Final Art Review: Marina Abramovic

Vanessa Beecroft is an Italian performance artist who is considered part of the movement called relational aesthetics. In relational art, the viewer is the stimulant for the work, but not the focus; the work is not truly interactive, but the viewer feels like they are a part of it. Relational aesthetics artwork typically involves large installations in a space, but Beecroft’s work primarily uses female models and human forms as the artwork, both clothed and nude, giving her work as a whole a very feminine touch. She uses these female models, especially when they are nude, to make a provocative statement, and push the area in between art and fashion, or lack of clothing.

“This performance draws upon both ‘traditional and contemporary arts and cultural practice. The integration of… contemporary performance art and modern theatrics to form of cultural hybridity.”

While the speaker has succeeded in providing an enhanced image of the performer, the act of assigning meaning to the performance and the representation used holds the capacity to limit the experience. As the speaker continues to reconfigure her strip tease into a “[graceful] and calm” artistic dance, he makes a simultaneous attempt to distance himself from the crowd, making no mention of his gender or race directly (5). However, the speaker’s attempt to portray the dancer from objective eyes falters as his

The male dancer only wore pants and bared his upper body. This simple costume design not only made the people who watch the dance to have a clear vision of the dancer, but also better presented a predicament that the character was experiencing at that time. At the first half of the dance, the dancer would leave at least one part of his body on the bench, and tried hard to reach other parts of his body away. This muscular interplay between the dancer and the bench resonated with the audience to experiencing the same struggle feelings as the character. As the performance developed, the dancer started to leave the bench to fully use the space. The dancer had many different movements comparing with sitting on the bench previously. He started to lie down, roll over, stand on the bench and make a turn use only one foot. The level of the dance was no longer limited in the middle but changing from low to high as well. Having such a change, the dancer is converting a more delight and energetic feeling to the audience, in order to demonstrated that the character was recovered through the

In addition, I will examine the differences between male and female sexuality and how each tended to be perceived and treated by society. Then, I will look at prominent female artists and their personal experiences and beliefs on feminism and the female in their art focusing on how it tended to be received along how male artists responded to it. Mainly, I will be analyzing the clash of sexualized images in art, focusing on the differences not only between male made art versus female art, but the differences in the women’s art community, as well. What are the reasons and goals for women to use a “sexualized image” of women in their art versus

Art is one aspect of the past that has carried on for decades. Art in any form may it be poetry, novels, and playwright, sculpting as well as painting, has been an outlet for generations and continues to be an outlet and a means for expression. This paper will discuss “ The Mona Lisa” one of Da Vinci’s most famous paintings, as well as another great painting, Antonio Veneziano’s

The speaker thinks highly if the dancer. This is displayed in the statement “To me she seemed a proudly-swaying palm grown lovelier for passing through a storm (926) and her voice was like the sound of blended flutes blown by black prayers upon a picnic day” (926). Both if these statements reveal that the speaker had a deep appreciation for the dancer, he in a way amazed at her work. The audience, however, does not seem to have the same admiration that the speaker does. Even though the speaker is considered a part of the audience, there are two different perspectives the have about the dancer. At the beginning of the selection, the speaker states “applauding youths laughed with young prostitutes” (926). What I grasped from this statement

On stage you will see 14 dancers experimenting with plastique, light and music. They will be donning various images, turning every ritual into farce. They are incarnating myriads of lives never repeating, they are utterly candid. The objective of their everlasting experiment is to cognize themselves so deeply as to dispense with their masks. Yet, the spectators will be the main participant of their

As Simone gained fame, her fierce personality began to show. When Simone performed, she expected those in the crowd to listen; if she noticed someone talking Simone would quit the show believing people should behave as if watching a classical

In the dance piece called “Stinging Embraces” choreographed by Jeremy Dickerson, a female character was having a violent relationship with a male character. It was hard for the female character to interact around others mainly because she was afraid of her partner because he was way too violent. There was a part where the female character tried to slide between couples but they were harmless to her. At the moment when she tried to slide between her partner with another female character, the male dancer started attacking her and suddenly all female characters started moving in together to protect her from the violent male character. At the end of the piece all of the performers bend down and raised their shaking hands up trying to reach for

The message of the piece is supposed to make the audience feel shocked and captivated at the same time. Because the dance was performed after WWI, she created this dance to sense the state of emotion the country was left in. The shock-factor helps stimulate the audience’s imagination into understanding how people were feeling during the time. She chose a

Finally, the depiction of figure is perhaps the most interesting and intellectually challenging element in this piece. The figure, while emotionally withdrawn from the viewer, is physically imposing. She is looking down and away from the viewer, as if the isn’t aware that she is being watched. Her mask-like facial features also do little in the way of conveying emotion. Her body, however, is quite different. The dark thick lines shaping her muscles and limbs, the detail in the curls of her hair, the placement of her fingers, and her exposed breast all demand the attention of the viewers’ eye. The bold lines that define her legs, waist, and hip, make her seem intrusively part of our space. The awkward placement of her

Performance art at that time was an emerging art form that rapidly gained popularity, allowing artists such as, the aforementioned, to express themselves in ways that aimed to bring about social and political change. Because performance art emphasized the artist’s action and the viewer’s experience of that action in real space and real time, it rarely yielded a final

The above example illustrates not only how the theatrical performance affects the audience, but also how the audience influences its dynamics, development and the characters within it. The actors feel a certain level of acceptance from the viewer, who demands a certain way of depicting the character. Theatre is not just entertainment, itís something much more than that ñ itís education. Theatre should always represent things, rather than

A fascination with the human body, body were an experience that could somehow be held in common. The ways in which we might experience the body as connected or represent it as disconnected in a live performance. Shifting attention from traditional art object to the artist’s physical action further proposed that art existed in real space and real time. Marina Abramovic, a pioneer of performance art began using her own body as the subject, object, and medium in the early 1970s as she said, ‘In performance my body is object and subject.’ For the exhibition