Summary of Performance Art
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 as Futurism and Dada. 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 Abstract Expressionism 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 Body art. 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 feminism, 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.
Key Ideas
The foremost purpose of performance art has almost always been to challenge the conventions of traditional forms of visual art such as painting and sculpture. When these modes no longer seem to answer artists' needs - when they seem too conservative, or too enmeshed in the traditional art world and too distant from ordinary people - artists have often turned to performance in order to find new audiences and test new ideas.
Performance art borrows styles and ideas from other forms of art, or sometimes from other forms of activity not associated with art, like ritual, or work-like tasks. If cabaret and vaudeville inspired aspects of Dada performance, this reflects Dada's desire to embrace popular art forms and mass cultural modes of address. More recently, performance artists have borrowed from dance, and even sport.
Some varieties of performance from the post-war period are commonly described as "actions." German artists like Joseph Beuys preferred this term because it distinguished art performance from the more conventional kinds of entertainment found in theatre. But the term also reflects a strain of American performance art that could be said to have emerged out of a reinterpretation of "action painting," in which the object of art is no longer paint on canvas, but something else - often the artist's own body.
The focus on the body in so much Performance art of the 1960s has sometimes been seen as a consequence of the abandonment of conventional mediums. Some saw this as a liberation, part of the period's expansion of materials and media. Others wondered if it reflected a more fundamental crisis in the institution of art itself, a sign that art was exhausting its resources.
The performance art of the 1960s can be seen as just one of the many disparate trends that developed in the wake of Minimalism. Seen in this way, it is an aspect of Post-Minimalism, and it could be seen to share qualities of Process art, another tendency central to that umbrella style. If Process art focused attention on the techniques and materials of art production. Process art was also often intrigued by the possibilities of mundane and repetitive actions; similarly, many performance artists were attracted to task-based activities that were very foreign to the highly choreographed and ritualized performances in traditional theatre or dance.
Yoko Ono said, “I thought art was a verb, rather than a noun,” and embodied the concept in her Cut Piece (1964) – pioneering Performance Art – where, holding a pair of scissors and kneeling on stage, she invited the audience to cut away pieces of her clothing.
Most Important Art
The Anthropometries of the Blue Period (1958)
By: Yves Klein
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.
Cut Piece (1964)
By: Yoko Ono
Yoko Ono’s Cut Piece, first performed in 1964, was a direct invitation to an audience to participate in an unveiling of the female body much as artists had been doing throughout history. By creating this piece as a live experience, Ono hoped to erase the neutrality and anonymity typically associated with society’s objectification of women in art. For the work, Ono sat silent upon a stage as viewers walked up to her and cut away her clothing with a pair of scissors. This forced people to take responsibility for their voyeurism and to reflect upon how even passive witnessing could potentially harm the subject of perception. It was not only a strong feminist statement about the dangers of objectification, but became an opportunity for both artist and audience members to fill roles as both creator and artwork.
Shoot (1971)
By: Chris Burden
In many of his early 1970s performance pieces, Burden put himself in danger, thus placing the viewer in a difficult position, caught between a humanitarian instinct to intervene and the taboo against touching and interacting with art pieces. To perform Shoot, Burden stood in front of a wall while one friend shot him in the arm with a .22 long rifle, and another friend documented the event with a camera. It was performed in front of a small, private audience. One of Burden's most notorious and violent performances, it touches on the idea of martyrdom, and the notion that the artist may play a role in society as a kind of scapegoat. It might also speak to issues of gun control and, in the context of the period, the Vietnam War.
Seedbed (1972)
By: Vito Acconci
In Seedbed, 1972 Vito Acconci laid underneath a custom made ramp that extended from two feet up one wall of the Sonnabend Gallery and sloped down to the middle of the floor. For eight hours a day during the course of the exhibition, Acconci laid underneath the ramp masturbating as guest’s walked above his hidden niche. As he performed this illicit act he would utter fantasies and obscenities toward the gallery guests into a microphone, which became audibly piped out through the room for all to hear.
The piece placed Acconci in a position that was both public and private. It also created a provocative intimacy between artist and audience that produced multiple levels of feeling. Participants were prone to shock, discomfort, or perhaps even arousal. By positioning himself in two roles, both as giver and receiver of pleasure, Acconci furthered body art’s dictum of artist and artwork merging as one. He also used his sperm as a medium within the piece.
The piece placed Acconci in a position that was both public and private. It also created a provocative intimacy between artist and audience that produced multiple levels of feeling. Participants were prone to shock, discomfort, or perhaps even arousal. By positioning himself in two roles, both as giver and receiver of pleasure, Acconci furthered body art’s dictum of artist and artwork merging as one. He also used his sperm as a medium within the piece.
Rhythm 10 (1973)
By: Marina Abramović
In Rhythm 10, Abramović uses a series of 20 knives to quickly stab at the spaces between her outstretched fingers. Every time she pierces her skin, she selects another knife from those carefully laid out in front of her. Halfway through, she begins playing a recording of the first half of the hour-long performance, using the rhythmic beat of the knives striking the floor, and her hand, to repeat the same movements, cutting herself at the same time. This piece exemplifies Abramović's use of ritual in her work, and demonstrates what the artist describes as the synchronicity between the mistakes of the past and those of the present.
Coyote: I Like America and America Likes Me (1974)
By: Joseph Beuys
For three consecutive days in May, 1974, Beuys enclosed himself in a gallery with a wild coyote. Having previously announced that he would not enter the United States while the Vietnam War proceeded, this piece was his first and only action in America, and Beuys was ferried between the airport and the gallery in an ambulance to ensure that his feet did not have to touch American soil. Coyote centered on ideas of America wild and tamed. In an attempt to connect with an idea of wild, pre-colonial America, Beuys lived with a coyote for several days, attempting to communicate with it. He organized a sequence of interactions that would repeat for the duration of the piece, such as cloaking himself in felt and using a cane as a "lightening rod," and following the coyote around the room, bent at the waist and keeping the cane pointed at the coyote. Copies of The Wall Street Journal arrived daily, and were used as a toilet by the coyote, as if to say, "everything that claims to be a part of America is part of my territory."
Interior Scroll (1975)
Carolee Schneemann, who defines herself as a multi-disciplinary artist, working across a variety of media, first made an impact in the context of feminist art. Interior Scroll is one of her most famous works. To stage it, she smeared her nude body with paint, mounted a table, and began adopting some of the typical poses that models strike for artists in life class. Then she proceeded to extract a long coil of paper from her vagina, and began to read the text written on it. It was once thought that the text derived from her response to a male filmmaker's critique of her films (some of her most notable films of the time included imagery of the Vietnam War, and documentation of a performance entitled Meat Joy, involving nude bodies writhing about in meat). The filmmaker had apparently commented on her penchant for "personal clutter...persistence of feelings...[and] primitive techniques" - in effect, qualities that were deemed "feminine." But Schneemann has since said that the text came from a letter sent to a female art critic who found her films hard to watch. By using her physical body as both a site of performance and as the source for a text, Schneemann refused the fetishization of the genitals.
Art/Life: One Year Performance (a.k.a. Rope Piece) (4 July 1983 - 3 July 1984)
By: Linda Montano and Tehching Hsieh
For the length of this year long endurance piece, Montano and Hsieh were bound to each other by an 8-foot piece of rope. They existed in the same space, but never touched. In Hsieh's original idea, the rope represented the struggle of humans with one another and their problems with social and physical connection. As the work evolved, the rope took on more meanings. It controlled, yet expanded the patterns of both of the artists' lives, becoming a visual symbol of the relationship between two people. The 365-day length of the work was critical, as it heightened the piece from performance to life. Life and art could not be separated within a work where living was the art. Hsieh explained that if the piece was only one or two weeks, it would be more like a performance, but a year, "has real experience of time and life."
Two Undiscovered Amerindians Visit Buenos Aires (1992)
By: Coco Fusco and Guillermo Gomez-Pena
Dressed in ridiculous costume, engaged in stereotypical "native" tasks and enclosed in a cage, Fusco and Gomez-Pena addressed the practice of human displays, and fetishization of the "other." Fusco wore several different looks, including hair braids, a grass skirt and a leopard skin bra, while Gomez-Pena sported an Aztec style breastplate. The two ate bananas, performed "native dances" and other "traditional rituals" and were led to the bathroom by museum guards on leashes. The piece was first performed at Columbus Plaza, Madrid, Spain, as a part of the Edge '92 Biennial, which was organized in commemoration of Columbus's voyage to the New World. It was intended as a satirical comedy, yet half of the viewers thought that the fictitious Amerindian specimens were real.