"The line between art and life should be kept as fluid, and perhaps indistinct, as possible."
Performance is a genre in which art is presented "live," usually by the artist but sometimes with collaborators or performers. It has had a role in avant-garde art throughout the 20th century, playing an important part in anarchic movements such asand . Indeed, whenever artists have become discontented with conventional forms of art, such as painting and traditional modes of sculpture, they have often turned to performance as a means to rejuvenate their work. The most significant flourishing of performance art took place following the decline of modernism and in the 1960s, and it found exponents across the world. Performance art of this period was particularly focused on the body, and is often referred to as . This reflects the period's so-called "dematerialization of the art object," and the flight from traditional media. It also reflects the political ferment of the time: the rise of , which encouraged thought about the division between the personal and political and anti-war activism, which supplied models for politicized art "actions." Although the concerns of performance artists have changed since the 1960s, the genre has remained a constant presence, and has largely been welcomed into the conventional museums and galleries from which it was once excluded.
MOST IMPORTANT ART
TITLE: The Anthropometries of the Blue Period (1958)
Artist: Yves Klein
Artwork Description & Analysis: Although painting sat at the center of Yves Klein's practice, his approach to it was highly unconventional, and some critics have seen him as the paradigmatic neo-avant-garde artist of the post-war years. He initially became famous for monochromes - in particular for monochromes made with an intense shade of blue that Klein eventually patented. But he was also interested in Conceptual art and performance. For the Anthropometries, he painted actresses in blue paint and had them slather about on the floor to create body-shaped forms. In some cases, Klein made finished paintings from these actions; at other times he simply performed the stunt in front of finely dressed gallery audiences, and often with the accompaniment of chamber music. By removing all barriers between the human and the painting, Klein said, "[the models] became living brushes...at my direction the flesh itself applied the color to the surface and with perfect exactness." It has been suggested that the pictures were inspired by marks left on the ground in Hiroshima and Nagasaki following the atomic explosions in 1945.
- Performed at Robert Godet's, Paris 1958 and at Galerie Internationale d'Art Contemporain, Paris 1960
Performance Art Beginnings
Twentieth century performance art has its roots in early avant-gardes such as, and . Before the Italian Futurists ever exhibited any paintings they held a series of evening performances during which they read their manifestoes. And, similarly, the Dada movement was ushered into existence by a series of events at the Cabaret Voltaire in Zurich. These movements often orchestrated events in theatres that borrowed from the styles and conventions of vaudeville and political rallies. However, they generally did so in order to address themes that were current in the sphere of visual art; for instance, the very humorous performances of the Dada group served to express their distaste for rationalism, a current of thought that had recently surged from the movement.
The origins of the post-war performance art movement can be traced to several places. The presence of composerand dancer at North Carolina's did much to foster performance at this most unconventional art institution. It also inspired , who would become heavily involved with the Merce Cunningham Dance Company. Cage's teaching in New York also shaped the work of artists such as and , who formed part of the impetus behind the movement and the birth of " ," both of which placed performance at the heart of their activities.
In the late 1950s, performance art in Europe began to develop alongside the work being done in the United States. Still affected by the fallout from World War II, many European artists were frustrated by the apolitical nature of Abstract Expressionism, the prevalent movement of the time. They looked for new styles of art that were bold and challenging. Fluxus provided one important focus for performance art in Europe, attracting artists such as Joseph Beuys.
Other manifestations included the work of the, which characterized the movement as "not only a form of art, but above all an existential attitude." The Actionists' work borrowed some ideas from American action painting, but transformed them into a highly ritualistic theatre that sought to challenge the perceived historical amnesia and return to normalcy in a country that had so recently been an ally of Adolph Hitler. The Actionists also protested governmental surveillance and restrictions of movement and speech, and their extreme performances led to their arrest several times.
In Britain, artists such aspioneered an approach described as "Auto-Destructive art," in which objects were violently destroyed in public performances that reflected on the Cold War and the threat of nuclear destruction.
By the early 1960s, major European cities such as Amsterdam, Cologne, Dusseldorf and Paris were the sites of ambitious performance gatherings.
American performance art in the 1960s and 1970s coincided with the rise of second-wave feminism. Women artists turned to performance as a confrontational new medium that encouraged the release of frustrations at social injustice and the ownership of discussion about women's sexuality. This permitted rage, lust, and self-expression in art by women, allowing them to speak and be heard as never before. Women performers seized an opportune moment to build performance art for themselves, rather than breaking into other already established, male-dominated forms. They frequently dealt with issues that had not yet been undertaken by their male counterparts, bringing fresh perspectives to art. For example,criticized Christianity's traditional suppression of women in Super-t-art (1974), where she represented herself as a female Christ. During and since the beginning of the movement, women have made up a large percentage of performance artists.
The Vietnam War also provided significant material for performance artists during this era. Artists such asand , both of whom made work in the early 1970s, rejected US imperialism and questioned political motivations. Performance art also developed a major presence in Latin America, where it played a role in the movement, and in Asia, where it was important for Japan's movement.
Concepts and Styles
Instead of seeking entertainment, the audience for performance art often expects to be challenged and provoked. Viewers may be asked to question their own definitions of art, and not always in a comfortable or pleasant manner. As regards style, many performance artists do not easily fall into any identified stylistic category, and many more still refuse their work to be categorized into any specific sub-style. The movement produced a variety of common and overlapping approaches, which might be identified as actions, Body art, happenings, Endurance art, and ritual. Although all these can be described and generalized, their definitions, like the constituents of performance art as a movement, are continuously evolving. And some artists have made work that falls into different categories., for instance, staged some performances that relate to the Fluxus movement, and have qualities of rituals and happenings, yet his Anthropometries (1958) also relate to Body art.
The term "action" constitutes one of the earliest styles within modern performance art. In part, it serves to distinguish the performance from traditional forms of entertainment, but it also highlights an aspect of the way performers viewed their activities. Some saw their performances as related to the kind of dramatic encounter between painter and painting that critictalked of in his essay 'The American Action Painters' (1952). Others liked the word action for its open-endedness, its suggestion than any kind of activity could constitute a performance. For example, early conceptual actions by consisted of a set of proposals that the participant could undertake, such as, "draw an imaginary map...go walking on an actual street according to the map..."
Body art was central to the performance art of the 1960s, and the terms are sometimes used interchangeably in this context. It encompasses artists who position themselves as living sculpture as well as those who use their bodies as a canvas. However, the definition of whether an act is Body art or not is often up to the artist. For example, as a performance artist that used cosmetic surgery,is deeply involved in the expression of the body, yet she describes her work as "carnal art": she does not use her body to make art, her body is art.
Happenings were a popular mode of performance that arose in the 1960s, and which took place in all kinds of unconventional venues. Heavily influenced by Dada, they required a more active participation from viewers/spectators, and were often characterized by an improvisational attitude. While certain aspects of the performance were generally planned, the transitory and improvisational nature of the event attempted to stimulate a critical consciousness in the viewer and to challenge the notion that art must reside in a static object.
A number of prominent performance artists have made endurance an important part of their practice. They may involve themselves in rituals that border on torture or abuse, yet the purpose is less to test what the artist can survive than to explore such issues as human tenacity, determination, and patience. Taiwanese artisthas been one important exponent of this approach; offers other examples. was perhaps the most influential figure in the happenings movement, though others who were involved include , who would later be associated with .
Ritual has often been an important part of some performance artists' work. For example, Marina Abramovic has used ritual in much of her work, making her performances seem quasi-religious. This demonstrates that while some aspects of the performance art movement have been aimed at demystifying art, bringing it closer to the realms of everyday life, some elements in the movement have sought to use it as a vehicle for re-mystifying art, returning to it some sense of the sacred that art has lost in modern times.
After the success performance art experienced in the 1970s, it seemed that this new and exciting movement would continue in popularity. However, the market boom of the 1980s, and the return of painting, represented a significant challenge. Galleries and collectors now wanted something material that could be physically bought and sold. As a result, performance fell from favor, but it did not disappear entirely. Indeed, the American performerrose to considerable prominence in this period with dramatic stage shows that engaged new media and directly addressed the period's changing issues.
Women performance artists were particularly unwilling to give up their newfound forms of expression, and continued to be prolific. In 1980, there was enough material to produce the exhibition A Decade of Women's Performance Art, at the Contemporary Arts Center, New Orleans. Organized by Mary Jane Jacob, Moira Roth, and Lucy R. Lippard, the exhibition was a broad survey of works done in the United States during the 1970s, and included documentations of performances in photographs and texts.
And in Eastern Europe throughout the 1980s, performance art was frequently used to express social dissent.
Moving into the 1990s, Western countries began to embrace multiculturalism, helping to propel Latin American performance artists to new fame.and were two such artists who took advantage of the new possibilities afforded by large biennials with international reach, and they presented work about oppression, poverty, and immigration in Cuba and Mexico. In 1991 and 1992, Next Wave festivals at the Brooklyn Academy of Music reflected these trends with works from the American-Indian group Spider Woman Theater, Bill T. Jones/Arnie Zane Dance Company, and Urban Bush Women dance company.
Performance art is a movement that thrives in moments of social strife and political unrest. At the beginning of the 1990s, performance art once again grew in popularity, this time fueled by new artists and audiences; issues of race, immigration, queer identities, and the AIDS crisis began to be addressed. However, this work often caused controversy, indeed it came to be at the center of the so-called Culture Wars of the 1990s, when artists, , and passed a peer review board to receive funding from the National Endowment for the Arts, only to have it withdrawn by the NEA on the basis of its content, which related to sexuality.
Today's performance artists continue to employ a wide variety of mediums and styles, from installation to painting and sculpture. British artistmixes narrative, performance and installation. blends ideas borrowed from dance and politics in performances that sometimes take the form of conversations engaged in by the audience themselves; no conventional staged performance takes place, and no documentation remains of the events. Seghal's solo exhibition at the Guggenheim Museum in New York in 2010 is a sign of how close the genre has now come to being accepted by mainstream art institutions.
"The history of performance art is integral to the history of art. It has changed the shape and direction of art history over the last 100 years, and it's time that its extensive influence is properly understood. Throughout art history, performance (think Futurism, Dada, Surrealism, early Rauschenberg, or Vito Acconci) has been the starting point for some of the most radical ideas that have changed the way we - artists and audiences - think about art... Whenever a certain school, be it Cubism, Minimalism, or conceptual art, seemed to have reached an impasse, artists have turned to performance as a way of breaking down categories and indicating new directions."
"The body is the physical agent of the structures of everyday experience. It is the producer of dreams, the transmitter and receiver of cultural messages, a creature of habits, a desiring machine, a repository of memories, an actor in the theater of power, a tissue of affects and feelings. Because the body is at the boundary between biology and society, between drives and discourse, between the sexual and its categorization in terms of power, biography and history, it is the site par excellence for transgressing the constraints of meaning or what social discourse prescribes as normal."
"If you share your life on the performance art stage, you put yourself in a position to be seriously judged as a good person or bad person. At times I was worshiped as a goddess-- art lovers lavished me with gifts, shared their beautiful tears, gave me their blessings, sprinkled me with their love and adoration. At other times I was hated-- protested against, screamed at, threatened with arrest, consistently censored, stalked, and I even had my life threatened. On stage I simply shared who I was, which happens to be a lot of things that a lot of people love to judge and to hate; an ex-prostitute, a pornographer, a witch, a Jew, a lesbian, a feminist, and yes... a performance artist. Interestingly, the people who expressed the most hatred never met me or saw my work."