5 notes, April 9, 2014
5 notes, April 9, 2014
The Tate Modern wants to make art a bit more accessible, and they’ve brought in a comedian with an enthusiasm for art to accomplish that mission. In the “Unlock Art" series of short films, viewers can explore visual art’s forms, movements and markets. The first edition focuses on performance art and covers gun-wielding VALIE EXPORT, "Happenings" and the "art-free" zones of Fluxus artists including Yoko Ono.
3 notes, April 4, 2014
1 note, March 29, 2014
As I was researching the dates of the earlier Ron Athey post, I ran across a 2011 comment thread from the Contemporary Performance site. The editor asked readers to list the 13 performances that most influenced us. You can see all the responses here.
As of 3+ years ago, my list is as follows; though I could, of course, add a slew more to it now. At the time, I remember trying to narrow it down to the performances that influenced my own practice… there are so many many more artists who I was lucky to know and whose work I got to experience live. Who are vitally significant to the history of the genre. Who made work that moved me. Who made me delight in curiosity and sadness and anger and wonder. Who flat out awed me.
This list, however, is made up of specific performances that made me want to be more than an active observer. These are the works that made me want to create my own work that made others feel like how their work made me feel. More than just evoking a passion for art, these works made me fall in love with the notion of being an artist:
Reply by Laurel Jay Carpenter on
-Marilyn Arsem’s Persephone + Hades, Mobius, Boston, 1990
-Jeff Buckley, Late Night Cabaret, PS122, 1992 ?
-Mimi Goese, See No Evil, PS122, 1992
-Ron Athey, Martyrs + Saints, PS122, 1993
-Jeff Weiss, et. al. Hot Keys, PS122, 1993
-The Advice Ladies, Soho street corners, 1995-ish
-Jennifer Miller’s Circus Amok, NYC parks + playgrounds, 1990s
-Yoko Ono with IMA, Irving Plaza, 1996
-Patty Chang, Candies, Exit Art, 1996
-Amanda Coogan, Molly Blooms, PS1, 2004
-Marina Abramovic, The House With the Ocean View, Sean Kelly Gallery, 2005
-Marina Abramovic, the Artist is Present, MoMA, 2010
-John Kelly, Avant Garde Arama, PS122, 2011
There are so many, many more historic, iconic pieces, or others that I’ve read about or seen documentation, but I am listing only work I actually saw live. (And I wonder what I was doing between 1996 and 2004…)
4 notes, March 21, 2014
I’ve been noticing a lot more being written about Ron Athey lately. He does have a recent publication; what I’ve skimmed looks impressive, and is well-deserved. This Hyperallergic article reminded me of the shocking chronology: I saw Ron perform over 20 years ago. When I was PR/Marketing Director at PS122, right before the Walker Show and all the surrounding NEA controversy, Ron brought Martyrs+Saints to NYC in 1993. It had its own local controversy, then. Jeff Weiss was performing Hot Keys late night in the same space after Ron’s show, and he and his cast were not comfortable with (nor supportive of) Ron’s work. It was such a scary time—everyone, even our closest friends and colleagues, was so full of fear. But not Ron, at least not the public, artist-persona of Ron Athey—he showed us how to transform fear. He glowed with it.
5 notes, March 21, 2014
It’s part performance art, part installation/sculpture, and a lot of homage.
2 notes, March 9, 2014
Longva+Carpenter are dusting off their passports for this summer’s whirlwind performance adventure! Stay tuned for details for June, July + August… 3 months, 3 countries, 3 new works!
Longva+Carpenter are included in this massive tome of contemporary performance practitioners. See what’s happening now, all across the globe.
My Longva+Carpenter collaborator, Terese Longva, has been up to some exciting stuff the last few months! Read more about it on our duo’s news blog:
Longva presented new work back in December in Oslo, Norway as part of a Performance Art Oslo (PAO) festival.
(Photo by Mia Øquist from Grace Exhibition Space, NYC)
Longva is also curating a performance event in Bergen, as part of the Performance Art Bergen (PAB) roster, being presented this week. Read more info on the PAB website.
A chronological account of the provocative medium’s rise from Italian Futurism to Marina Abramovic, Lady Gaga, and global domination.
9 notes, March 2, 2014
Read it here on HyperallergicAnd now he’s doing THIS wholly plagiarized performance. Here is an additional first hand account of #IAMSORRY.
0 notes, February 10, 2014
In celebration of Janine Antoni at Alfred University as a visiting artist this week, I give you her performative photo, Mortar and Pestle, 1999.
5 notes, February 4, 2014
ANOTHER IMPORTANT EYE
Marina Abramovic, In Between, 1995
6 notes, February 4, 2014