Performance art: Difference between revisions - Wikipedia

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[[Carolee Schneemann]] work in 1963, ''Eye Body'', already had been a prototype of performance art. Schneemann in 1975 drew on with innovative solo performances, like ''Interior Scroll'', showing the female body as an artistic medium.

In 1976, [[HA Schult]] filled [[Piazza San Marco|St. Mark's Square]] in [[Venice]] with old newspapers in an overnight action he called ''Venezia vive.''<ref>Gregory Battcock and Robert Nickas, ''The Art of Performance: A Critical Anthology'' (Boston, MA: E.P. Dutton, 1984), pp. 330-31.</ref><ref>James Wines, ''De-Architecture'' (New York: Rizzoli International, 1987), p. 184.</ref> In 1977, the same artist let a [[Cessna]] crash into the garbage dump on [[Staten Island]], New York. This happening, which he called "Crash", was "shown live on a German television news programme, and was also reported by [[Walter Cronkite]] to 80 million American television viewers via CBS."<ref>Edward Lucie-Smith, ''Art in the Seventies'' (Cornell University Press, 1980), p. 88.</ref>

Performance art, because of its relative transience, by the 1970s, had a fairly robust presence in the avant-garde of East Bloc countries, especially Yugoslavia and Poland.

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"In these contexts performance art became a critical new voice with a social force similar to that found in Western Europe, the United States and South America in the 1960s and early 1970s. It should be emphasized that the eruption of performance art in the 1990s in Eastern Europe, China, South Africa, Cuba, and elsewhere should never be considered either secondary to or imitative of the West."<ref>{{cite book | last1 = Montano | first1 = Linda M. | title = Performance artists talking in the eighties | publisher = University of California Press University of California Press Berkeley | year = 2000 | location = Los Angeles, London | pages = 479, 2 | url = http://books.google.com/books?id=5Bl6wm-cV_oC&pg=PA479&dq=performance+art+1990s&ct=result#v=onepage&q=performance%20art&f=false | accessdate = 2011-03-31 | isbn = 0-520-21022-0}}</ref>

[[Image:TRASHP1.jpg|thumb|Trash People, shown in Cologne]]

Since 1996, [[HA Schult]] has installed one thousand life sized "Trash People" made from garbage as "silent

witnesses to a consumer age that has created an ecological imbalance worldwide". They travelled to sites such as the Roman Amphitheatre at [[Xanten]] (1996) and [[Moscow]]'s [[Red Square]] (1999) and later, for instance, to the [[Giza Necropolis|Pyramids of Giza]] (2002) and the [[Great Wall of China]] (2001), where Chinese artist [[He Chengyao]] stripped off her red shirt for a spontaneous performance, marching half-nude between the columns of Schult's figures.<ref>[http://books.google.com/books?id=IaIwmEh-OpsC&pg=PA163&lpg=&redir_esc=y#v=onepage&q&f=false Carlos Rojas, ''The Great Wall: A Cultural History''] (Harvard University Press, 2010), pp. 163-64.</ref><ref>[http://www.ucis.pitt.edu/asc/conference/alas/pdf/2010/Welland-Great%20Wall.pdf Sasha Su-LingWelland, Experimental Beijing: Chinese Contemporary Art Worlds in China’s Capital] (PhD diss., University of California, Santa Cruz, 2006).</ref><ref>Ina-Maria Greverus and Ute Ritschel, eds., ''Aesthetics and Anthropology: Performing Life, Performed Lives'' (Berlin: LIT Verlag, 2009), p. 110.</ref><ref>Kim Levin, ''ARTnews'', volume=6, 2011, pp. 92-93.</ref>

In the western world in the 1990s, even sophisticated performance art became part of the cultural mainstream: performance art as a complete artform gained admittance into art museums and became a museal topic.<ref>{{cite book | last1 = Targ Brill | first1 = Marlene | title = America in the 1990s | publisher = Lerner Publishing Group | year = 2009 | pages = 93, 1 | location = Minneapolis | url = http://books.google.com/books?id=BNXeIFQScocC&dq=performance+art+1990s&q=performance#v=snippet&q=performance&f=false | accessdate = 2011-03-31 | isbn = 978-0-8225-7603-7}}</ref>