Origins[ edit ] Flux Year Box 2, c. After attending courses on Zen Buddhism taught by D. Suzuki, Cage taught a series of classes in Experimental Composition from to at the New School for Social Research in New York City, which explored notions of chance and indeterminacy in art, and with the score as the basis for compositions, which could be performed in potentially infinite ways. Their artworks would inform Fluxus and conceptual art in general.
Indeed, at its worst, performance art can seem gratuitous, boring or just plain weird. But, at its best, it taps into our most basic shared instincts: It often forces us to think about issues in a way that can be disturbing and uncomfortable, but it can also make us laugh by calling attention to the absurdities in life and the idiosyncrasies of human behavior.
The art historian RoseLee Goldberg writes: Historically, performance art has been a medium that challenges and violates borders between disciplines and genders, between private and public, and between everyday life and art, and that follows no rules. Historical Sources While performance art is a relatively new area of art history, it has roots in experimental art of the late 19th and early 20th centuries.
Modern artists used live events to promote extremist beliefs, often through deliberate provocation and attempts to offend bourgeois tastes or expectations. In Italy, the anarchist group of Futurist artists insulted and hurled profanity at their middle-class audiences in hopes of inciting political action.
Following World War II, performance emerged as a useful way for artists to explore philosophical and psychological questions about human existence.
For this generation, who had witnessed destruction caused by the Holocaust and atomic bomb, the body offered a powerful medium to communicate shared physical and emotional experience. Whereas painting and sculpture relied on expressive form and content to convey meaning, performance art forced viewers to engage with a real person who could feel cold and hunger, fear and pain, excitement and embarrassment—just like them.
Working before a live audience, Kazuo Shiraga of the Japanese Gutai Group made sculpture by crawling through a pile of mud. Georges Mathieu staged similar performances in Paris where he violently threw paint at his canvas. In New York, visual artists combined their interest in action painting with ideas of the avant-garde composer John Cage to blur the line between art and life.
In this in famous piece, Cage used the time frame specified in the title to bracket ambient noises that occurred randomly during the performance. By effectively calling attention to the hum of fluorescent lights, people moving in their seats, coughs, whispers, and other ordinary sounds, Cage transformed them into a unique musical composition.
The Private Made Political Drawing on these influences, new artistic formats emerged in the late s. Environments and Happenings physically placed viewers in commonplace surroundings, often forcing them to participate in a series of loosely structured actions.
Fluxus artists, poets, and musicians likewise challenged viewers by presenting the most mundane events—brushing teeth, making a salad, exiting the theater—as forms of art.
Typical of much performance art, Ono and Lennon made ordinary human activity a public spectacle, which demanded personal interaction and raised popular awareness of their pacifist beliefs.
In the politicized environment of the s, many artists employed performance to address emerging social concerns.
For feminist artists in particular, using their body in live performance proved effective in challenging historical representations of women, made mostly by male artists for male patrons.
Through their words and actions, they confronted their audiences and raised issues about the relationship of female experience to cultural beliefs and institutions, physical appearance, and bodily functions including menstruation and childbearing.
Their ground-breaking work paved the way for male and female artists in the s and s, who similarly used body and performance art to explore issues of gender, race and sexual identity. Throughout the mid-twentieth century, performance has been closely tied to the search for alternatives to established art forms, which many artists felt had become fetishized as objects of economic and cultural value.schwenkreis.com: Basic Instinct 2 (Rated): David Morrissey, Sharon Stone, Charlotte Rampling, David Thewlis, Michael Caton-Jones, Andrew G.
Vajna, Joel B. Michaels, Mario. MFA in Intermedia + Digital Arts (IMDA) November 6.
Museum Folkwang Institute for Curatorial Practice in Performance (ICPP) at Wesleyan University Curatorial mini-intensive and performance convening. MFA Art Writing lecture series: Quijote Talks. October 5. Intermedia workshop students present their final projects, comprising diverse works across a wide spectrum of audiovisual practices.
The culmination of a term’s worth of iteration and experimentation! Prague Microfestival (PMF) is an annual festival of the arts, combining contemporary writing with art, film, and performance.
PMF is fully bilingual (CZ and EN), and presents readings by the best authors of contemporary poetry and fiction.
(Bruce Barber is an interdisciplinary media artist, cultural historian and curator whose research and writing explores the representation of art, artists and art history in film, television, cartoons and comics.
This was my final performance in Intermedia Performance Art taught by David Stout at the UNT College of Music. My group consisted of Scott Martin MFA Dance candidate at TWU, Grant Phillips BM candidate at UNT College of Music, Peter Kusek BFA of New Media Candidate at UNT College of Visual Art .