A Performance Art Primer

With a little help from my boyfriend, a PhD student in Performance Studies, I wrote this little diddy to help those who say “I don’t get it,” well, get it. Originally published on The Next Great Generation.

“The history of performance art in the twentieth century is the history of a permissive, open-ended medium with endless variables, executed by artists impatient with the limitations of more established forms, and determined to take their art directly to the public.” — RoseLee Goldberg, Performance Art: From Futurism to the Present

If you were to scan blogs or journals for works of performance art, you’re likely to stumble upon the name RoseLee Goldberg. As an art critic, Goldberg’s writings portray an interesting and eclectic mix of performance artists. Her interpretation of these artists’ work demonstrates performance to be vital in understanding all other art mediums today.

“Performance challenges categorization, which was originally its point,” said Chrissie Iles (Whitney Museum of American Art) in The New York Times last year. But what exactly is performance art? Many people find themselves asking this question when told it’s not the same as a scripted play. “By its very nature, performance defies precise or easy definition beyond the simple declaration that it is live art by artists,” Goldberg wrote. Performance pieces challenge audience members to think in unconventional ways, allowing them to experience raw emotions as they happen, rather than illicit a predetermined response.

Performance art (not to be confused with the performing arts, like ballet) began roughly in the 1960s, using art practices that present the human body in front of a live audience to explore ideas and concepts. Topics generally range from autobiographical stories, like growing up as a member of a minority group, to overtly political themes, such as protesting wars or oppression. The techniques used in performance can be as simple as a single performer telling stories on stage or as complex as a performance troupe with elaborate costumes, props and fully designed sets. A common misconception is that performance artists are attempting to be controversial for the sole sake of shock value. Although performance can be shocking, it can also be as understated as asking the audience to smile into a mirror.

Goldberg also has her eye on other artists as well. She prophetically said, “Some of the most compelling performance comes directly from visual artists whom you might not associate with performance …We’re heading for another big wave of performance art because it allows for pure invention having nothing to do with the marketplace.” Here’s a quick introduction to three of my favorites:

Tim Miller. I’ve had the pleasure of interviewing Miller regarding his one-man show Lay of the Land, which I was fortunate enough to experience firsthand. Performing since the early ’80s, Miller explores “the artistic, spiritual and political topography of his identity as a gay man.” His shows are funny, moving and could be considered controversial…if you can’t handle discussions of sex or queer identity.

Yoko Ono. She may be less well-known to the world than her famous counterpart, but within performance art, she was and is much more influential even than John Lennon was to rock ‘n’ roll. Due to her works’ conceptual nature, performance pieces by Ono often get recreatedagain and again within the field to explore the original idea in different contexts. The “Tunafish Sandwich Piece,” which was originally just a written work in the conceptual art book Grapefruit, has become subject to the remix culture performance art enables.

The Wooster Group. This performance art group evolved from a small group in the mid-1970s formed around the autobiographical impulses of Spalding Gray, according to their website. They have been active ever since, operating out of their permanent home since conception, “The Performing Garage.” The Group offers radical adaptations that mix literature, live sound and pop culture with performance art methods. For live viewings of The Wooster Group’s performances, go here. Below is a low-quality taping of “Birdie”.

As an audience member watching a work of 21st century performance art, it is important to sit back and simply let the performance happen. Don’t try to read meaning the first time around before saying “I don’t get it.” There might not be just one thing to get; it’s the experience of simultaneously participating and observing that’s really the point.

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