314 pages

English

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Je m'inscris

Responding to Site , livre ebook

Intellect Books - Jennie Klein and Natalie Loveless

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314 pages

English

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Description

This book focuses on the performance art of Marilyn Arsem, an internationally acclaimed performance artist known for her innovative and experimental work. Arsem’s work addresses women’s history and myth-making capacities, the potency of site and geography, the idea of the audience as witnesses and the intimacy of one-to-one works.

One of the most prolific performance artists working in the United States today, Arsem performs carefully choreographed durational actions that are developed site-responsively and range from deceptively simple interventions to elaborately orchestrated actions. This edited volume seeks to extend Arsem’s legacy beyond the audiences of her live performances and enter her work into the lexicon of the art world. Accompanied by 200 images, this book will be of interest to scholars and students of performance studies, feminist performance, feminist art history and performance history. It will also contribute to the history of alternative spaces and galleries, which is only now being written.

I have had the privilege of knowing Marilyn for over 30 years. Her work has given me so many epiphanies about live art, time-based art practice and durational performance practice. How and why do you choose a single action and enact it over an extended period of time? How do you respond to site and create a sacred meditational zone; a reflexive space about the human condition? And most importantly, how do you teach future generations about the importance of living while making art as a spiritual and philosophical practice? This book is yet another example of Arsem’s legacy. Fundamental, I’d say.

Guillermo Gómez-Peña

Watching Marilyn Arsem perform can be a slow, careful, vulnerable and heart-stoppingly profound experience. To see her is to know better the complex, intermingling particularities of body, space, time, being and action. Reading this comprehensive, lucidly written and deeply insightful book – the first significant publication on Arsem’s practice as a performance artist – will enable new perspectives on a major artist’s work. It also sheds vivid light upon enduring themes for the critical encounter with art: duration and doing, materiality and nothingness, truth and representation, commitment and experiment, togetherness and solitude, experience and endurance.

Dominic Johnson, Queen Mary University of London

Acknowledgments

Introduction: Responding to Site – Jennie Klein

Performance Photographs 1987-1999

SECTION ONE: DURATION AND ACTION

On Time at the Museum – Lucian O’Connor

Salt, Stones, and Stars – Jeffery Byrd

With the Others – Sandrine Schaefer

The Lightness and Darkness of Becoming-Marilyn – Paul Couillard

Performance Photographs 2003-2009

SECTION TWO: SITE AND HISTORY

“Lux Balcanica est umbra Orientis” Marilyn Arsem’s Balkan Performances – Kristine Stiles

Impossible Totalities: Political Performance as Palimpsest – El Putnam

Dropping the Frame: Orpheus to Red in Woods – David P. Miller

Performance as/of Shamanism and Mediumship: Writing Ada – John Dennis Anderson

Performance Photographs 2010-2013

SECTION THREE: PERFORMANCE AND PEDAGOGY

Some Thoughts on Teaching Performance Art, in Five Parts – Marilyn Arsem

Dialogues with Absence: Reflections on Time and If to Drift – Sandra Johnston

Documenting Arsem – Michael Woolley

“Reminding Me Always that Nothing Remains”—Marilyn Arsem’s Performance and Pedagogy – Kathy O’Dell

Performance Photographs 2013-2015

Afterword: Durational Forms and Pedagogical Encounters – Natalie Loveless

Performance Photographs 2015-2019

Appendix: Arsem’s Performances 1967-2019

Author Biographies

Further Reading

Index

Sujets

Monographs

Essays

Artists

Performing Arts

América

Live Art

Mythopoeia (genre)

Monograph

Performance art

General officer

Gender

Feminism

Dance

Art

General

American

Site

Performance

Informations

Publié par	Intellect Books
Date de parution	31 décembre 2020
Nombre de lectures	0
EAN13	9781789380996
Langue	English
Poids de l'ouvrage	243 Mo

Informations légales : prix de location à la page 0,1560€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Responding to Site

The Performance Work of Marilyn Arsem

THIS is Perormance Art

A MANIFESTO WRITTEN BY MARILYN ARSEM JANUARY 2011

THIS îs Perormance Art

Perormance art îs now. Perormance art is live. Perormance art reveals itsel in the present. The artists engage in the act o creation as they perorm. Perormance art’s maniestation and outcome cannot be known in advance. Reenactment o historical work is theater, not perormance art.

Perormance art îs rea. Perormance art operates on a human scale. It exists on the same plane as those who witness it. The artists use real materials and real actions. The artists are no one other than themselves. There are no boundaries between art and lie. The time is only now. The place is only here.

1. Orîgînay posted on the Inr’actîon Venîce websîte, and now appears onîne atTotal Art Journal(http://totaartjourna.com/archîves/4298/thîs-îs-perormance-art/).Thîs versîon was updated în 2017 to repace “s/he” wîth “they.”

Perormance art requîres rîsk. The artists take physical risks using their bodies. The artists take psychic risks as they conront their limits. Witnessing a perormance challenges an audience’s own sense o sel. Sponsoring perormance art, with its unpredictability, requires taking risks. Failure is always possible.

Perormance art îs not an învestment object. The work cannot be separated rom the maker. It cannot be held. It cannot be saved. It cannot be reproduced. Perormance art is experience  shared time and space and actions between people. The record o perormance art resides in the bodies o the artist and the witnesses.

Perormance art îs ephemera. It is an action created by an artist or a speciﬁc time and place. Witnesses are privy to a unique experience that will never happen again. Perormance art reveals the vulnerability o living. Perormance art reminds us that lie is ﬂeeting. We are only here now.

First published in the UK in 2020 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK

First published in the USA in 2020 by Intellect, The University o Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA

All rights reserved. No part o this publication may be reproduced, stored in a retrieval system, or transmitted, in any orm or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.

A catalogue record or this book is available rom the British Library.

Cover image: Marilyn Arsem,Adrit, First Biennial Festival o Perormance Art and Sound, produced by Contemporary Arts International, Acton, MA, USA, September 2013. Photograph by Chelsea Coon.

Background image or Maniesto by Marilyn Arsem: Marilyn Arsem,still. here, IN>TIME, 19 – A Winter Long Festival or Chicago, Deﬁbrillator Gallery at Zhou B Art Center, Chicago, IL, USA, February 2019. Photograph by Angeliki Tsoli.

Copy editor: MPS Cover designer: Aleksandra Szumlas Production manager: Jelena Stanovnik Typesetter: Aleksandra Szumlas

Print ISBN 9781789380972 ePDF ISBN 9781789380996 ePub ISBN 9781789380989

Printed and bound by Gomer, UK.

To ﬁnd out about all our publications, please visit www.intellectbooks.com. There you can subscribe to our enewsletter, browse or download our current catalogue, and buy any titles that are in print.

Responding to Site

The Performance Work of Marilyn Arsem

EDITED BY Jennie Klein and Natalie Loveless

Contents

Acknowedgments

Introductîon: Respondîng to Sîte JENNIE KLEIN

Perormance Photographs 19871999

SECTION ONE: DURATION AND ACTION

On Tîme at the Museum LUCIAN O’CONNOR

Sat, Stones, and Stars JEFFERY BYRD

Wîth the Others SANDRINE SCHAEFER

The Lîghtness and Darkness o BecomîngMarîyn PAUL COUILLARD

Perormance Photographs2003-2009

108

139

152

162

172

SECTION TWO: SITE AND HISTORY

“Lux Bacanîca est umbra Orîentîs” Marîyn Arsem’s Bakan Perormances KRISTINE STILES

Impossîbe Totaîtîes: Poîtîca Perormance as Paîmpsest EL PUTNAM

Droppîng the Frame:OrpheustoRed in WoodsDAVID P. MILLER

Perormance as/o Shamanîsm and Medîumshîp:Writing Ada JOHN DENNIS ANDERSON

Perormance Photographs 20102013

184

198

211

218

240

SECTION THREE: PERFORMANCE AND PEDAGOGY

Some Thoughts on Teachîng Perormance Art, în Fîve Parts MARILYN ARSEM

Dîaogues wîth Absence: Reﬂectîons on Tîme andI to Drit SANDRA JOHNSTON

Documentîng Arsem MICHAEL WOOLLEY

“Remîndîng Me Aways that Nothîng Remaîns”— Marîyn Arsem’s Perormance and Pedagogy KATHY O’DELL

Perormance Photographs 20132015

250

262

272

286

290

301

Aterword: Duratîona Forms and Pedagogîca Encounters NATALIE LOVELESS

Perormance Photographs 20152019

Appendîx: Arsem’s Perormances 19672019

Author Bîographîes

Further Readîng

Index

Acknowledgments

We woud îke to note the many hands, hearts, and voîces that have made thîs voume possîbe: Jed Speare (artîst and ongtîme dîrector o Mobîus) or hîs eary convîctîon that a book on Arsem was necessary so that her work woud be seen and known; Bob Raymond (artîst and member o Mobîus) or hîs unwaverîng beîe în the vaue o ephem era art and hîs îetîme commîtment to documentîng ît; Jefery Byrd or supportîng thîs project rom the begînnîng; Katharîne and A. Donad Arsem, who gave money to Mobîus or the eary stages o work on thîs book; and Joan Gae or her îmmedîate and sîgnîﬁcant support that aowed more coor îmages to be încuded. We woud aso îke to thank the authors—John Dennîs Anderson, Jefery Byrd, Pau Couîard, Sandra Johnston, Davîd P. Mîer, Lucîan O’Connor, Kathy O’De, EL Putnam, Sandrîne Schaeer, Krîstîne Stîes, and Mîchae Wooey—or theîr words, însîghts, and patîence wîth the înevîtabe twîsts and turns that came aong the way, and Jeena Stanovnîk, our întrepîd edîtor at Inteect Press, or her dedîcatîon and vîsîon. Jennîe woud aso îke to thank Nîkkî Mîîcan or orga nîzîng the pane at the Natîona Revîew o Lîve Art where she ﬁrst met Marîyn and became amîîar wîth her work, Jason Lîm or organîzîng FOI/Future o the Imagînatîon, Nataîe Loveess, Lîndsay Keey and Jamîe McMurry or organîzîng the Low Footprînts Perormance Festîva as part o the Intervene! Interrupt! Rethînkîng Art as Socîa Practîce conerence aong wîth Eîzabeth Stephens and Annîe Sprînke who învîted her to the conerence and The Green Weddîng to the Earth, Joseph Ravens or organîzîng Rapîd

Puse, and Mark Jefery or organîzîng IN>TIME—a estî vas where Jennîe was abe to attend one o Marîyn’s perormances; Nataîe woud îke to thank Marîyn Arsem or întroducîng her to the word o perormance art, and beîng such a poweru teacher and mentor. In addîtîon, Nataîe woud îke to thank the Oice o the Vîce Presîdent Research and the Facuty o Arts at the Unîversîty o Aberta, and Jennîe woud îke to thank the Ohîo Unîversîty Coege o Fîne Arts, who each provîded book subventîons to hep support the many coour îmages în thîs voume. Specîa recognîtîon îs due to Mobîus, Inc., or beîng a unîque ocatîon or encouragîng the deveopment and presentatîon o perormance art, or theîr commîtment to maîntaînîng an archîve o a works that took pace at Mobîus sînce 1977 (încudîng 20,000 orîgîna sîdes and 15,000 dîgîta îmages o work at Mobîus în the Bob Raymond coectîon now housed în the Mobîus, Inc. records at Tuts Unîversîty Dîgîta Coectîons and Archîves, Tîsch Lîbrary, Medord, MA, USA), as we as or actîng as ﬁsca agent to accept contrîbutîons or the productîon o the book. Wîthout the toooten unsung abor on the part o count ess artîsts to create and maîntaîn the artîstrun center Mobîus, Inc., the Boston art scene—as îs the case or so many o our cîtîes—woud not be what ît îs today. Thank you to everyone who îs and has been a part o Mobîus Inc., and to both the înternatîona network o artîstrun centers and the network o înternatîona estîvas organîzed by artîsts. They are the heart and sou o perormance art.