What Is the Evidence of a Performance Art Event

This exhibition surveys the diverseness of ways that artists in the 20th century accept documented and represented functioning-based art using almost every medium imaginable—from photographs, films, video, and audio recordings, to notes, drawings, scores, books, and objects. The prototype here records a performance past Günter Brus, a member of a group of Austrian artists called the Vienna Actionists. The product of striking photographic imagery became the goal of many Actionist performances, which oft combined the explosive free energy of abstract expressionist painting with imagery suggestive of primitive rituals. These attempts to transpose the dynamic and experiential qualities of performance into documentary and archival media have influenced the field of fine art equally a whole and accept posed challenges to established notions of the art collection and the archive. These documents are often exhibited as works of art, although the artists take rarely accepted such documents every bit a sufficient record of their work. Drawn primarily from the collections of the Research Library at the Getty Research Institute, this exhibition presents artists' different approaches to developing lasting records of their performance-based works.

Performances of extremely long duration pose strategical challenges, as well every bit opportunities, for documentation and display. For Art/Life One Year Performance 1983–1984, artists Tehching Hsieh and Linda Montano were tied together by a length of rope for an entire year. They were never immune to be more 8 feet abroad from i some other, just they also agreed not to bear on for the extent of the operation. Receptions held at three month intervals allowed the artists to "exhibit" the progress of the work, while time-stamped snapshots documented the artists' daily routines. By shaving their heads at the beginning of the operation, the artists effectively used their hair as another documentary medium, registering the passage of a year as it grew.

Sometimes a single project can lead to the creation of artworks in multiple media past multiple artists. The Identical Luncheon developed afterward Philip Corner noticed that his studio mate, Alison Knowles, ate the same repast at the aforementioned eating place every day. This ritual—ordering a tuna sandwich with butter and lettuce, no mayo, and a cup of soup or glass of buttermilk at the Riss Diner—became the score for a performance, which Knowles so asked other artists to perform. Journal of the Identical Lunch is Knowles'due south compilation of those individual artists' widely varying performances, written and sometimes photographed by each performer either during or but later on the ritual. Knowles afterward used images from some of these performances to create express-edition screenprints.

Documenting Suzanne Lacy'south travels through Europe, the United States, and Latin America, Travels with Mona depicts the creative person visiting great historical monuments while in the process of completing a paint-past-numbers painting of the Mona Lisa. The images are presented as a fold-out set of postcards, with an accompanying text by art historian Arlene Raven, who notes that "A performance artist speaks but does not by and large paint canvases. In this journey, a performance about tourism, imitation, art, artists, art objects, women and civilization, she seeks the promises of art long ago whispered to Mona (is that why she's smiling?)—visibility, acknowledgement, fortune, even immortality. Nether these circumstances, it is best to have a Famous Painting by a Great Artist along."

Photographers of performance sometimes produce powerful imagery that, in addition to recording the details of a live event, too function strongly and independently as photography. This paradigm from Robert Rauschenberg's performance of Elgin Necktie is an example of artists using photographs that appear to describe key moments in a performance. Many of these photographs accept been widely reproduced, thus condign canonical and emblematic images of the operation.

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Source: https://www.getty.edu/art/exhibitions/evidence_movement/

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