Some relationships between conceptual and performance art

Frazer Ward's article describes the strong connection that performance art has with conceptual, particularly through documentation. Performance art pieces are temporary works, performed in front of an audience who will remember the work, but for those of us who weren't there, the work is documented through video, photography and written descriptions. Vito Acconci's Step Piece for example, was a performance within his apartment where he stepped onto and off a step for as long as he could. It's relationship to conceptual art is that it is the execution of a predetermined set of instructions. The language contains the concept, detailing exactly what he will do, where he will do it, when he will do it and how he will inform people of it. The performance itself is just the physical enactment of the words that he has put together to create a work open to the public in his private home. The phographic documentation combined with the written form of the instructions resembles conceptual art more than the performance itself.

Vantage Point and Image Worlds

Ron Burnett is interested in the role of images in society, in their uses and the ways in which they are interpreted into everyday life.
How people interpret an image is influenced by many a discourse that has infiltrated the human psyche, through various mediums. This perspective or 'vantage point' is an image communicated, that is a reflection of one's own self image.

I particularly like how Ron Burnett discusses the influence of media on self-image, the interpretation of world events, and the compression of space and time.

Here are some points he makes about media

* television's influence is far reaching. defying the limitations of medium

* Images are the middle man, between the different layers of 'complex image- worlds'

* Television has had a huge influence on the history of images

* Televisions focus has shifted from entertainment to news, that has compacted space, time and history into a set of "visual, oral and textual discourses, that are for the most part based on the sophisticated use of images"

* The readily availability of news at any time alters the context of the source.

* Images are more than just objects and signs. Live television is a "portal into a variety of experiences"

* "Images are both the outcome and pro-genitors of vast and inter-connected image-worlds. All of these elements may have been discreet at one time or another, but not anymore. Pictures of a series of crises, for example come from so many sources, that the parts become the whole, and the whole seems to have no end or even any parts."

* The broadcast of traumatic world events, become all encompassing. The way these images are read, experienced and stored in memory are a new development of the 21st century.

* Television uses text, sound and images, in an endless stream of information. The TV screen has become a multi-dimensional map, travelling across the world in seconds. World affairs are juxtaposed with reality TV, and crime fiction. "...Survivor, which is one of the best examples of the synthesis of reality/fiction ever created on television"

* Modern media's ability to convey a message far surpasses traditional ways of human interaction and conversation. This marks a shift in the ways humans communicate.

* "Television, radio and the Internet are always on. The media don't disappear, when viewers turn off electrical switches, just as electricity doesn't disappear when it is not being used"
This because of the development of a new natural and constructed world. The differentiation between natural and artificial have diminished.

* The use of images have changed the way humans see themselves, from individuals, to hybrid personae
" Identity no longer resides in one particular place, object or person" ( Jeff Wall. photographer)

*no images of human activity is separate from a variety of media or social context. Images seep into viewers lives from every angle imaginable. Viewers are less aware of the materiality involved with these images and have to juggle the many meanings conveyed thru these images. An example of this is how events on television are discussed as if the portrayal and the event are one.
"The event is internalized, personalized, and then discussed as if the images approximate 'being there' "

gallery visit

The work that have chosen to review is;

Toward a New World Order
Michael Goldberg

I really enjoyed trying to decipher the symbology in this work. Its an interesting evaluation on globalist themes. Michael Goldberg is reflecting the history of the sight in Woolloomooloo. An area that presents a contradiction with the juxtaposition of flash high rises and up market restaurants residing in walking distance withing poverty stricken department of housing, and refuges for the homeless.

There's a really informative interview with Michael on the Artspace website in the archive section. I found it helpful to unpack his use of symbols, i remember everyone was a bit stumped.

art and spirituality

Art and religion have been inter knit throughout western history. Artists such as Michelangelo were commissioned by the Catholic church to create works, as can be seen today in the Sistine Chapel. Many of the works created under this premise are now some of the most important masterpieces of Western Art.
The secularization of culture has influenced the departure from religious themes, though it is still present.
The birth of modernism, deterred the persistence of religious iconography. Early modernists linked organised religion to oppressive authority and seeked to distance themselves. They although maintained a sense of 'spirituality', professing the process of creating art as sacred.
Artists such as Piet Mondrian, Malevich and Marsden Hartley were all influenced by Theosophy.
This detachment from religion enabled avant garde artists to freely choose their subject matter, or lack of. By the aftermath of WW II, artists were being commissioned regardless of religious inclination.
religion in art has been replaced by a somewhat abstract 'spirituality'. In 1979 R.Krauss noted the emergence of an "absolute rift" between art and religion. This rift is most apparent in the work "Piss Christ" by Andres Serrano.

Piss Christ (1987)- Andres Serrano


Here is another sacrilegious delight


Yo Mama's Last Supper (1996)—Renee Cox


There are many arguments that resound, when artists use religious iconography in art. are they expressing their personal faith, are they denigrating religion, or are they making a political statement? Whatever it may be, the relationship between art and spirituality may have evolved over time, but it has not died Art continues to draw on metaphor and images to address universal metaphysical themes, such as "Why are we here?" "What is the meaning of life, of death?" "Is there anything beyond the world we know?"

There is a vast repertoire of visual iconography that contemporary artists can draw from.

Ana Mendieta

Ana Mendieta a Cuban born artists, integrates a hyper-spirituality of Pre-Columbian and Afro-Cuban beliefs into her work. It is through the artistic process that she explores her own spirituality. She has a strong interest in her Cuban heritage, and her work references Afro- Cuban practises like Santeria, Abakue, Palo Monte, Spanish colonial Catholicism and Indigenous worship of nature.

She often examines the connection between matter, spirit and nature. She is best known for doing this in her series of work "Siluetas"
"Silueta Series" (1973–1980) Ana Mendieta


In these works Mendieta immerses her body in nature. She buries her naked form in various landscapes, covering herself in mud, grass and flowers.


Imagen de yagul ("Silueta Series" (1973–1980)- Ana Mendieta

There are references to the cyclical nature of death in her work, where death is symbolic of new beginnings, and endings. Ana Mendieta has said that her works are both wombs and graves, where life is nourished from nature, or left to return to.

art and globalism

Art and Globalism

The increased interaction between artists from different nations is an effect of what is known as Globalism.

Globalism is difficult to define, as it is immensely broad and includes historical events that have led to the somewhat borderless world we are living in. Technological and scientific advancement, economics, politics, colonisation, was, slave trades, displacement of people and so many other factors, have contributed to the globalisation of the world. The critical discourse surrounding the issue of globalism is both in favour and against the results of globalism. Some suggest that globalism had had a positive effect, and has helped to balance out the distribution of power between nations. In particular it has opened up new economic markets to underdeveloped countries, and provided opportunity for new methods of political and cultural exchange

This is one view and there is another opinion that alludes to the ill effects of globalism, and how it only further consolidates the power of the corporate elite and exasperates the marginalisation of underdeveloped nations.

“It is thus not always clear whether the world is developing a truly global culture, or whether globalism is just a code word for the westernization of non-western cultures”

Mona Hatoum

Mona Hatoum is a London based artist , born in Lebanon in 1952 to Palestinian parents. Her parents fled Palestine due to the Arab-Israeli conflict.

Mona Hatoum's works are diverse in medium, bold, allusive and moving. She has made many works from a political perspective and offers insight into the lives of those who have become marginalised due to the ill effects of globalism.

So Much I want to say 1983

Black and White video, sound

4min 40 sec

So Much I want to Say

One of Mona Hatoum's earliest works. She made this film whilst travelling to England. At the time the outbreak of civil war in Lebanon prevented her from returning. She feared greatly for her family’s safety. It was impossible for her to phone them, and was very difficult for her to make contact with her family. It is during this time and context that this film was made.

The film consists of a series of still images, revealing the face of a woman (Hatoum). Two male hands repeatedly gag her, at times covering her face completely. The soundtrack of the film consists of Mona’s voice repeating over and over again, “so much I want to say”

In this film, Mona Hatoum is portraying the abuse of power in both inter-personal and international relationships. She explores censorship, and represents the voiceless anxieties of those who have been exiled and displaced from their culture country and families. It is a very personal yet universal insight into the anxieties felt by those censored and oppressed.

Light Sentence 1992

wire mesh lockers, slow moving motorised light bulb

198 x 185 x 490 cm

Light Sentence

This is one of Mona’s earlier installations. The design of it involves rigid lines and oppressive features of a large grid like feature. In this installation, metal lockers are stacked on top of each other and a naked light bulb moves slowly up and down in the centre of the room. The shadows created as the light passes through the lockers, creates a feeling of instability, unease, and nausea.

The references in this work, are somewhat elusive, but the connection to confinement and torture are undeniable. This work is not in reference to one specific incidence, but instead alludes to the sense of human vulnerability that is universal. Here Moan Hatoum uses the grid as descriptive visual metaphor into power structures.

Untitled (Wheelchair) 1998

Stainless Steel and rubber 970 x 500 x 850 mm

Untitled (wheelchair)

In this work Hatoum has adapted forms of furniture, and replaced parts that

Symbolise comfort with those that evoke elements of hostile potential torture. I this work she has replaced the handles of the wheelchair with knife blades. What was once soft comfortable padding, becomes cold steel.

The knife blades transform what was designed to be something helpful into a vehicle for perverse torture.

The wheelchair is a metaphor for a relationship of love and support. But whoever is foolish enough to try to help, will become severely wounded. It now becomes a relationship where both parties become victims. The work suggests, the person who needs care and who is dependant on another in order to move is forced to injure the person who helps him.

Keffieh 1993- 1999

Human Hair, cotton, fabric

120 x 120 cm

Keffieh

Keffleh shows us a black and white checkered headdress scarf embroidered with hair. It is usually worn by men and became a symbol of Palestinian nationalism and solidarity during the 1936 – 1939 Arab revolt against British colonialism. The hair motif, which appears elsewhere in Hatoum’s work, gives this piece a vivid and human feel.

While the Palestinian Keffiyeh continues to be a symbol of Palestinian heritage, it has also become a fashion trend for famous celebrities and fashionistas.

This traditional garment has now been appropriated and mass produced, now also becoming a tradable commodity. It is interesting how anything can be traded in our consumerist society. Politics as fashion.

Cildo Meireles

Cildo Meireles is a Brazilian artist who explores the aftermath of consumerism, politics and military dictatorship. Meireles used pre-existing circulation systems to propagate messages that undermined authorities ( Eff the Man!!) In 1970 at the height of the Brazilian dictatorship, Meireles created a work called (Insercoes en Circuitos Idealogicos : Projecto Coca-Cola ( Insertion into idealogical circuits : Coca-Cola project)

Insercoes en Circuitos Idealogicos : Projecto Coca-Cola

In this work Meireles etched politically provocative statements, such as “Yankee go home”, on Coca-Cola bottles (a criticism of the American infiltration of the Brazilian economy). These messages were invisible until refilled with soda and redistributed.

This piece came out of an earlier work “Insertion”, where he stamped Brazilian and American money with similar messages and re-distributed them.

Joyce Kozloff

Joyce Kozloff has used maps as a mechanism for analysing the complicated facets of colonial and post-colonial cultures.

The maps she creates do not illustrate geographical locations but instead the attitudes and pathways of explorers, colonizers, traders and conquerors. Her maps re-address the western version of history, instead presenting the patriarchal dominance and abuse of power by the west on the colonised.

La Conquista

Her work “La Conquista” is a world globe that she has covered with maps and charts from the sixteenth and eighteenth century. This work is about the colonisation and conquest of the Americas. She has presented the tragic events of this conquest, documenting the diagrams of slave ships, slave ports and drawings of indigenous people as supposed “exotic savages”. Most importantly she has included a map of Tenochtitlan, sent to Spain by a conquistador as a relic of the city he was about to destroy.

Her work comments on the contradiction of scientific and technological advancement, where in the name of development it has been used for destructive devices

Annotated Bibliography

Heartney, Eleanor. Art and Today. New York: Phaidon Press Inc, 2008 (Globalism p.290-319)

Eleanor Heartney presents the effects of globalism and how the art world has had to adapt to a changing world climate.

Where once in 1984 an “International Survey of recent Painting and Sculpture” consisted of mostly white and mostly male artists, this has begun to change to include artist from places in the world that had been previously overlooked. A pivotal moment that reflected this development was the 2002 edition of Documenta, an international exhibition that happens every five years in Germany. For the first time in 50 years, it had been co-ordinated by a non-white curator, Nigerian born Okwui Enwezor. The exhibition presented work by artists who came from all over the world, breaking away from the previous trend. We now see more of an international delegation of artists in prominent institutions such as the MOMA and international biennales.

The increased interaction between artists from different nations is an effect of what is known as Globalism.

Heartney gives an overview of artists that have been influenced by the resounding effects of globalism.

Said, Edward W. The Art of Displacement: Mona Hatoum’s Logic of Irreconcilables

This article written by intellectual Edward said, was very helpful to understand the sentiment behind Mona Hatoum’s work. He presents Hatoum’s objective to disturb viewers, and force them to reminsis through the use of domestic objects that convey sinister meanings. He likens the severity of her work to the experience of refugees, feeling civilians, and those affected by war, massacres, and political upheaval. He poetically imparts an analysis of Mona hatoum’s work, which served to fill in the blanks and provide further insight into her art practice.

Relations between conceptual and performance art

The article by Frazer Ward examines the relationship between conceptual and performance art. He illustrates this through his analysis of two performance pieces, Ian Burn’s Mirror Piece (1967) and Step Piece (1970). Ward’s analysis centres on the idea of performance art as a challenge to the limitations of conceptual art, with a focus on rationality. Ward sees performance and conceptual art as ‘… engaged in a continuing dialogue, sometimes a conversation, sometimes an argument’.

Burn’s Mirror Piece is used as an example of a conceptual piece in its abandonment of aesthetic authority. Ward raises the issue that Burn’s work illustrates, ‘…that it is one thing for a work explicitly to reveal its “ideation premise,” but another for artists to simply state their intentions’. The notes that accompanied the mirror, in the piece, provide evidence of Burn’s priority of placing emphasis on the linguistic over the visual.

The second performance piece, Step Piece, Ward depicts as a piece which, within a broad conceptual framework, models a different version of the subject of aesthetic experience. He observes that the work offers a ‘…model of the subject for whom the language of rationality has intimately physical effects. Rationalism alone, in this context, guarantees nothing to aesthetic experience’

Burn uses both pieces to show evidence of the connection between conceptual and performance art.

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art and the archive

Matej Krén, a Slovakian contemporary artists, has focused mainly on the means of amplification and the communication of knowledge, establishing suggestive links between their historical and ideological relativity and the experimentation with many forms of optical and perceptual illusion.

books in this installation are used as raw materials for an artistic process existing and communicating on many distinct levels.

Books generally a historical and archival reference of knowledge have been transformed into a surrounding tomb like architectural structure in a powerful way

The common reference to a library like scenario points us in the direction of curiosity of the books themselves and their contents. This then takes the books away from a material only bases and categorises them into a documentation like manner.

http://www.youtube.com/watch?v=6K21F26Gb0o

art and globalism

Do-Ho Suh is a Korean artist who moved to the United States. His definition of Globalism is the “mass or the collective that is made up of individual or it can be viewed as the collective vs the individual.”

After Do-Ho Suh fulfilled his term of mandatory service in the South Korean military he then states “the danger following globalism is the threat of the loss of the identity of the individual or of single nations as the attention is concentrated on the greater good of the whole, where the smaller people or countries may get left behind. Some argue that globalism creates opportunities that would never before had been possible for the individual”.

Through his work Do-Ho Suh shows this duality in globalism. The installation Some/One 2001 is thousands of metal dog tags, which make up this emperors style of jacket or a coat of armor. This suggests of the thousands of people that may have lost their lives protecting a nation.

art and politics

Chen Wenling’s political sculpture resembles a like Bernie Madoff (Bernard Lawrence) a former American stockbroker, entrepreneur, and investor. This art work uses many signs any symbols to resemble a comical message about American politics and scandals. Bernie Madoff ressembled as a devil-man being smashed by the economy represented by a giant golden bull he helped to depress and soon went to jail for. This artwork both visually and ironically plays on words and their meanings. “放屁“ (fang pi) in Chinese literally means to fart but in slang it means to bluff or lie."

art and spirituality

Art and spirituality

This installation, Gdansk ‘?’, was created by Robert stadler located In the St John gothic church in Gdansk. Visitors enter the church through a lateral door and first see a scattered group of luminous spheres hovering in the choir. As they approach the centre of the room, the spheres form a giant question mark. This installation is powerful not only in its visual appearance but by its location and conceptual idea. By placing a question mark in the middle of a church is highly controversial, as the implication of this symbol would appear to raise the question of doubt in the religion. But to look in further of this conceptual meaning the process of how this question mark is visible changes the initial meaning of this artwork. Because the figure becomes abstracted again as the viewer moves through the cathedral the lights Contrast with the symmetry of the edifice, these mimic musical notation, or holes punctuating the architectural volume. The question (or doubt) is absorbed by the space.

Annotated bibliography

Annotated bibliography

Heartney, E. 2008. Art & Today.

• Art and architecture

• - was one of the most conservative art forms
• - stuck to its conventions, from wealth, and structural satiability
• - restricted within budget, zone, safety laws
• - opportunity to stretch their imaginations
• - people called artists rather than architects because they reject rationality for fantasy
• -
• - started in modernism
• - Frank Gehry’s Guggenheim bilbao
• - Cubists arrangement of curves and planes of glinting titanium steel that gives no hint on the building purpose or internal configuration.

Noble, Richard, 2009, Utopias, critical utopia Documents of contemporary art

• - Dan graham
• - “it begins with minimal art, but its about spectators observing themselves as they are observed by other people”
• - beginning artistic practices. Peformance installation Roll. 2 projections on either side of the wall.
• - Artist rolling around on the floor
• - Views from hand held camera and external view
• - Started his concept of visual angles and surveillance
• - Phenomenological experience
• - Pavilions would later emerge from this concept combining this experience with architectural visual and structural qualities
• - Graham uses self irony anarchic humor allied to the utopian aspiration in his artworks

Brouwer, Marianne, 2001, Dan Graham : works, 1965-2000

• - Hybrid of Functional spaces with a structural object
• - pavilions structural element mirrored the qualities of the modern skyscraper
• - the glass he used was double sided
• - creating a faint fun house effects
• - basic of spatial distinctions are confused
• - unlike architectural buildings his works were not restricted to any particular zone.
• - Environment varied
• - Light and surroundings
• - Resembles different types of architecture

• - Pavilion Influenced by Moon Windows
• - Depending on where you stand the reflection will show a different stage of the moon cycle

Art & Politics - Voina

Voina is a Russian performance group who are known for their political and provocatively charged works. Their most recent stunt titled "Palace Revolution" involved a cordinated over turning of Moscow police cars in protest against the Ministry of Home Affairs. Due to this stunt two of the groups members, Oleg Vorotnikov & Leonid Nikolayev were taken without warrant an imprisioned to await trial. The members were bailed thanks to fund raising from fellow street artist Banksy, who donated $147 000 to the group.
Some of the groups other pranks have included; a public orgy at the State Biological Museum infront of a banner ridiculing Medvedev; live cats being thrown at McDonald's staff during International Worker's Day; and a huge skull and crossbones projected onto Russian Parliament

This video (which didnt have a share option for blogger so ill just post the link) features some of the groups stunts and an interview with the group's coordinator
http://vimeo.com/10365363

Body Reading Summary

The reading discussed the notion of conceptual art attempting to remove the elitist connotations attached to the art world at the time. What I found interesting was its complete failure to do so. Conceptual art is very concerned with the exploration of language as the underlying condition of aesthetic experience and this exploration led to the formation of a conceptual art language, effectively making the art form more elitists as you must have an understanding of this lanuage to understand the art. This focus on the raw idea of art in an obsessional and rationalistic way again forced audiences against the work as the aesthetics they were used to were stripped away, replaced with language and documentation of process which needed to be decifered

Art & Archive

In my research on art and politics I found this website for a magazine called Guernica and found a link to this work by Legacy Russell in October 2011 in Manhattan. The work features minature shrines all with tags describing people who had lived and died there. Over the period of the instillation members of the community laid flowers by the shrines.
http://www.guernicamag.com/art/3122/russell_art_10_1_11/

Space: Vantage Point and Image-Worlds

A point that really grabbed my attention in the reading was Ron Burnett's discussion of photography and vantage point. The photo in which he is referring to is 'smokestack against the nights sky'. He talks about this need we have to read images, to create images, which has shifted photography away from being seen as simply records of the world, to forms of art. We as viewers and even creators of images find a need to read an image like a text, find meaning in it, establish relationships with historical events an personal experiences to reach an interpretation of it. it is in this discussion that he questions whether vantage point is a direct and inherent thing or whether it has to be created by the viewer. With th photo he is referencing, he talks of how it is representational of all he feels about his research into the Holocaust, even though independantly the photo has nothing to do with this even, not even the time period.

art and archive

i think that art and archive ties in really well with the text based works we were creating for our morning class with amanda . works like sophie's, tom's and adrew's really capture the ideas behind art and archive. there is obviously a big link between archival art and also conceptual art this is clear in the links that can be drawn between the works we created and other examples of archival art.

art and globalism

i was looking at the work of chen zhen for at and globalism although i missed the class. i think Zhen's work encaptulates globalism by taking on issues such as money religion and culture. Zhen art incorporates images from eastern and western culture and ties them together to make a comment on issues caused by globalism.

here is a link to his site
http://www.chenzhen.org/chenzhen_english.htm

ron Burnett summary

A point I found particularly interesting in Burnetts essay. was his anecdote of the photo of jane. this point talks about the sentimental value of a photo graph and how memory and a relationship can be had with particular photo. i.e. if the photo of jane were to be tore up not only does it violate the photo but it violates jane. when really all that happening is someone is tearing up a piece of paper with ink on it. Why is the sentimental value of some photo's higher than others when in reality they are all just ink on paper.

art and body

frazer ward talks a lot about the work of chris burden in particular the work shoot, and how this work is a perfect example of the relationship between Performance art and Conceptual art. frazer explains the work as a work that.
"at first glance seems emphatically counter to the rational analyses of Conceptualism, has in common with Conceptualism the fact that it is the (painfully) empirical working through of a predetermined plan. Not only that, but it now exists primarily as documentation (and what
Burden refers to as "relics"), so that its material existence, as with much performance art, somewhat resembles the characteristic forms of Conceptual art."

i agree with sophie's post on this subject she says she has never seen conceptual art and performance as seperate entities. i think simply performance can't exist without conceptual art.


here is the video if anyone missed it in the class

art and politics annotated bibliography

http://obeygiant.com/
this is the artists site. i found this the most useful it offered examples and downloads of his works. it also had a copy of his manifesto. the site had a lot information about his political motivation. ultimatley i found this source the most useful as it is direct from the artist and it made his intentions clear.

http://www.charlierose.com/view/interview/10047
this is an interview with Fairey which mostly about his Obama poster. this article was particularly useful for the poster but it didn't go into depth about many of his other projects.

Juxtapoz : poster art / [writer, Kevin Thomson ; design, Justin Van Hoy].
this book was also really useful. there was lots of info on poster art as a whole. it talked about the political motivation of a lot of the poster artists. it also had quite an extensive section on shepard fairey. in this section they had good examples of works which was useful as Fairey's obey site had more of a database of all the works he had done throughout his life.

Some Relations between Conceptual and Performance Art

In this article, Frazer Ward observes conceptual art and performance during the 60’s and 70’s and comments on the perceived similarity of the two and argues that performance art – as art – must co-depend upon conceptual themes for legitimisation.

He begins by specifying the two key focuses:

“Conceptual art might be considered as work that emphasised the underlying conditions of aesthetic experience: Language was seen as foremost among the conditions. Material for and sensory perceptions were made secondary to analyses of their discursive and institutional themes. Performance art, on the other hand, seems relatively straight forward to define, ‘as a form of art that happens at a particular time in a particular place where the artist engages in some sort of activity, usually before an audience’. The main difference between performance art and other modes of visual art practice, such as painting, photography and sculpture, is that it is a temporal action.”

The focus of the argument centres around Acconci’s Step Piece and it is argued that while it is a performance action, the existing work is documentation of the execution of written instructions. Therefore what the work provides is subject to a prior conceptual scheme. As a result, Kosuth argues, the work inquires into the very foundations of the concept of art itself.

ART & SPIRITUALITY - Cornelia Parker

Cornelia Parker is a English sculptor and installation artist. her sculptures are visually captivating and explore humanities perilous relationship with the world through spirituality. her works are often suspended in animation, capturing the moment the object itself explodes. I found this work to be rather ammusing in concept and a great comment on the push and pull of the science versus religion debate, and also looks at faith, a foundation of spirituality.

Cornelia Parker's Mass (Colder Darker Matter) was originally featured in the 1997 Turner Prize Exhibition at the Tate Gallery. Parker's haunting installation was constructed from the charred remains of a Texas church that was struck by lightning. The Tate's Turner Prize brochure described the work as “chunks and splinters of charcoal…suspended from the ceiling to form the illusion of a cube, dense at the centre, thinning at the edges. It appears at once flat and three-dimensional, but never solid, almost disintegrating before our eyes.”
Deitch Projects' exhibition of Parker's Mass (Colder Darker Matter) was awarded the International Association of Art Critics Prize (US) for Best Show by an Emerging Artist in 1998.

'Some Relations between Conceptual and Performance art' - Frazer Ward, Summary

Frazer first outlines the typical perceptions that surround performance and conceptual art and their relations to each other, most of all, their differences. He soon begins to outline their characteristics; Conceptual art with its emphasis on the public, rationality and the reverence it gives to language over material and the senses; Performance art confined by its temporality and its strong connection to the physical. But soon after these differences are brought to light, they are completely broken down. The symbiotic relationship that has manifested itself between the two over many decades becomes clearer. Though performance art has never been declared a movement as Conceptual or Minimalist art has, that also means it has had the advantage of being an “undercurrent” of almost all major art movements. After realising the part performance has had to play in art, it doesn’t seem too hard to picture it as a vital element in Conceptual art. Instead of naively observing them as separate entities, we gain insight into the way that the concept can breed aesthetic and physical qualities; and reversely, performance can breed conceptual branches. With these common threads one relies on the other and vice versa. Performance challenges the claims that conceptual art is in denial of its own burden of physicality and publicity while conceptual art incorporates Bochner’s claim that all art has a physical aspect. Even the rationality of conceptual art is questioned through Acconci’s Step Piece which as a performance also has a conceptual base found in the linguistic premise of the work. It shares nothing in common with rationality except for the fact that it possesses intention and carries it out as expected. In this one work the connections between performance and conceptual art become transparently clear.

One though that I had, which doesn’t really have an important connection to the text is the statement that presents the distinct difference in a work that explicitly reveals its ideational premise and an artist who dictates his/her intentions. It made me wonder if one or the other had a greater purpose to serve in contemporary art. Do we need work that gets us started, leaving us to create the work ourselves in a way, or would we benefit from work that tells it how it is without any grey areas. The former suggests a trust is present in the audience to responsibly handle the works potential by themselves; but I think the latter can have the upper hand from time to time, considering the audience isn’t always as well informed as the creator and not as inclined to apply the same attention, consideration or action to the work. The artist might find it more advantageous to just spell it out. I’m on the fence with these ideas but I think it may be an issue better considered on an artwork-to-artwork basis.

SUMMARY: 'Some Relations between Conceptual and Performance art' - Frazer Ward

Conceptual art amplifies underlying states of aesthetic experience - LANGUAGE: communication through material form and sensory perception. Is considered elitist which is IRONIC in regards to origins of conceptual art being anti-elitist (Marcel Duchamp). Performance art is harder to define because it wasn't a movement, it kind of weaved in and out through contemporary art since the 1960s and the Happenings.

In the late 1960s to the '70s conceptual art and performance collided; conceptual art is RATIONAL, which means the work has cause and effect - performance art is iffier in this rational communication because their main material is their body, where Ward raises the Duchampian found object/Readymade theory ("Anyone can do it" notion is trumped by artists' process to form the concept and how they translate it through the object, in this case, their body), so the means by which they project information is even more subtle and at times, more incomprehensible. And because their was no movement, they cannot really be defined with a "style" BUT they are more accessible by considering the overarching theme in their concepts (Chris Burden embodies danger; Zhang Huan post-Mao China and Buddhist mindset of experiencing the "now"; Vito Acconci combines physical and emotional intimacy with the public, etc.).

The audience's sensory perception exceeds not only sight and aural senses but is ACTUALLY witnessing the creation of the work; their subjectivity is really put on the spot and their response is more immediate, therefore the artist must take into account of everything in their work (movement, attitude, environment, audience). Though that is not to say that they are driven by "intent" - conceptual performance artists should be pretty lenient on their outcomes (Burden's 1974 'Trans-fixed') but their priority is predominately how their actions communicate their concept. "... in order to speak the artist is not only trapped but let go in art" they are so embodied by concept their mindset is just to evoke it through actions and representation. In conclusion, conceptual performance art kicks major ass, yeeeeaahhhh booiiii!