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performance art

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Katy Almonte

on 25 April 2011

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Transcript of performance art

Performance Art The term "Performance Art" got its start in the 1960s in the United States. It is a type of artistic production that focuses upon actions, audiences and sites- specific activities done in a particular location for a particular time. The performance art had been practiced previously. The Futurists, with Marinetti, and then the Dadaists had insisted on the artist's physical involvement and its relationship with the audience and proclaimed the sovereignty of the creative act. Characteristics
of
Performance Art Performance
Art is live. Performance Art has
no rules or guidelines. William Pope. Performance "Eating the Wall Street Journal" 2000 Performance Art is not for sale Patty Chang. Performance en una cama de agua. 2000 Performance Art is a legitimate artistic movement Gilbert & George. Performance "The Singing Sculpture" 1960 Dada, Futurism, Black Mountain College, all inspired and helped pave the way for Performance Art. Performance Art is closely related to Conceptual Art. Performance Art may be entertaining, amusing, shocking or horrifying. Nayland Blake. Starting over performance. 2000 Chris Burden, “Deadman” (1972) Ana Mendieta Then, several demonstrations related to avant-garde movements such as Fluxus, the public actions of the Japanese group Gutai, the anthropometry of Yves Klein, Body Art and, above all the happenings of John Cage premises established determinants of performance art . Joseph Beuys Chris Burden
Christopher "Chris" Burden (born in Boston, Massachusetts in 1946) is an American artist working in performance, sculpture, and installation art.
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 most well-known act from that time is perhaps the 1971 performance piece Shoot, in which he was shot in his left arm by an assistant from a distance of about five meters.
One of Burden’s most reproduced and cited pieces, Trans-Fixed took place in 1974 at Speedway Avenue in Venice, California. For this performance, Burden lay face up on a Volkswagen Beetle and had nails hammered into both of his hands, as if he were being crucified on the car. The car was pushed out of the garage and the engine revved for two minutes before being pushed back into the garage.
Valie Export
Is an Austrian artist. Her artistic work includes video installations, body performances, expanded cinema, computer animations, photography, sculptures and publications covering contemporary arts.
Her birth name was Waltrud Lehner-Hollinger. In 1967, she changed her name to VALIE EXPORT (written in uppercase letters, like an artistic logo, shedding her father’s and husband’s names and appropriating her new surname from a popular brand of cigarettes)
She subjected her body to pain and danger in actions designed to confront the growing complacency and conformism of postwar Austrian culture. But her examination of the ways in which the power relations inherent in media representations inscribe women’s bodies and consciousness distinguishes Valie Export’s project as unequivocally feminist.
"Tap and Touch Cinema" was performed in ten European cities in 1968-1971. In this avowedly revolutionary work, Valie Export wore a tiny "movie theater" around her naked upper body, so that her body could not be seen but could be touched by anyone reaching through the curtained front of the "theater." She then went into the street and invited men, women, and children to come and touch her.
In her 1968 performance
“Action Pants: Genital Panic”, Valie Export entered an art cinema in Munich,
wearing crotchless pants, and walked around the audience with her exposed genitalia at face level. The associated photographs were taken in 1969 in Vienna, by photographer Peter Hassmann. The performance at the art cinema and the photographs in 1969 were both aimed toward provoking thought about the passive role of women in cinema and confrontation of the private nature of sexuality with the public venues of her performances. She was a Cuban-American artist born on 1948, famous for her performance art and "earth-body" sculptural, photographic, and video work.
Much of Mendieta's work may be considered strongly feminist by some; it is in essence autobiographical. One theme in her early performance art was violence against the female body. Later Mendieta focused on a spiritual and physical connection with the land, most particularly in her Silueta pieces, which typically involved carving her imprint into sand or mud, making body prints or painting her outline or silhouette onto a wall. She died on 1985 in New York from a fall from a 34th floor apartment in Greenwich Village. Carl Andre was tried and acquitted of her murder; during the trial his lawyer described her death as a possible accident or a suicide. The exact cause of her death may never be known.
“Blood and Feathers “, she pours animal blood over herself, rolls onto white chicken feathers, then stands with arms outstretched like wings, on the riverbank.
Ana Mendieta, Glass on Body, Iowa, 1972 Mendieta’s Silueta pieces
He was born on 1950 in Nan-Chou, Taiwan.
Is most known for six durational performance pieces completed between 1978 and 2000.
Tehching (Sam) Hsieh
During the year, he was not allowed to talk, to read, to write, or to listen to radio and TV. A lawyer, Robert Projansky, notarized the entire process and made sure the artist never left the cage during that one year. A friend came daily to deliver food, remove the artist's waste, and take a single photograph to document the project. In addition, this performance was open to be viewed once or twice a month from 11am to 5pm
For one year, Hsieh punched a time clock every hour on the hour. Each time he punched the clock, he took a single picture of himself, which together yield a 6 minute movie. He shaved his head before the piece, so his growing hair reflects the passage of time.
One Year Performance 1980–1981 (Time Clock Piece)
Hsieh spent one year outside, not entering buildings or shelter of any sort, including cars, trains, airplanes, boats, or tents. He moved around New York City with a packbag and a sleeping bag.
One Year Performance 1981–1982 (Outdoor Piece)
In this performance, Hsieh and Linda Montano spent one year between 4 July 1983 and 4 July 1984 tied to each other with an 8-foot-long (2.4 m) rope. They had to stay in a same room while not allowed to touch each other until the end of the one year period. Art / Life: One Year Performance 1983-1984 (Rope Piece)
For one year, Hsieh did no art, spoke no art, saw no art, read no art, and did not enter any museum or gallery.
One Year Performance 1985–1986 (No Art Piece)
At the beginning of this epic piece, Hsieh declared, “Will make Art during this time. Will not show it publicly.” This plan began on his 36th birthday, December 31, 1986, and lasted until his 49th birthday, December 31, 1999.
At the end, on January 1, 2000 he issued his concluding report, “I kept myself alive. I passed the December 31st, 1999.” The report consisted of cutout letters pasted onto a single sheet of paper.
Tehching Hsieh 1986–1999 (Thirteen Year Plan) It means "to flow". Is an international network of artists noted for blending different artistic media and disciplines in the 1960s. Fluxus encouraged a "do-it-yourself" aesthetic, and valued simplicity over complexity.
It was named and organized by George Maciunas. He is most famous for organizing and performing early happenings and for assembling a series of highly influential artists' multiples. He organized the first Fluxus Festival in September 1962. This festival featured various "concerts," scripted actions performed by Fluxus artists, as well as interpreting a number of works by other members of the international avant-garde.
John Cage, Marcel Duchamp and Allan Kaprow (who is credited as the creator of the first "happenings") were influential to Fluxus. Other leading members brought together by this movement included Yoko Ono, Joseph Beuys, George Brecht and Nam June Paik.
George Maciunas
FLUXUS
One of the most notorious events performed in Fluxus was Maciunas' interpretation of Philip Corner's Piano Activities, the score of which asked a group of people to “play”, “scratch or rub” and “strike” soundboard, pins, lid or drag various objects across them.' In Maciunas' interpretation, with the help of Higgins, Williams and others, the piano was completely destroyed. This event was considered scandalous enough to appear on German television four times.
Piano Activities, by Philip Corner, as performed in Wiesbaden, 1962, by Emmett Williams, Wolf Vostell, Nam June Paik, Dick Higgins, Benjamin Patterson and George Maciunas.
Fluxus boxes concept was originated with George Maciunas who would gather collections of printed cards, games, and ideas, organizing them in small plastic or wooden boxes.
Fluxus Boxes
Thanks for your attention!
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