If you’re wondering why you haven’t heard from me since spring, it’s because a lot has been going on with Bagtazo. But today I’m finally back to tell you about Yves Klein. While scrolling through my Instagram feed recently, I came across a post in which someone had basically recreated Yves Klein’s
Need ideas for applying mediums creatively in your painting project or new mixed media art techniques? A guide for students, artists or teachers.
Caroline Denervaud’s artworks recall Yves Klein's pioneering performative work as well as choreographer Pina Bausch's emotionally raw approach to movement.
Alessandra Ferri and Misty Copeland set to dance this week at The Metropolitan Opera House.
Outre les nombreux tableaux où il met en scène son propre clone, Gilbert Garcin a réalisé un certain nombre de photographies reprenant aussi l’effigie de sa femme Monique décédée depuis. Ils apparaissent ainsi ensemble dans des scènes qui tricotent tendresse et autodérision, philosophie et surréalisme, évoquant avec un humour parfois grinçant les joies et les vicissitudes de l’exercice d’équilibre à deux qu’est le couple. Sans concession, cet étrange album de famille est un magnifique et intelligent hommage à l’amour.
The series "Alone Together" delves into the intricate dynamics of relationships and intimacy, exploring the complexities that arise within human connections.
An ugly lawsuit behind them, the duo reunited at the Louisiana Museum.
Since anyone could (and still can) say anything on the internet, people began challenging unbelievable and outlandish online claims with the phrase "pics or it didn't happen," shutting down many ridiculous discussions before they even begin.
Expresión surgida en Japón como una catarsis después de la Segunda Guerra Mundial, la danza Butoh habla con el alma a través del cuerpo
My very first memory in life is from 1982: arriving in a rush by cab at the Whitney Museum, emerging from the elevator into a black void filled with hundreds of interconnected video screens — a…
'fat house' (2003) by erwin wurm, on display in the exhibition 'wear me out' at middelheim museum image © jesse willems
Chantal Matar is a versatile architect and generative designer who operates at the crossroads of mixed media and architecture, drawing inspiration from...
Kate Groobey: Pants Down Kate Groobey's performances where she acts as if she is an element within her own paintings, reminded me of how important performance is when making a drawing or painting. The animated video 'Pants down' being a sort of half way house between one of her paintings and one of her performances, the crude moving elements within the painting, easily produced by attaching painted cardboard cut-outs to the body and simply beginning to move them around and then stop motion filming them. She obviously also took a few stop motion shots as the paint was applied and animated them too. You could argue that she is the imp that threatens to pull the rug from under William Kentridge's more serious approach to fine art animation. Although on the one hand there is a certain crudity in her approach, I feel this is actually a very sophisticated tongue in cheek response to the heavily theorised and very male dominated idea of 'proper' painting. William Kentridge on his animation technique Jackson Pollock was called an Action Painter by Harold Rosenberg because according to Rosenberg the canvas was "an arena in which to act". Hans Namuth's film of Pollock at work, cements in my mind the idea of the artist in action as being what this type of work is all about. In particular as Namuth's film develops we see Pollock through a glass sheet that he begins to paint upon. As he applies the paint he is first of all seen as an integral part of the developing image, but he is then gradually 'painted out' of the picture as the skeins of dripped paint develop across the glass surface. In the early part of the film there are some images of Pollock's shadow painting, partly reminiscent of the shadow on the wall in the film 'Nosferatu' that I referred to in a recent post on the emotive use of tone. The artist in action and the marks made by the artist as a consequence of these actions become entwined together, the film becoming the vehicle that holds all the elements together. In many ways Namuth's film supplants Pollock's paintings in the mind of audiences, the images of him at work, now an integral part of the work's reception. If we now revisit Kate Groobey's practice, we can see a direct lineage between Namuth's film and the films Groobey makes of herself embedded within her paintings. She is making work far removed from the Abstract Expressionists' very macho vibe, being able to use humour and a way of working that directly deflates the sometimes overbearing pantheon of painting. Her feet sticking out from the bottom of the image below, tell us all we need to know about where she literally is in this work. Kate Groobey Caroline Denervaud's performative drawings, are much more formal in their construction. It is as if she allows her body to be controlled by the drawing. She holds poses that seem to echo the shapes and forms required by the emerging image, her body becoming an aesthetic fit, as she responds to the demands of the drawing. Caroline Denervaud In an earlier post I introduced the performative work of Joan Jonas and in her case she develops more of a narrative interest as she constructs her performances. Joan Jonas In all of these cases the artist and the materials used become entangled in a complex work that sees the boundaries between art object and artist dissolve. I was recently at one of Greg Burgoyne's drawing performances. He tends to use the elements we might find in the studio or even the stationary cupboard as the things he works with. Often developing a relationship with the material that suggests that he finds it hard to be in control. This is for me the most interesting aspect of the performances I've seen of his. I can engage with his struggle to smooth out paper, or the impossibility of controlling sticky tape when sticking it to your shoes as you walk. The ripping sound as his feet pull the tape from the roll, making an ever anxious soundtrack to what seems like a pointless act, or the sound of paper being torn and crumpled as it is pushed against a wall. He develops a very emotional relationship with his materials, they appear to have as much agency as he does in a performance and this is an issue I think is going to become more and more important. So many performances have historically been about control and we now live in a different world, one with more awareness of how badly we have treated both each other as human beings and the world itself. If you go back to the 1960s and look at performances such as Bruce Nauman's 'Walking in an Exaggerated Manner Around the Perimeter of a Square' you have the sense that the artist was fully in control. Bruce Nauman's 'Walking in an Exaggerated Manner Around the Perimeter of a Square' Anastasia Faiella If you look at an artist such as Anastasia Faiella, you feel she is demonstrating how much she is in control of her body. This might be very hard to do, like an Olympic athlete if you train hard you can master all the elements of your process. However when you get to my age you are more circumspect. I am very aware that my body doesn't do the things it used to do, that it is getting worn out, so I begin to be more sympathetic to the agency of other things in the world. I value good shoes that support my feet and ankles when I walk, I appreciate the role other things play in my life, regarding the things I now do as being more like a slow dance with constantly changing partners. Gilbert and George: 1970 Gilbert and George were probably the first English based artists that I was exposed to who had performance at the heart of their practice. I remember going to see their large scale drawings of themselves in a very English landscape in the early 70s, in if I remember correctly, the Hayward Gallery and the 23 charcoal-on-paper 'sculptures' that make up what they now call 'The General Jungle or Carrying on Sculpting', were back on display recently at the Lévy Gorvy gallery, a timely reminder of the first time for myself when drawing, sculpture and performance seemed to have no barriers between each other. In this particular case the drawings, (all made on lots of sheets of paper joined together), seemed to provide an arena within which G&G could act, their other work being seen on TV monitors within the same gallery spaces. Originally titled THE NATURE OF OUR LOOKING this was one of several pieces with a pastoral setting, their ideas at the time all being related to what it was to be English and in this case they were looking at an English love of idyllic rural imagery, ‘Here in the country’s heart where the grass is green’ words by the Victorian poet Norman Gale, are quoted within the sculpture/drawings. The fact that much of their work has been about the myths of Englishness, perhaps being because one of them is English and the other Italian. Gordons makes us drunk The video 'Gordons makes us drunk' being a classic performance piece from this time and one that opened doors to a very powerful way of developing metaphor. Gin being seen within the English imagination as on the one hand a Hogarthian evil, as in prints such as 'Gin Lane' and on the other hand as a symbol for colonialism, the image of the English having their G&T served by a native servant being central to a certain idea of a colonial past. Gilbert and George by getting drunk on Gin became a metaphor for a period that perhaps the nation at the time wanted to forget. All art is in some sense a performance and what we often see exhibited in relation to past performances is rather like a preserved stage set rather then the full experience. The Joseph Beuys exhibition that is currently at the Leeds city art gallery being typical of this. The vitrines within which his work is placed, being rather like the relic cases we see in Catholic Churches or objects found in a museum. Joseph Beuys: Artist's rooms Leeds City Art Gallery Beuys: Shaving performance The reality of a performance is often awkward and difficult. This is part of the importance of it, performance art is not like theatre, it is not about entertainment, it is about awareness raising. The drawing issue is here one of planning, developing a concept and then enacting it. This is drawing as 'disegno'. Marina Abramovic The awkward feeling that the man must feel squeezing himself between two naked figures is exactly how good performance art should make you feel. The audience has to experience something memorable and life changing and in trying to achieve this, performance art perhaps holds on to its roots in shamanistic acts and our need for powerful rituals as life affirmative events. See also: Drawing and dance Eye music A film on Pollock that has an except from Hans Namuth's film
Voici des comptines sur le corps. - j'ai 2 pieds.pdf - rond rond rond.pdf
Chiuri makes her mark as the first woman to take charge of the venerable Parisian house.
the alvin ailey american dance theater performing revelations at lincoln center, photography by paul kolnik
Nam June Paik, considered the father of visual art, is still going strong! Curated by the Nam June Paik Art Center and Talbot Rice Gallery , be sure to catch this evolutionary boundary breaker and prophetic thinker who linked art and technology, music and visual art, electronics and the humanities from the 9th of August until the 19th of October
What songs would you add to our list?
Art Radar Asia has put together five of the best posts it has published that explore performance art in Asia and look at how Asian contemporary artists have elaborated and expanded on the global discourse of performance art.
Want to learn how to improve your stage presence and ultimately improve your chances of success in the industry? Check out this handy article!
By extending himself through the objects and signage of our desires, and thereby through us, Dennis made us retrace the poetry and artistry that reside in us.
Not Clay But… | Echo Morgan's darkness is undressed in heartbreaking performance
About The Artwork Modern ballet is so fascinating! Always it is expressive story about our life, Original Created:2020 Subjects:Performing Arts Materials:Paper Styles:AbstractAbstract ExpressionismExpressionismImpressionismMinimalism Mediums:Black & White Details & Dimensions Photography:Black & White on Paper Artist Produced Limited Edition of:10 Size:27.6 W x 27.6 H x 0 D in Frame:Not Framed Ready to Hang:Not applicable Packaging:Ships Rolled in a Tube Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines. Ships From:Israel. Have additional questions? Please visit our help section or contact us.
It is her humor and charisma that make everyone fall in love with her after the event Marina Abramovic Symposium.
The world-renowned performance artist Marina Abramović has been strung up, cut, screamed at and had an arrow pointed directly at her heart. In anticipation of her new show, 512 Hours, at London's Serpentine gallery, here are her greatest hits
As she funds her new school, here's a 26-letter guide to the heroic performance artist
The world-renowned performance artist Marina Abramović has been strung up, cut, screamed at and had an arrow pointed directly at her heart. In anticipation of her new show, 512 Hours, at London's Serpentine gallery, here are her greatest hits
