Week 9 Response

In "Some Thoughts on Teaching Performance Art in Five Parts" by Marilyn Arsem, the article presents a profound understanding of Performance Art and its practical applications. Arsem skillfully demonstrates her expertise in guiding students towards discovering performance art approaches that continually challenge their individual contexts and relationships with the world around them. Performance Art has had a profound impact on my journey of contemporary art discovery, akin to Arsem's assertion that "students often come to class with a conservative mindset on art" (Arsem, 2011). I, too, once entered the art world with a propensity for remaining within my comfort zone. However, Performance Art introduced me to a significantly different approach, as it demands an authentic presence of the artist's actions in real-time. Thus, the perspectives and presence inherent in this art form leave a lasting impression on viewers, who not only bear witness but also become active participants in the creative process.

During my third year of art school, I was initially introduced to performance art by recreating existing performances inspired by Carolee Schneemann's "Up to and Including Her Limits," presenting it in an improvised and performative manner. Through this adapted approach, my objective was to explore the impact of artistic presence in relation to space and materials, while also delving into the individualization of personal context within the artwork. This approach resonates with Arsem's exercise of "Demonstrate something I know" by personalizing my choice of calligraphy ink and incorporating the novel element of performing within the studio space.

The exploration of performance art following my initial collaboration has yielded numerous self-discoveries. I have continually challenged myself to push the boundaries of performance art, compelling the audience to actively engage and contribute to the fulfillment of my artistic vision. In one particular performance piece, I expanded my material exploration by incorporating my own body into the performance while leaving the audience to assume the role of active participants. This work involved placing my motionless body on a pedestal, accompanied by ink-infused water balloons scattered across the table, devoid of any explicit instructions. Inevitably, the audience began co-creating the performance by hurling ink balloons at my body and the surrounding walls. This approach also aligns with Arsem's emphasis on the intricate relationship between artist and audience, addressing the profound impact the audience has on the live action.

The impact of Performance Art always resides in the act of being present with the artist, materials, space, and time—often ephemeral or transient in nature. Artists like Marina Abramović, through pieces like "Rhythm 0," and Yoko Ono, with "Cut Piece," exemplify how interactive engagement with the audience serves as a creative experiment involving their bodies and the collective mindset of society. Performance Art challenges us to utilize unexpected materials and engage in conceptual actions that may evoke discomfort, but ultimately provide a profound means of learning and thinking performatively.

Reference:

Arsem, M. (2011). Some thoughts on teaching performance art in five parts. Total Art Journal, 1(1), 1-11.

Carolee Schneemann. up to and including her limits. 1973–76: Moma. The Museum of Modern Art. (n.d.). https://www.moma.org/collection/works/156834

YouTube. (2019). CA 369 Documentation (Carolee Schneemann). YouTube. Retrieved July 12, 2023, from https://www.youtube.com/watch?v=VyL1wmtU50k.