THE PERFORMATIVE OBJECT

The 1960’s and ‘70s witnessed an explosion of performance works in the visual arts. Departing from precedents in the early 20th century, performance during this period is marked both by its international reach and breadth of artistic experimentation: process painting, extreme bodily acts, textual scores, video and audio recordings, sculptural installations, ritualistic drawings, and direct political interventions, proposing complex relations between object, process, and act. This course explores this history and its legacy through the lens of two contributing factors: first are political events, upheavals and revolutionary movements that erupted across the globe, generating artistic performance as protest and activism; and second is an emergent media culture characterized by technologies of repetition and recording, resulting in performance works that are defined through reproduction rather than liveness, while taking inspiration from experimental film, music, and dance. To explore these themes, the class will examine select case studies of individual artists, movements and collectives: among which include the NY based Guerilla Art Action Group; Japanese Gutai and international Happenings; Brazilian neo-Concretism; South Korean Experimental art (silheom misul); as well as video, audio, photographic and durational works (by Ana Mendieta, Bruce Nauman, Adrian Piper, Tehching Hsieh, etc.), to name a few. In final research papers, students will trace this genealogy, examining contemporary performance works that are realized variously through networked and digital forms, uncapturable ephemerality, or direct social action.