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poverty and collective feelings of pride, propriety and hypocrisy. Ulay’s indomitable action – the pilfering of a national treasure – suggests an attempt to strike free of the bounds of art or performance art as formal categories. Yet another set of limits – of the law and civil retribution – revealed themselves to be less malleable, more rigid and insurmountable in their delimitation of creative or subjective freedom, however unfathomable or anomalous the shape such freedoms might be urged into taking. Throughout Ulay’s performances in the period – including an earlier
diversified and distinguished career, that the director sets the parameters for her future work and develops the minimalist, hyper-realist style which is often cited as her trademark. This chapter will discuss her rich output in this period in the artistic and cultural contexts in which it emerged and against which it was subsequently assessed, most importantly experimental film, performance art and feminism. To understand Akerman’s early
, popular theatre. It very acutely highlights and embodies Trauma-tragedy: Symptoms of contemporary performance the (fantasy) trauma borne witness to in the novels. Finally, there is Untitled (Syncope): a piece of Live/Performance Art developed by the artist in response to ‘a whole load of ideas [and] questions about […] what it is to have a body, what a body is and how that engages [with society]’ (O’Reilly 2008; personal interview). Despite their generic structural and aesthetic differences, each is an instance in which trauma is theatrically addressed or borne
concert hall or musical venue, can echo those in a cinema, contemporary performance art can be presented in a wide variety of venues and sites. Therefore, performance art sound corresponds more to what Emily Thompson calls the ‘postmodern soundscape’. These spaces ‘do not embody one best sound, but can instead be physically manipulated to create any one of a range of different acoustical environments’.17 Contemporary media installations are similarly sited in a wide variety of spaces, ranging from expensive architect-designed museums to raw industrial sites to outdoor
participated in various avant-garde performance art groups, often with her lifelong collaborator Penny Rimbaud. During the 1970s, she produced an extensive body of illustrations for mainstream magazines such as New York Times, Rolling Stone, New York Magazine and Ebony . Her groundbreaking journal International Anthem (1977–84) gave her an outlet for more transgressive and controversial forms of expression that were highly attuned to the social and political changes of the time. She is most often associated with her designs for the anarchist punk band and collective
utilitarian theatre’ (in Bordwell, 1993 : 115). Nevertheless, the aim in these performances to incorporate machinist techniques with specific participatory outcomes in mind precedes contemporary digitally mediated performance art. According to Eisenstein, the spectacle ‘subjects the audience to emotional or psychological influence, verified by experience and mathematically calculated to produce specific emotional shocks in the spectator’ (in Bordwell, 1993 : 116). This is achieved by resorting to attractions, described as techniques ‘to stimulate strong perceptual and
very fond of her and, in an expression of empathy, I made a mask for myself in her image.” 19 The image of Gina in question was a donkey head fabricated by costume designer Nichola Kate Butland, and worn for Sweeting's epic, durational performance, Bestilalia ( I Never Imagined Life Without You ) (2008). As with her use of performance art to rewrite well-known fairy tales (another aspect she arguably shares with Carrington's short stories), here Sweeting adjusted Charles Perrault's ‘Peau d’Âne’ (‘Donkeyskin,’ 1697
an intense but ultimately doomed love affair: ‘I go through a breakdown and leave [the USA]. Everything cracks apart about 1968 or 1969. With that dispersal comes a sense of energy, of being absolutely sure one could make a better culture – a deeper sense of communality, a deeper sense of sensitivity to the issues of community.’ Schneemann, interview by Juhasz, 68. The artist has described this period in London as one characterised by extreme cultural and social volatility. Carolee Schneemann , ‘ Foreword: Live Art Performance Art Body Art ’, in Critical Live
Three of the most significant celebrities to come out of the Federation of Yugoslavia during its last decades were women who were prominent within the field of culture: in the sphere of avant-garde visual and performance art, artist Marina Abramović; and as performers and businesspeople in the popular music sphere, singers Lepa Brena and Esma Redžepova. All three women were “firsts” in their fields, achieving breakthroughs previously unattainable for women within the Yugoslav context. While Abramović changed the history of performance art in
Caravaggio (1986) and has frequently had her portrait painted by Scottish artist and playwright, John Byrne. Over the last 35 years, Swinton has emerged in the landscapes of cinema, fashion, and performance art and has come to represent an androgynous, otherworldly figure, capable of garnering a cult following while also appealing to mainstream audiences. She prefers to be known as a “film artist” or performer and artist's model rather than an actor. 6 She is described as one of Tim Walker's long-term “muses”—a term