I Am a Free Spirit
I've said already I'm a performance artist, much like people like Yoko Ono, was.
Performance art activity is not confined to European or American art traditions; notable practitioners can be found in Asia and Latin America. Performance artists and theorists point to different traditions and histories, ranging from tribal to sporting and ritual or religious events. In an episode of In Our Time broadcast on Thu, 20 Oct 2005, 21:30 on BBC Radio 4, Angie Hobbs, Lecturer in Philosophy, University of Warwick; Miriam Griffin, Fellow of Somerville College, Oxford; and John Moles, Professor of Latin, University of Newcastle discussed with Melvyn Bragg the idea that Antisthenes and Diogenes in ancient Greece practiced a form of performance art and that they acquired the epithet of cynic which means "dog" due to Diogenes behaving repeatedly like a dog in his performances.
There are also accounts of Renaissance artists such as itinerant poets putting on public performances that could be said to be ancestors of performance art.[citation needed]
Conceptual work by Yves Klein at Rue Gentil-Bernard, Fontenay-aux-Roses, October 1960, photo by Shunk Kender. Le Saut dans le Vide (Leap into the Void)
Western cultural theorists often trace performance art activity back to the beginning of the 20th century, to the Russian constructivists, Futurists and Dada. Dada provided a significant progenitor with the unconventional performances of poetry, often at the Cabaret Voltaire, by the likes of Richard Huelsenbeck and Tristan Tzara. Russian Futurist artists could be identified as precursors of performance, such as David Burliuk, who painted his face for his actions (1910–20) and Alexander Rodchenko and his wife Varvara Stepanova.
According to the art critic Harold Rosenberg in the 1940s and 1950s Action Painting gave artists the freedom to perform — the canvas as "an arena in which to act", thereby rendering the paintings as traces of the artist's performance in his/her studio. Abstract expressionism and Action painting preceded the Fluxus movement, Happenings and the emergence of Performance Art.
Performance art was anticipated, if not explicitly formulated, by Japan's Gutai group of the 1950s, especially in such works as Atsuko Tanaka's Electric Dress (1956).[4]
Yves Klein had been a precursor of performance art with the conceptual pieces of Zone de Sensibilité Picturale Immatérielle (Zones of Immaterial Pictorial Sensibility) 1959–62, Anthropométries (1960), and works like the photomontage, Saut dans le vide (Leap into the Void). In the late 1960s Earth artists as diverse as Robert Smithson, Dennis Oppenheim, Michael Heizer and Carl Andre created environmental pieces that predict the performance art of the 1970s. Works of conceptual artists in the early 1980s, like Sol LeWitt, who converted mural-style drawing into an act of performance by others, were influenced by Yves Klein and the Earth artists as well.
Performance art activity is not confined to European or American art traditions; notable practitioners can be found in Asia and Latin America. Performance artists and theorists point to different traditions and histories, ranging from tribal to sporting and ritual or religious events. In an episode of In Our Time broadcast on Thu, 20 Oct 2005, 21:30 on BBC Radio 4, Angie Hobbs, Lecturer in Philosophy, University of Warwick; Miriam Griffin, Fellow of Somerville College, Oxford; and John Moles, Professor of Latin, University of Newcastle discussed with Melvyn Bragg the idea that Antisthenes and Diogenes in ancient Greece practiced a form of performance art and that they acquired the epithet of cynic which means "dog" due to Diogenes behaving repeatedly like a dog in his performances.
There are also accounts of Renaissance artists such as itinerant poets putting on public performances that could be said to be ancestors of performance art.[citation needed]
Conceptual work by Yves Klein at Rue Gentil-Bernard, Fontenay-aux-Roses, October 1960, photo by Shunk Kender. Le Saut dans le Vide (Leap into the Void)
Western cultural theorists often trace performance art activity back to the beginning of the 20th century, to the Russian constructivists, Futurists and Dada. Dada provided a significant progenitor with the unconventional performances of poetry, often at the Cabaret Voltaire, by the likes of Richard Huelsenbeck and Tristan Tzara. Russian Futurist artists could be identified as precursors of performance, such as David Burliuk, who painted his face for his actions (1910–20) and Alexander Rodchenko and his wife Varvara Stepanova.
According to the art critic Harold Rosenberg in the 1940s and 1950s Action Painting gave artists the freedom to perform — the canvas as "an arena in which to act", thereby rendering the paintings as traces of the artist's performance in his/her studio. Abstract expressionism and Action painting preceded the Fluxus movement, Happenings and the emergence of Performance Art.
Performance art was anticipated, if not explicitly formulated, by Japan's Gutai group of the 1950s, especially in such works as Atsuko Tanaka's Electric Dress (1956).[4]
Yves Klein had been a precursor of performance art with the conceptual pieces of Zone de Sensibilité Picturale Immatérielle (Zones of Immaterial Pictorial Sensibility) 1959–62, Anthropométries (1960), and works like the photomontage, Saut dans le vide (Leap into the Void). In the late 1960s Earth artists as diverse as Robert Smithson, Dennis Oppenheim, Michael Heizer and Carl Andre created environmental pieces that predict the performance art of the 1970s. Works of conceptual artists in the early 1980s, like Sol LeWitt, who converted mural-style drawing into an act of performance by others, were influenced by Yves Klein and the Earth artists as well.
31-35, F
