Frazer Ward states that artists
who utilise their bodies for their practise ‘have had a critical effect by
pointing to the contingent, social construction of subjectivity’[1].
The shift from the object towards the subject indicated that the body during
performance is a pathway to language as it is used as a material substance. The artist's body serves as the primary medium, communicated through presentational and representational means. The reading emphasises that the aesthetic of the work is second to the linguistics. The body itself is a pathway to language.
The art of performance links the act of making, there is a relationship between private and the social production of art. Vito Acconci's Step Piece (1970) challenges the reception of art and how accessible it is to the public.
Performance in relation to conceptual is the questioning of form and the influence of politics. Performance linked with conceptual practise criticises work that must be physically present, not work that is ephemeral.
[1] Rosenthal, Mark. “Understanding Installation Art from Duchamp
to Holzer”, (2002): 61.
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