance Art Preserving Performance and Staged Art Can Be Like Trying to Keep Smoke in Your Pocket
THE ART NEWSPAPER ART BASEL DAILY EDITION 10 JUNE 2009 5 Collecting How to collect performance art Preserving performance and staged art can be like trying to keep smoke in your pocket. So what’s the best way to begin? How to collect performance art has was only completed when the gold leaf umentation of his work (it is even become a subject of a lively debate for was thrown into the river Seine and the acquired by verbal contract in front of museums and increasingly private col- receipt burnt. But if interventions such witnesses), also specified that in this lectors—as an Art Basel Conversation as Klein’s are comments on the com- case no single collector could buy all tomorrow will demonstrate (see box, modification of art, Goldberg also says 100 words. right). Klaus Biesenbach, chief curator they can be ironic statements against the Others, such as London-based collec- of Media and Performance Art at the artist’s works becoming “relics in the tor Valeria Napoleone, who specialises Museum of Modern Art, New York museum”. Performance art can give in women artists including Spartacus (MoMA), who is one of the panellists spaces new life, creating what Goldberg Chetwynd and Vanessa Beecroft, has tomorrow, says the increasing interest calls “performative exhibition aesthet- works that were made during perfor- of both groups is logical. “When you ics”. The cynical may take the opposite mances or that derive from perfor- look back you understand that video art view: that in the last couple of decades mance. But she has not bought “pure” was the ‘golden frame’ of the 1990s.
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The Visual Art Performances of Robin Rhode
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American Music Review the H
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Independent Curators International Spring/Summer 2012 Program Inde Pen Dent Prac Tice Table of Contents
INDEPENDENT CURATORS INTERNATIONAL SPRING/SUMMER 2012 PROGRAM INDE PEN DENT PRAC TICE TABLE OF CONTENTS 1 Welcome 2 Spring/Summer 2012 Calendar EXHIBITIONS 4 Living as Form (The Nomadic Version) 6 Raymond Pettibon: The Punk Years, 1978–86 7 Harald Szeemann: Documenta 5 ICI 8 With Hidden Noise 9 FAX 10 The California Experiment: New Art Circa 1970 12 Performance Now 14 Martha Wilson 16 Create 18 Image Transfer: Pictures in a Remix Culture 20 Project 35 22 do it 24 People’s Biennial EDUCATION & PUBLIC PROGRAMS 26 Curatorial Intensive 28 Partner Programs 32 Alumni Updates 33 Curatorial Research 34 DISPATCH 36 Thinking Contemporary Curating 38 The Curator’s Perspective 40 The Critical Edge of Curating 42 Curating Worldwide 43 The Curatorial Hub 44 ICI Curatorial Library NETWORKS & ACCESS 45 The Curator’s Network Editor: Mandy Sa Reproduction rights: You are free to 46 ICI Limited Editions Designer: Scott Ponik copy, display, and distribute the contents Copy editor: Audrey Walen of the publication under the following 48 ICI Conversations Printing: Linco Printing, Queens, NY conditions: You must attribute the work 50 International Forum or any portion of the work reproduced Big thanks to: Doryun Chong, Sheryl to the author, and ICI, giving the article 51 Conkelton, Sarah Demeuse, Hou Hanru, and publication title and date. If you 52 Thank You Rodrigo Moura, Sofía Olascoaga, Jack alter, transform, or build upon this work, Persekian, Yasmil Raymond, Lucía you may distribute the resulting work 54 Access Fund Sanromán, Terry Smith, and Anton only under a license identical to this 55 Access ICI Vidokle.
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ROSELEE GOLDBERG Biography
ROSELEE GOLDBERG RoseLee Goldberg, organizer of SIX EVENINGS OF PERFORMANCE: LAURIE ANDERSON, ERIC BOGOSIAN, BONGWATER (WITH ANN MAGNUSON & KRAMER), DAVID CALE, BRIAN ENO (A LECTURE), SPALDING GRAY, is an art historian, author, curator, and critic. A graduate of London University's Courtauld Institute of Art, she wrote her dissertation on Oskar Schlemmer and Bauhaus Performance in 1970. Ms. Goldberg was a professional dancer from an early age. Her interest in performance art led to the publication, in 1979, of her book Performance: Live Art 1909 to the Present, which was published in London, New York, and Tokyo, and was the first historical survey of this increasingly popular medium. The book was reissued in 1988 under the title Performance Art: From Futurism to the Present. RoseLee Goldberg was director of the Royal College of Art Gallery in London from 1972 to 1975, where she arranged a full program of lectures, seminars, exhibitions, and performances while also teaching at the Architectural Association. She wrote extensively for Studio International and was responsible for special issues of Art/Architecture (1975) and Performance Art (1976). She moved to New York in 1976 to teach at the Institute for Architecture and Urban Studies and, from 1978 to 1980, was curator of The Kitchen Center for Video, Music, Dance, and Performance in New York, presenting the early AIKT The Museum of Modern Art, New York Octobers 1990-January 15, 1991 The Art Institute of Chicago 5© February 23-May 12, 1991 The Museum of Contemporary Art, Los Angeles 1940-1990 June 23-September 15,1991 2 works of artists such as Laurie Anderson, Eric Bogosian, Molissa Fenley, Robert Longo, and David Salle.
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1 2 3 the 19th annual watermill center summer benefit 7.28.12 the big bang the byrd hoffman watermill foundation thanks lvmh / moët hennessy.louis vuitton 4 1 board of directors shaikha paula al-sabah . dianne b . irving benson pierre bergé . giancarla berti . william i. campbell alain coblence . louise hirschfeld cullman . lisa de kooning . simon de pury . lisa ehrenkranz . charles fabius . jürgen friedrich . roger ferris . jolmer d. gerritse . philip glass . amy guttman . gabriele henkel . holm keller . jan kengelbach . lummi u. kieren . william kornreich . ann lewis (in memoriam) tatiana platt . katharine rayner . elka rifkin roberta sherman . stanley stairs . robert wilson 2011 international summer program credit - lovis dengler 2 3 board of advisors giorgio armani . pierre bergé . christophe de menil . christoph eschenbach . betty freeman (in memoriam) . philip glass . rhoda grauer . donna karan . thomas krens . annie leibovitz . gérard mortier . jessye norman . maren otto . michael otto . claude pompidou (in memoriam) . lou reed . isabella rossellini . richard serra . cindy sherman . tom waits . richard von weizsäcker resident artists krymov lab (russia) credit - jake schlichting 4 5 selection committee marina abramovic´ . marie-claude beaud kristy edmunds . jonathan safran foer roselee goldberg . alanna heiss . jürgen kluge . xavier le roy . albert maysles . michael morris . gérard mortier . ida nicolaisen . john rockwell . dr. thomas f. schutte . richard sennett . taryn simon . elisabeth sussman nike wagner . jörn weisbrodt . robert wilson resident artists wet weather ensemble (australia) credit - lovis dengler 6 7 community board michael braverman (chair) . elka rifkin (honorary chair) . maeera mougin (honorary chair) maria pessino (honorary chair) . ruth applehof dianne b . christophe de menil . eileen ekstract kimberly goff . debra halpert . roberta o.
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“Performance Art”
“Performance Art” A Mode of Communication Edvin Sandström Sociologiska institutionen Department of Sociology Magister thesis in sociology, 15 credits Spring term 2010 Handledare: Supervisor: Patrik Aspers PhD in Sociology: xxx Abstract This paper is a phenomenological approach to the field of performance art. It is a qualitative study based on observations and interviews. The aim is to understand how and why do artists use performance art. The empirical result shows that artists use performance art to challenge what art is. The study explains how artists use performance art as a mode of communication, a communication based on using the voice in different modes. Through using an electronic filtered voice, the artists capture the audience's attention and at the same time they challenge their own narrative and presence. Performance art is seen as a mode of communication, which constitutes a social structure within communities. The study finds that the artists generate an existential and political awareness for their audience. Keywords: Performance Art ‧ Phenomenological Sociology ‧ Verbal Art ‧ Social Structure Word Count: 13 304 Table of contents 1. Introduction........................................................................ 1 1.1 Outline of the text............................................................. 2 1.2 Limitations....................................................................... 2 2. The Field of Performance Art .............................................. 3 2.1 The development of a new art world...................................
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Marina Abramovic: Methods for Establishing Performance Art in the Gallery and Museum System
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2014 Marina Abramovic: Methods for Establishing Performance Art in the Gallery and Museum System Alex Wixon CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/329 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] Marina Abramović: Methods for Establishing Performance Art in the Gallery and Museum System Alex Wixon Advisor: Professor Craig Houser May 2014 Submitted in partial fulfillment of the requirements for the degree of Master of Arts of the City College of the City University of New York Table of Contents Introduction: Performance Art and Its Problematic Position in Modern Art 1 Chapter 1: Abramović and Sean Kelly: Marketing and Documentation 18 Chapter 2: Seven Easy Pieces and Promoting Past Performance in the Museum 38 Chapter 3: The Artist Is Present and Establishing Guidelines for Museums 67 Conclusion 87 Figure List 95 Bibliography 132 INTRODUCTION Performance Art and Its Problematic Position in Modern Art Performance has not been given its full attention within the realm of modern art. Numerous modern artists have engaged in the practice of performance art by deviating from the traditional media of painting and sculpture and exploring their own physical body as a tool of artistic expression. Among these avant-garde artists, Marina Abramović (b. 1946, Fig. 1) has remained dedicated to performance art since the 1960s and received critical worldwide acclaim for her work.
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