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reference to a 2017 controversy about a performance art exhibit at the Museum of Modern Art in São Paulo, in which Brazilian dancer Wagner Schwartz lay naked on a plinth and invited visitors to the show to manipulate his body. 35 At some point a fellow artist had taken her four-year-old daughter and the young girl had been filmed touching the man’s leg (in the presence of her mother). The images were circulated on social media and caused a furore. But I got the sense that Guimarães, who described himself as a Christian in the Wesleyan tradition, would have voted the
-in-the-world. Entering the space of maintenance work, Ukeles employs performance art to draw undervalued labour into a space of critical aesthetic consideration. In Touch Sanitation Performance , Ukeles shook hands with 8,500 New York City sanitation workers over eleven months. Through this act, the artist-at-work met the maintenance-worker-at-work face-to-face. The importance of touch cannot be understated here: perhaps the most powerful gesture of care in Ukeles’ work is the recognition of mutual humanity, through skin-to-skin contact, with the performer of a labour perceived as
fifty years), Thek returned to the United States and, living with Hujar in New York, began following the assembly-line ‘death-schedule’ that resulted in approximately forty-four meat sculptures. Meat-themed art was actually prevalent at the time. In 1964, for example, performance-art pioneer Carolee Schneemann staged Meat joy , an ‘erotic rite’ in which eight scantily clad
performance art, literature, illustrations, and comic book adaptations of his work. However, as expensive flops like Nightbreed proved, trying to create a Barker-branded franchise spanning films and other forms of merchandise could be problematic. What is important to focus on, then, is that the rides were less about extending a specific Barker-written franchise like
outcome’ (142). Attali’s observations coincided with the emergence of British post-punk music. My focus here is on the band Throbbing Gristle (typically abbreviated as ‘TG’) who created what they called ‘industrial’ music. TG, formed in 1975, originated as the musical incarnation of the performance art group, COUM Transmissions. Initially conceived as a
Aeronautico G. Caproni), pp. 95–9. Baldissone, G. (2009). Filippo Tommaso Marinetti (Milan: Mursia). Baron Cohen, S. and J. E. Harrison (eds) (1997). Synaesthesia: Classic and Contemporary Readings (Oxford: Blackwell). Adamowicz and Storchi, Back to the Furutists.indd 206 01/11/2013 10:58:52 Le Roi Bombance 207 Berghaus, G. (1995). The Genesis of Futurism: Marinetti’s Early Career and Writings 1899–1909 (Leeds: Society for Italian Studies, no. 168). Berghaus, G. (2001). ‘The Futurist Banquet: Nouvelle Cuisine or Performance Art?’ New Theatre Quarterly, 17, 3
: University of British Columbia Press,1998); Davidson et al., Border Crossings; Winfried Siemerling, The New North American Studies Reader: Culture, Writing, and the Politics of Re/Cognition (New York: Routledge, 2005); Ila Nicole Sheren, Portable Borders: Performance Art and Politics on the U.S. Frontera since 1984 (Austin: University of Texas Press, 2015); Rachel St John, Line in the Sand: A History of the Western U.S.-Mexico Border (Princeton: Princeton University Press, 2011). 23 Levander and Levine, Hemispheric American Studies, p. 3. 24 Gillian Roberts and David
mix of sensibilities and backgrounds would be key to their collaborations together over the coming decades; first in performance art outfits in the 1970s and through their involvement in the Free Festivals movement, and then in Crass, the band Rimbaud formed with Steve Ignorant in 1977. It was also during this period, however, that Vaucher developed the pattern of working alone for extended periods of time. She recalls the supportiveness and flexibility she was shown by staff. I'd be there early in
a whole has presented itself … the circus self-image is at heart a paradoxical one since it promotes an idea of itself in the popular imagination as embodying a lifestyle unfettered by conventionality or by social and legal restraint: a freedom which was echoed in performances which foregrounded the illusion of ease. Behind this image lie levels of physical discipline, bodily regulation and hardship which are unrivalled by any other western performance art. 37
Gothic is that at present it remains a popular art form, from graffiti to performance art, from altered books to cinema, and from skull bracelets to prestigious fashion shows held in international museums. It is possible that, partly because of its popularity and ubiquity, it has been largely unnoticed that recent forms of Gothic visual expression comprise vital links between the ‘Sensation’ art shows