🎭Performance Art Unit 2 – Key performance art movements

Historical Context

• Performance art emerged in the early 20th century as a reaction against traditional art forms and the commodification of art
• Influenced by avant-garde movements such as Futurism, Dada, and Surrealism which challenged conventional notions of art
• Developed alongside other experimental art forms like Happenings, Fluxus, and Conceptual Art in the 1960s and 1970s
• Reflected the social and political upheavals of the time including the Civil Rights Movement, Women's Liberation Movement, and anti-war protests
• Embraced the idea of art as a process rather than a product and sought to break down the boundaries between art and life
• Emphasized the body as a medium and the importance of live performance and audience participation
• Challenged the traditional roles of the artist and the viewer by blurring the lines between performer and spectator

Defining Performance Art

• A form of art that involves live actions or performances by the artist or participants
• Often interdisciplinary incorporating elements of theater, dance, music, and visual art
• Emphasizes the process and experience of creating art rather than the final product or object
• Challenges traditional notions of art as a commodity or object to be bought and sold
• Explores themes of identity, gender, sexuality, politics, and social issues through the use of the body and live performance
• Can take place in a variety of settings including galleries, museums, public spaces, and unconventional venues
• Often involves audience participation or interaction blurring the lines between performer and spectator

Pioneering Movements

• Futurism (1909-1944) celebrated technology, speed, and the modern world through performances that incorporated noise, movement, and unconventional materials
• Dada (1916-1924) rejected traditional art forms and embraced absurdity, chance, and anti-art performances and events
  • Cabaret Voltaire in Zurich hosted provocative performances that challenged bourgeois values and artistic conventions
• Surrealism (1924-1966) explored the unconscious mind and dream-like imagery through performances that incorporated elements of automatism and chance
• Bauhaus (1919-1933) emphasized the integration of art and technology through experimental performances and theater productions
• Black Mountain College (1933-1957) fostered interdisciplinary collaborations between artists, dancers, and musicians through performances and Happenings
• Gutai Group (1954-1972) in Japan explored the relationship between the body and materials through performances that involved painting with the body and destroying objects
• Fluxus (1960s-1970s) blurred the boundaries between art and life through performances, events, and Happenings that emphasized process, chance, and audience participation

Key Artists and Works

• Yves Klein's "Anthropometries" (1960) involved nude female models covered in blue paint pressing their bodies against canvases to create imprints
• Carolee Schneemann's "Meat Joy" (1964) was a group performance involving raw meat, fish, and chickens that explored themes of sexuality and gender
• Joseph Beuys' "I Like America and America Likes Me" (1974) involved the artist living with a coyote in a gallery for three days as a commentary on American culture and politics
• Marina Abramović's "Rhythm 0" (1974) invited the audience to use 72 objects on her body however they desired highlighting the potential for violence and the limits of the artist's control
• Chris Burden's "Shoot" (1971) involved the artist being shot in the arm by a friend in a gallery setting pushing the boundaries of art and the artist's body
• Vito Acconci's "Seedbed" (1972) involved the artist masturbating under a ramp in a gallery while speaking to the audience through a microphone
• Tehching Hsieh's "One Year Performances" (1978-1986) involved the artist subjecting himself to extreme physical and psychological conditions for extended periods of time

Themes and Concepts

• The body as a medium and site of artistic expression and political resistance
• The blurring of boundaries between art and life, performer and spectator, and different artistic disciplines
• The exploration of identity, gender, sexuality, and social and political issues through live performance
• The emphasis on process, experience, and ephemerality over the final product or object
• The use of unconventional materials, settings, and methods to challenge traditional notions of art
• The incorporation of chance, spontaneity, and improvisation into the creative process
• The critique of the commodification and institutionalization of art and the art world

Techniques and Mediums

• Live performance involving the artist's body and actions as the primary medium
• Incorporation of various artistic disciplines such as theater, dance, music, and visual art
• Use of unconventional materials and objects such as food, bodily fluids, and everyday items
• Audience participation and interaction often involving physical contact or verbal exchange
• Durational performances that take place over extended periods of time ranging from hours to years
• Site-specific performances that respond to or engage with a particular location or context
• Documentation of performances through photography, video, and written accounts as a way of preserving and disseminating the work

Impact on Contemporary Art

• Paved the way for the acceptance of performance as a legitimate form of art in museums, galleries, and art institutions
• Influenced the development of other forms of performance-based art such as body art, video art, and social practice art
• Challenged traditional notions of authorship, originality, and the art object leading to a greater emphasis on conceptual and process-based approaches
• Contributed to the increasing interdisciplinarity and hybridization of art forms blurring the boundaries between different artistic disciplines
• Highlighted the political and social dimensions of art and its potential for activism and social change
• Expanded the range of materials, techniques, and settings available to artists and the possibilities for artistic expression
• Inspired a new generation of artists to explore the body, identity, and social and political issues through performance and live art

Critical Reception and Debates

• Initially met with skepticism and dismissal by some critics and art institutions who viewed performance art as a fringe or marginal practice
• Challenged traditional notions of art as a commodity or object to be bought and sold leading to debates about the value and marketability of performance art
• Raised questions about the role and responsibilities of the artist and the ethical implications of using the body and involving the audience in the work
• Criticized by some for being self-indulgent, narcissistic, or lacking in artistic merit or skill
• Defended by supporters as a powerful means of artistic expression and political resistance that challenged the status quo and expanded the boundaries of art
• Sparked debates about the documentation and preservation of performance art and the relationship between the live event and its mediated representation
• Continues to be a subject of critical discourse and debate as performance art evolves and intersects with other forms of contemporary art practice