Performance and Body Art of the 1970s.

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Presentation transcript:

Performance and Body Art of the 1970s. Marina Abramović Performance and Body Art of the 1970s.

Marina Abramović (Yugoslav b. 1946) “When I was in Yugoslavia, I was always thinking that art was a kind of question between life and death, and some of my performances really included the possibility of dying.”

Carolee Schneemann, Interior Scroll, 1975. Ana Mendieta, Silueta, 1973-77

Rhythm Series 1973-74

Yoko Ono, Cut Piece (1964) Performance at Yamaichi Concert Hall, Kyoto, Japan. From: Crow, Thomas E.,. The Rise of the Sixties: American and European Art in the Era of Dissent. New Haven, CT. Yale University Press. 2004.

Rhythm 10 1973 1 hour.

Marina Abramović, Rhythm 10, 1973. Performance, 1 hour Museo d’Arte Contemporanea Villa Borghese, Rome From: Abramović, Marina, and Klaus Biesenbach. 2010. Marina Abramović: the artist is present. New York: Museum of Modern Art.

Marina Abramović, Rhythm 10, 1973. Performance, 1 hour Museo d’Arte Contemporanea Villa Borghese, Rome From: Abramović, Marina, and Klaus Biesenbach. 2010. Marina Abramović: the artist is present. New York: Museum of Modern Art.

Chris Burden, Shoot, November 19, 1971. “I was shot in the left arm by a friend. The bullet was a copper jacket .22 long rifle. My friend was standing about fifteen feet from me.” (Perform, Repeat, Record. Jones. 48) Chris Burden, Shoot, November 19, 1971. F Space , Santta Ana, CA at 7:45pm From: Jones, Amelia. Perform, Repeat, Record : Live Art in History. Bristol ; Chicago: Intellect, 2012.

Rhythm 5 1974 1 ½ hours.

Marina Abramović, Rhythm 5, 1974. Performance, 1 ½ hours. Include sketches or instructions? Marina Abramović, Rhythm 5, 1974. Performance, 1 ½ hours. Student Cultural Center, Belgrade From: Abramović, Marina, and Klaus Biesenbach. 2010. Marina Abramović: the artist is present. New York: Museum of Modern Art.

Marina Abramović, Rhythm 5, 1974. Performance, 1 ½ hours. Student Cultural Center, Belgrade From: Abramović, Marina, and Klaus Biesenbach. 2010. Marina Abramović: the artist is present. New York: Museum of Modern Art.

Rhythm 2 1974, Zagreb 7 hours.

Marina Abramović, Rhythm 2, 1974. Performance, 7 hours (total). Galerija, Suvremene Umjetnosti, Zagreb. From: Abramović, Marina, and Klaus Biesenbach. 2010. Marina Abramović: the artist is present. New York: Museum of Modern Art.

Marina Abramović, Rhythm 2, 1974. Performance, 7 hours (total). Galerija, Suvremene Umjetnosti, Zagreb. From: Abramović, Marina, and Klaus Biesenbach. 2010. Marina Abramović: the artist is present. New York: Museum of Modern Art.

Rhythm 4 1974 45 minutes.

Marina Abramović, Rhythm 4, 1974. Performance, 45 minutes. Galleria Diagramma, Milan. From: Abramović, Marina, and Klaus Biesenbach. 2010. Marina Abramović: the artist is present. New York: Museum of Modern Art.

Rhythm 0 1974 6 hours.

Marina Abramović, Rhythm O, 1974. Studio Mona, Naples. From: Abramović, Marina, and Klaus Biesenbach. 2010. Marina Abramović: the artist is present. New York: Museum of Modern Art.

Marina Abramović, Rhythm O, 1974. Studio Mona, Naples. From: Abramović, Marina, and Klaus Biesenbach. 2010. Marina Abramović: the artist is present. New York: Museum of Modern Art.

Marina Abramović, Rhythm O, 1974. Studio Mona, Naples. From: Abramović, Marina, and Klaus Biesenbach. 2010. Marina Abramović: the artist is present. New York: Museum of Modern Art.

Marina Abramović, from the performance Art must be Beautiful, Artist must be Beautiful, 1975 Marina Abramović, Lips of Thomas, 1975. Performance, 2 hours. Galerie Krinzinger, Innsbruck. From: Abramović, Marina, and Klaus Biesenbach. 2010. Marina Abramović: the artist is present. New York: Museum of Modern Art.

Collaborative Performances Ulay-Abramović Collaborative Performances

Marina Abramović and Ulay, Relation in Space, 1976. Performance. From: Crow, Thomas E.,. The Rise of the Sixties: American and European Art in the Era of Dissent. New Haven, CT. Yale University Press. 2004.

Marina Abramović and Ulay, Imponderabilia, 1977. Performance. From: Jones, Amelia. Perform, Repeat, Record : Live Art in History. Bristol ; Chicago: Intellect, 2012.

Vito Acconci, Seedbed, 1972, Performance. Museum of Modern Art, NY. On Kawara, I Am Still Alive, 1973. Ballpoint pen on four telegrams. The Judith Rothschild Foundation, Contemporary Drawings Collection

Marina Abramović and Ulay, Relation in Time, 1977. Performance. From: Abramović, Marina, and Klaus Biesenbach. 2010. Marina Abramović: the artist is present. New York: Museum of Modern Art.

Continued Collaboration & Emphasis on Audience Interaction, 1970s-Present. “Between 1981 and 1987 Abramovic and Ulay performed a series of actions around the world entitled 'Nightsea Crossing', in which they installed themselves as tableaux vivants in museums. Their last work together, The Great Wall Walk (1988), entailed each walking 2,000 km along the Great Wall of China, starting at opposite ends and meeting in the middle. “ Marina Abramović and Ulay, Nightseas Crossing, 1981-87. Performance. Marina Abramović, The Artist is Present, 2010. Performance, Museum of Modern Art, NY.