found her performance art can be both shocking and hold the attention of one. Her work ranges in physical intensity, emotional exposure, and sadness. Marina Abramovic work is about self abuse, self discipline, and unreasonable punishment and great courage. Through the conditions she puts herself and her audience in her performance. In my opinion, I feel Marina Abramovic and my main goal as an artist is not only to completely change the way art is seen by the public, but to push the performance the same
Performance art can simply be described as the type of art presented to live audience (Irvin, 2016). The performance can either be carefully orchestrated or random; scripted or unscripted; carefully planned sometimes with or without audience participation or otherwise spontaneous. In addition, the performance can either be via the media or live; sometimes the performer is present while other times the performer may be absent. In general, performance art encompasses four basic elements: the body of
To me, art used to be the physical evidence of the marvels of human imagination and ability. It used to mean something that not only was appealing to the eye, but it had the immense power of giving rise to the purest of emotions in those lucky enough to be its witness. Being responsible for the conception of feelings through objects seemed the hardest, yet the noblest job. Artists were definitely people to be admired. Art made us reconsider, analyze, and change. Then, I found performance art. I was
few decades, performance art hasn’t died, nor has it been replaced by other mediums. Body art has evaded representation by focusing on the materiality of the performer’s bodies and presenting concrete life actions. In the wake of body art, theorists began writing on the significance and meaning of the body that was not a reference bearer but was ‘itself’. In this essay I will use Amelia Jones historical evidence and critique on the body/self, Roselee Goldberg’s study on performance art, and Rebecca
How have performance artists sought to utilise and reference the body within their work? Why have so many performance artists sought to specifically focus on the body as the subject of their work? Performance art: how and why artists utilise, reference and focus on the body in their work. 200 words x 11 paragraphs or equivalent Introduction This essay will explore how artists throughout time have utilised and refrecnced the body within performance art. Beginning with happenings
The Functions of a Performance Arts Center and The Impact on its Community Despite the innumerable variations in performance pieces a theatre can show, they all have one central goal: to bring together the surrounding community in whatever way possible. The performing arts center may be focusing on culturally relevant pieces, blurring the distinction between art and reality or trying to push the boundaries of the medium. Regardless, the community’s needs are first in this modern environment. Throughout
67 year-old performance artist Marina Abramović once said, “I don’t have this kind of feeling in real life, but in performance I have this enormous love, this heart that literally hurts me with how much I love them." In the early 1970s, in order to reduce the distance between the artist and the audience, she began using her own body as a medium. She has cut herself, run into walls, jumped into fire, and knocked herself unconscious in the name of her art; and, from March to April of 2010, she invited
I went to the grand opening of the Performing Arts Center here on campus, on Sunday March 2nd. I think this was the perfect introductory display of performance art for someone like me, who is science and math oriented. There were four acts encompassing many areas such as dance, musicals, orchestra, opera, and theatre. Act I was the finale to Act I of the musical “Anything Goes” originally by Cole Porter. Written in 1934, the story about this young guy, Billy Crocker, who stows away on a ship, the
The legality of injurious performance art” from the June 1, 2017 edition of Alternative Law Journal. As the title suggests, Bennett analyzes self-harm art through the perspective of Australian law. The author is able to find examples of injurious art spanning from 1970 to 2014. He attempts to remain objective of the subject matter by opting to use the term “injurious” instead of other terms that he cites, such as “body art”, “masochistic performance, or “hardship art” which could be construed
Live performance art and theatre are two different forms of art work. Live performance is a unique and temporary form of work. This means that you don't usually repeat what you do for another audience. However, in theatre, you act out a "show" for an audience to see, which can be repeated as many times as you want. In live performance, everything that happens is real. An example Marina Abramovic gave in one of her videos was "In theatre you can cut with a knife and there's blood. The knife is not
The experience I will take away from Arts In Performance, is built on the wealth of new things I tried because of the course. Before the class I had never really listened to the Blues, or even heard of Buddy guy. Now I can say I am a fan. I have seen more performance this year in the last nineteen years of my life combined. There were great and not so great moments, but I don’t regret going to any of the shows. I was surprised by the things I liked, I never expected to like the Blues. The Blues
Walking down the busy brick and cobblestone streets of Boston, Massachusetts, a melody plays in the distance. Thousands of people hear the music, however, in their busy lives, they ignore it. Occasionally, a person glances over and in either a combination of shock or ignorance- or awe- they start to make assumptions about the street musician. In Boston the diversity in our community is very vast and constantly expanding. Even with this constant expansion everyone in society belongs to their own subcultural
With the gradual decline of the Tokugawa Shogunate and the restoration of the Imperial title, Japan began its second phase of foreign borrowing by entering ‘secondary civilization,’ or industrial society (Suzuki, 1995 p.773). Beginning in the late Tokugawa period, the power of the shogun and the damiyos progressively began diminishing under political pressure and the deteriorating financial condition of the nation. Dissatisfied with the conditions, the people began leaning towards the restoration
This piece took place on 16th May 1976, in the Maki Gallery, Tokyo. The piece was originally rejected and shut down by authorities in Australia, leading this event to take place in a private showing in Japan. It is a performance of flesh hook suspension, which involved Stelarc being pierced at eighteen points over the back of his body with large fish hooks that had their barbs filed away. “There were two hooks into the buttocks, into the thighs, and into the calves… The
On March 30, 2014 I made the trek in to Denver, for a Masterworks performance of Litton Conducts Vaughan Williams. The performance was at the Boettcher Concert Hall at the Denver performing Arts Complex right in the heart of downtown. I can truly say that this was going to be an experience for me, since I do not ever take the opportunity to drive clear in to downtown Denver very often if ever at all. However, today was the day. I found my way around easily, finding the parking garage and eventually
Preceded by the works of the post-World War Dadaists, the theories of Antonin Artaud, and the performances of the Futurists, “Happening” was a term coined by Allan Kaprow in the late 1950’s to describe his unique do-it-yourself art events that sought to blur the boundaries between art and everyday life. Kaprow, a painter, lecturer, and assemblage artist, began staging Happenings as art events requiring active participation from viewers rather than passive spectatorship. Shaped by audience participation
In comparison to text-based performances, those of a non-text based nature can illustrate the unity between cultures with less difficulty due to universally understood practices and semiotics in an increasingly globalised world. Non-text based performances provide both beneficial and critical elements when compared to text-based performances and this will be analysed and demonstrated with the example of ‘performing the dark arts’. The will ensue performances of ritualised purposes, conjuring shows
Krafft, a French philosopher, to give a name to what he viewed as a ‘desire to harm one’s own body,’ (O’Dell, 1988, p. 3). Without emphasising the more modern use of the sexualised word, it can be said that Stelarc, among other performance artists involved in performance with conscious intention of self-harm, performed masochistic acts. In 1949, Theodor Reik conducted an in-dept. clinical study of masochism and expressed the idea that there are four components to such behaviour. These components
play more in depth, the answer to the question of whether this piece was performance art or comedy became clear. I believe that this play is a performance art piece rather than a stand-up comedy piece because of its artistic value. Freak demonstrates artistic value through the choice of scenes portrayed and the intensity of the subject matter. There are many instances in which the play proves itself to be a performance art piece. The first example of artistic depth in the play Freak is displayed
One of the eloquent expressions of the art of dance pertains to ballet. In which individuals fuse to perform choreography depicting emotions and the stories of others. Renowned pieces of ballet include the performances Swan Lake, The Nutcracker, Giselle and A Midsummer’s Night Dream (Schiesl). The individuals within the ballet community form a discourse community, as members engage in common practices to reach similar achievements. A ballet dancer’s general intention when performing any piece is