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First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.
- Sales Rank: #2207806 in Books
- Published on: 2004-11-10
- Original language: English
- Number of items: 1
- Dimensions: .94" h x 8.70" w x 10.18" l, 2.59 pounds
- Binding: Paperback
- 240 pages
Review
...an excellent illustration of performance art's ability to engage its audience directly, to inspire the audience to search its own thoughts and feelings, and, in so doing, to complete the work that the artist began.
–Library Journal
Live presents a thought-tweaking array of work by a variety of artists. Every page raises questions on the direction of art, ethical use of children, animals, and wet ware (dolls made of living organisms) as performance props. Abuse of the human body, genitals as art materials and manifesting a cornucopia of unusual sexual behavior are the tools and production practices employed to shock and enthrall audiences.
Live is laudatory book that dotes on the freakishness of performance and neglects to discuss critically the inherent problems associated with categorizing it as art rather than theater. Nevertheless, in the sea of literature vying for position in emerging art histories this book floats to the surface.
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–NoHo->LA
[An] extremely useful, well-edited and readable book ... The essays in Live are excellent, both varied and well-informed.
–Performance Research, February 2005
About the Author
Adrian Heathfield writes on and curates performance. He is a Principal Research Fellow in Performance, at the School of Art and Design, The Nottingham Trent University.
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3 of 3 people found the following review helpful.
Live: Art and Performance, a review
By Andrea Juillerat
Art and Performance: LIVE
a book review
Andrea Juillerat
This highly engaging book edited by Adrian Heathfield is a collection of essays by various writers and artists on the topic of current and recent practices in the field of performance art. The book was first published in 2004 by Routeledge, an offspring of the Taylor Francis Group. It is filled with excellent color photographs depicting many of the works described. The photography is mostly credited to Hugo Glendinning, with just a few of the images used by permission from museums or other gallery sources. Some of the chapters take the form of a traditional informative essay, while others are written in non-tradition or experimental manners; in some cases it's unclear whether the writing is at all separate from the performance act being described, or merely an additional stage of the life of the work itself. The book is timely in its content, brushing up against some of the most compelling and controversial technology emerging in the twenty first century. Most articles are heavily laden with art theory discourse and reference, a juicy read for any philosopher of art, or art theory student. As much as the book reaches for the pinnacle of the newest new, it also hearkens back to touch its roots in Futurism, conceptual art of the late 60s, Fluxus, feminist art, video art, and most importantly drawing historical reference from the 1970s, a time when the term "performance art" was first coined. It is clear that today's performers are well aware of their forefathers and the precedents that have been set in earlier times.
No book on performance art could be complete without a mention of Marina Abramovic, often called the "grandmother" of performance art. Peggy Phelan's essay on Abramovic, actually a series of personal letters written to the artist but perhaps never sent, gives the reader tremendous insight into how the works of an artist can have a profound effect on an audience member. We are permitted an intimate view into the heart and mind of Ms. Phelan, who offers us an equally compelling perspective on the life works of the artist herself. "On Seeing the Invisible: Marina Abramovic's The House with the Ocean View" is one of the best pieces in the book and in fact lingered in my thoughts for many days following. The photo of Abramovic, suffering at the hands of the public in her famous piece Rhythm O, is an image that will forever be burned upon my retinal memory and one which continues to haunt me on an almost daily basis.
The importance of Abramovic's work is certainly not to be underestimated by the editor who also includes his own private an interview with her. "Marina Abramovic: Elevating the Public, in conversation with Adrian Heathfield" is a recent discussion with the famous artist that starts by exploring her 2002 work in New York, The House with an Ocean View. It is a revealing and personal interview which allows the reader to hear about her work first hand and understand better how she uses emotional honesty and vulnerability to transform the audience, the space she is in, and ultimately the lives of a great many people. There is no doubt that she will forever remain a remarkable figure in the history of performance art.
The essay which surprised me most by presenting a form of art I had never before encountered was Oron Catts piece, "The Art of the Semi-Living" in which he discusses the use of live human tissue cultures to create semi-living sculptures that must be kept in highly specialized laboratory settings for the duration of the art show. Exhibiting this kind of work presents a challenge to gallery spaces, in that it may well be the first time that fully equipped labs have been brought to and erected inside of galleries and museums. Even more shocking is that the show ends by removing the sculptures from the safety of their incubators and allowing them to be touched, and therefore killed, by the audience. On some occasions the group has presented shows in which the semi-living sculptures are consumed by audience. The writer is also a founding member of The Tissue Culture & Art Project, a group of scientists/artists exploring issues about society's "hyposcrisy" towards living systems, and especially "semi-living" systems as they like to call their tissue cultures. They address ethical questions and concerns as well as the assumptions underlying the definition of life. It is the challenge to those assumptions within their work that cause some people a great deal of discomfort. Admittedly, the photographs of their semi-living sculptures gave me a chill and stomach twist that I had not expected from a book on art. The group also built three laboratory installations for another project Disembodied Cuisine & Art(tificial) Womb which took place as part of L'art Biotech, an exhibition in Nantes, France.
Another performance artist who appears in more than one essay of the book is Guillermo Gomez Pena and his collaborators, La Pocha Nostra. Their performance Ex-Centris is given a several page photo spread alongside a concise explanation by Pena himself about the nature of their performance art. According to Pena, much of what they do is exploration of "Other-as-Freak" by using their own bodies, costumes, make-up and prosthetic props. He states that the "ambiguity and contradiction opened up by performance art becomes ideal for this kind of anthro-poetical inquiry." Certainly his long career engaging with such topics is a testament to the success of the medium for this purpose. He speaks frankly and intelligently about the persistence of performance art right up into the present day in his own essay called "In Defence of Performance Art." He conjectures that the seeming endless fascination for watching live performance acts of art is linked to shamanism and magic. More than any other essay in the book he grapples with the challenges of continual cooptation by mainstream media and how the relentless absorption of thrill and shock into everyday life affects performance artists, who have traditionally been on the cutting edge of shock tactics and extreme radicalism.
Roselee Goldberg write an essay, "One Hundred Years" looking at the history and development of performance art. She traces its beginnings to F.T. Marinetti's Furturist Manifesto launched onto the scene in Parisian press 1909. From the Futurists to the Constructivists, Dada, Hugo Ball and John Cage, the leaping fire of that first spark has fed the movements right up until now where the practice of performance art is as robust as ever. Her main concern is how to preserve the fragility of time-based art, the transience of those moments that etched some sacred transmission of meaning on the world. Her essay comes full circle at the end connecting the energy and urgency of artists at the beginning of the twenty-first century with that of the Futurists 100 years ago.
Some of the most provocative images in the book come from the performances of Romeo Castellucci and Societas Raffaello Sanzio. Their latest project is called Tragedia Endogonidia. The photos are accompanied by an essay from Joe Kelleher, "The Suffering of Images." Each image carries immense impact, some of them include a child incorporated into a set and setting the can only elicit uncomfortable imaginings. How does the child come to be there? Who allows their child to take part in such visually unusual performative acts? While none of the photos depict anything close to abuse or sexual inappropriateness, there is still a feeling of unease when viewing them. A man with long white hair in a red cape with a red top hat pours a bowl of red paint over a small girl in her underwear. Later, the same man all in white lays the child down on an operating table in a white room. All the images presented in this section are contained in that most compelling category of aesthetics, the beautiful-horror, the disturbing-compelling, the paradox of unanswered questions and lingering innuendos. One cannot help but gaze at them time and time again while conjecture stirs the mind.
No book on performance art would be complete without some attention to the wild and stunning assaults on flesh that many performance artists have made and continue to make. The body has often been a site for performance acts, and by hosting the acts of the artist, it is frequently mutilated or injured in the process of the work. It's not hard to remember Chris Burden's Shoot, and the image his arm bleeding from the freshly created bullet hole, or Orlan's ever-changing features and the images from her well-documented cosmetic surgeries. Amelia Jones writes an interesting piece on just this topic in "Working the Flesh: A Meditation in Nine Movements," where she delves deeply into the use of flesh in art from nine different perspectives: flesh as fetish, as being, as writing on the parchment of the skin, flesh as an organic substance, flesh as wired to globalism and forced labor, flesh when wounded, flesh when flayed, flesh as hymen and breaking open, and flesh as the materiality of this world. Each segment explores artists who have visited sensations and acts, sometimes of incredible brutality upon their flesh or the flesh of others in the name of art. One thing is sure, no matter how many times blood is drawn in the name of art, it never gets old. Artists are continually exploring way of using flesh to express what cannot be expressed by any other medium in quite the same way.
Amelia's piece is not the only one to address this area of performance art, there are also the photographs of Franko B.'s performance, I Miss You! where he is painted white and bleeding from both arms while walking slowing up and down a long cat-walk stage covered in white cloth. He states that his work "focuses on the visceral, where the body is a site for the representation of the sacred...." Despite what critics may say he affirms that his work is about beauty, but "a beauty that is not detached from life."
Ron Athey also discusses his work in "Reading Sister Aimee" which begins with a question. Can his work change the public's view of self-destructive behavior, or "is it just a tiny little Fake Death, full of kinky edge play, back up by an Overly Didactic Message?" Surely there are people in the world who would challenge his contention that what he does is art; but it's not such a vast leap to see that ritual is an art form, and that self-destructive behavior, especially when dedicated and meticulously planned, is a ritual.
Of all the essays the book has to offer I most enjoyed reading "Exhausting Dance: Themes for a Politics of Movement" by Andre Lepecki. He speaks of the recent shift in European dance explorations that seem to many traditional dancers to be a kind of "betrayal." The reasons for this are complex but he explains them very well. The feeling of betrayal comes from an ontological assumption that up until now, dance has meant movement. Lepecki states that this seemingly common sense idea is actually a fairly recent development, closely tied to North American modernism. He traces the idea back to a speech given by John Martin in the 1930s in New York where he says, "only with modern dance has dance finally found the possibility of its true beginning...the beginning was the discovery of the actual substance of the dance, which it found to be movement." Working from this assumption the contemporary projects coming from Europe seem like a betrayal since they emphasize a "deflation of movement", question who or what holds the body's property, and also who or what sustains movement. These newest forms have been widely misunderstood and mislabeled, often being called conceptual or minimal. The question of what dance is remains open and Lepecki does not try to answer it completely but he does offer some interesting ideas about what it has seemed to be.
I am fascinated by his characterization of dance as a "plaint" a mourning of the passing of time, a sadness that is deeply associated with modernism. Traditional dance as we know it aims to stop the passage of time, or control it. The work of the dancer is to reach for immortality, to stop the inescapable movement of metered time. Time becomes fetishized as a "lost object" something we don't perceive directly, except in the effect it has upon our bodies, the aging, the loss of movement, the decline of agility, the promise of death. Here Lepecki draws upon both Freud and Walter Benjamin in an attempt to explain what we have always wanted from dance, which was to know how to "be in time." How to live with the passage and movement of time? The answer which dance has historically given has been to "be on time," and that is what most choreography has focused on, meter and timing - and that in turn is why the experiments of today's European dance artists seem in many ways to be a betrayal. They have left behind the ontological assumptions of dance being movement, and being `on time,' they have broken this melody that we were so used to experiencing, this plaint of modern dance, this melancholic reiteration of the loss of time.
This review lacks the space and scope to delve into each and every offering inside the book, however, I hope that the highlights presented here will compel anyone interested in the topic to seek out and read this remarkable text.
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