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Artículos de revistas sobre el tema "Performance art"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

Botirova, Khilola Tursunbaevna. "Performance And Art." American Journal of Social Science and Education Innovations 03, no. 05 (2021): 465–74. http://dx.doi.org/10.37547/tajssei/volume03issue05-83.

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This article provides detailed information about the performing arts, including scientific and theoretical information about the commonality of performance and art. The scholars’ scientific approaches to music are described in detail.

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2

Heyd, Thomas. "UNDERSTANDING PERFORMANCE ART: ART BEYOND ART." British Journal of Aesthetics 31, no. 1 (1991): 68–73. http://dx.doi.org/10.1093/bjaesthetics/31.1.68.

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3

Reid, Robert L. "Performance Art." Civil Engineering Magazine Archive 82, no. 1 (2012): 46–55. http://dx.doi.org/10.1061/ciegag.0000384.

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4

Gavin, Gaynell. "Performance Art." Prairie Schooner 80, no. 1 (2006): 74–76. http://dx.doi.org/10.1353/psg.2006.0069.

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5

Wilson, Martha. "Performance Art." Art Journal 56, no. 4 (1997): 2–3. http://dx.doi.org/10.1080/00043249.1997.10791841.

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6

Moon, Bruce L. "Art Therapy Teaching as Performance Art." Art Therapy 29, no. 4 (2012): 192–95. http://dx.doi.org/10.1080/07421656.2012.730954.

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7

Sherwood, Yvonne. "Prophetic performance art." Bible and Critical Theory 2, no. 1 (2006): 1.1–1.4. http://dx.doi.org/10.2104/bc060001.

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8

Berkus, Gunther. "Performance Art Now." Circa, no. 24 (1985): 14. http://dx.doi.org/10.2307/25556996.

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9

Carson, John. "Performance Art Tips." Circa, no. 111 (2005): 49. http://dx.doi.org/10.2307/25564270.

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10

Dirmoser, Gerhard, and Boris Nieslony. "Performance Art Kontext." Performance Research 6, no. 2 (2001): 109. http://dx.doi.org/10.1080/13528165.2001.10871793.

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11

Reed, Elliot. "Performance Art Is…" TDR/The Drama Review 64, no. 4 (2020): 2. http://dx.doi.org/10.1162/dram_a_00961.

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In this manifesto, the artist inserted his body via dance clips and gestures from the studio throughout the text. The work is an attempt to outline what performance can be in the absence of an audience, when studio practicing has shifted into video work, music, and scores during this national shutdown.

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12

Roms, Heike. "Training for performance art and live art." Theatre, Dance and Performance Training 11, no. 2 (2020): 117–25. http://dx.doi.org/10.1080/19443927.2020.1769377.

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13

Burnham, Linda Frye. ""High Performance," Performance Art, and Me." Drama Review: TDR 30, no. 1 (1986): 15. http://dx.doi.org/10.2307/1145710.

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14

Isitman, Odul. "The object of art, which exists ‘presently’: Performance art." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (2021): 35–42. http://dx.doi.org/10.18844/prosoc.v8i1.5789.

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The break between object and image was added to the perception of reality and truth which changed with the Internet, social networks and the like in the 1990s. The possibilities that technology provides completed the effort of the postmodernist discourse in art to destroy tradition. All values are being reconstructed. While art is rapidly being digitised, Performance Art has taken its places in art’s agenda. In this article, performance art will be elaborated and analysed with a focus on ceramic art. Performance art is the life itself, it is not repetitive, and it is what happens presently. It

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15

Chin, Daryl, and Jorge Glusberg. "The Art of Performance." Performing Arts Journal 9, no. 2/3 (1985): 265. http://dx.doi.org/10.2307/3245531.

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16

McMahon, Jeff. "Performance Art in Education." Performing Arts Journal 17, no. 2/3 (1995): 126. http://dx.doi.org/10.2307/3245786.

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17

Song, Hyun A., Hyun Ok Kim, Tae Hyun Lee, and Seong No Lee. "Eurythmie as Art Performance." Journal of Sport and Leisure Studies 21 (May 31, 2004): 155–64. http://dx.doi.org/10.51979/kssls.2004.05.21.155.

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18

Kameko, Elena Mikhailovna. "P.A. Serebryakov’s performance art." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 1–8. http://dx.doi.org/10.7256/2453-613x.2020.6.34518.

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The research subject of the article is the piano art of Pavel Alekseevich Serebryakov, an outstanding Leningrad pianist, pedagogue, artist and director. The research object is the mani-sided activity of this person. The author considers such aspects of the topic and the performer&rsquo;s individual style, his repertoire preferences, concert, music and social activity. The author gives special attention to particular facts of the great artist&rsquo;s biography which had influenced his performance path. The author refers to the reviews of various musical critics, colleagues and students,

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19

Jones, Dale, and Richard Bauman. "Verbal Art as Performance." Western Folklore 45, no. 1 (1986): 34. http://dx.doi.org/10.2307/1499596.

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20

Weh, Michael. "Art as Performance (review)." Journal of Aesthetic Education 39, no. 2 (2005): 114–18. http://dx.doi.org/10.1353/jae.2005.0024.

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21

Kania, A. "Review: Art as Performance." Mind 114, no. 453 (2005): 137–41. http://dx.doi.org/10.1093/mind/fzi137.

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22

Owens, Clifford. "Performance Art and Drawing." PAJ: A Journal of Performance and Art 36, no. 2 (2014): 74–77. http://dx.doi.org/10.1162/pajj_a_00201.

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23

Gaber, Ivor. "Book Review: Performance art." British Journalism Review 26, no. 3 (2015): 69–71. http://dx.doi.org/10.1177/0956474815604301b.

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24

Kinton, Leslie, Heinrich Schenker, Heribert Esser, and Irene Schreier Scott. "The Art of Performance." Journal of Music Theory 45, no. 1 (2001): 170. http://dx.doi.org/10.2307/3090653.

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25

Gatt, Caroline, and Kathryn Lichti-Harriman. "Performance, art and anthropology." Anthropology Today 25, no. 5 (2009): 25. http://dx.doi.org/10.1111/j.1467-8322.2009.00690.x.

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26

Someşan, Andreea Iulia. "Transhumanism in Performance Art." Journal of Intercultural Management and Ethics 5, no. 4 (2022): 51–57. http://dx.doi.org/10.35478/jime.2022.4.06.

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27

Gordon, Allan M. "The Art Ensemble of Chicago as Performance Art." Lenox Avenue: A Journal of Interarts Inquiry 3 (1997): 55. http://dx.doi.org/10.2307/4177062.

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28

Griniuk, Marija. "Performance Art Using Biometric Data." Art History & Criticism 17, no. 1 (2021): 101–12. http://dx.doi.org/10.2478/mik-2021-0009.

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Summary This research analyzes performance art that uses biometric data, based on two concept perspectives – inhuman interconnections and transcorporeality – applied to examples of European performance art from Lithuania, Finland, Poland, and Denmark. The term performance art theoretically refers to all art that involves the human body, human biometric data, inhuman interconnections, transcorporeality, and liminal space. This study examines the differences between wide-scope interactive art and design and performance art involving biometric data created through the application of recent develo

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29

Da Silva Ribeiro, Acsa. "Performance art, corpo e gênero." Revista Limiar 6, no. 12 (2019): 130–42. http://dx.doi.org/10.34024/limiar.2019.v6.9995.

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O artigo aborda três obras de arte performáticas: “Desajuste”, “Diálogos Silenciosos” e “Reconhecer-se”, expostas no Pavilhão Performance da SP-ARTE no ano de 2015. O objetivo é propor uma reflexão sobre a performance art e a centralidade do corpo do artista em sua composição. Dialogando com teóricos como Henri-Pierre Jeudy, Merleau-Ponty e David Le Breton, buscamos signos e símbolos presentes nas performances estudadas para propor uma interpretação que observe quais são as principais ideias presentes naqueles trabalhos. A análise permitiu que se observassem importantes inquietações dos artist

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30

Qi, Jianan. "Against authority: Performance art in 1980s China." Journal of Contemporary Chinese Art 10, no. 1 (2023): 19–38. http://dx.doi.org/10.1386/jcca_00074_1.

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This article investigates the origins of performance art in China. Early forms of performance art showed a rebellious attitude against authority in the context of social and cultural change in the 1980s. This article examines the social and art historical contexts of xingwei yishu in China and its development as an art form. Through analysing early performance practices, particularly the art group Concept 21, it discusses how performance art was used as a practical approach to reform artistic creation and reception and subvert dominant cultural norms. Given China’s hierarchical art system, thi

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31

Stiles, Kristine, Mariana W. von Hartenthal, and Fernando Cesar Ribeiro. "PERFORMANCE." Revista Crítica Cultural 19, no. 1 (2024): e20153. http://dx.doi.org/10.59306/rcc.v19e12024e20153.

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Written by Kristine Stiles, an artist and Art History Professor at Duke University, “Performance” originally appeared in 1996 as the sixth chapter of the volume Critical Terms for Art History, edited by Robert S. Nelson and Richard Shiff. The essay’s goal is to theorize the genre that brings the artist as both the subject and object of the artwork. According to Stiles, performance constructs a transpersonal visual aesthetic that functions as an interstitial continuum connecting subjects through mutual identification. That identification spans from agreement to opposition but rarely achieves re

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32

Webb, Virginia-Lee. "Foreign Bodies: Performance, Art, and Symbolic Anthropology:Foreign Bodies: Performance, Art, and Symbolic Anthropology." Museum Anthropology 17, no. 2 (1993): 87–89. http://dx.doi.org/10.1525/mua.1993.17.2.87.

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33

Khachatryan, D. "PSYCHOLOGICAL ASPECTS OF STAGE PERFORMANCE ART." Sciences of Europe, no. 110 (February 7, 2023): 20–22. https://doi.org/10.5281/zenodo.7618230.

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The life of a stage performer is full of surprises that are impossible to evade. Performances are held every time in different circumstances, in different environments․ The performer sees an instrument of a new quality and features every time on stage, sometimes without prior rehearsals on the stage, and occasionally gets acquainted with those features, advantages, and disadvantages of the instrument only during a concert performance. During the performance, the behavior and reactions of the audience, the physical and psychological state of the performer, his/her mood, and the presence of vari

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34

k, k. "Contemporary Media Art Performance under the Visual Threshold of Interpretation." Northeast Asian Business and Economics Association 4, no. 2 (2023): 65–72. http://dx.doi.org/10.51156/jnabe.2023.4.2.65.

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Purpose - Introduce contemporary media art, study the virtual representation forms of contemporary media art, and deeply explore the artistic meanings expressed by their forms of expression. Design/Methodology/Approach - Based on the characteristics of artistic expression such as innovation and interactivity, this article applies the three elements of understanding, interpretation, and application in hermeneutics theory to interpret multimedia art works. Findings - This article analyzes contemporary media art works from three dimensions of hermeneutics: understanding, interpretatio

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35

Berghuis, Thomas J. "Bodies in action: Performance art in China." Journal of Contemporary Chinese Art 10, no. 1 (2023): 3–18. http://dx.doi.org/10.1386/jcca_00073_2.

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This editorial considers the role of action in the development of performance art, from the late 1970s until today. It is based on the original call for articles for this Special Issue on ‘Performance Art in China: Bodies in Action’ that called for papers on a diverse range of topics. Topics that relate to Chinese terms and conditions for performance art and topics that cover a broad range of histories and conditions related to the art historical development of performance art in China, from the late 1970s until the present day. The editorial raises the important role performance art has playe

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36

Jowitt, Deborah, and Jill Johnston. "Secret Lives in Art: Essays on Art, Literature, Performance." Dance Research Journal 29, no. 1 (1997): 78. http://dx.doi.org/10.2307/1478240.

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37

Chow, Whiskey, and Naying Ren. "Queering boundaries: Art, politics and activism in performance art." Journal of Contemporary Chinese Art 6, no. 1 (2019): 131–53. http://dx.doi.org/10.1386/jcca.6.1.131_7.

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38

Garoian, Charles R. "Performance Art as Critical Pedagogy in Studio Art Education." Art Journal 58, no. 1 (1999): 57. http://dx.doi.org/10.2307/777882.

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39

Garoian, Charles R. "Performance Art as Critical Pedagogy in Studio Art Education." Art Journal 58, no. 1 (1999): 57–62. http://dx.doi.org/10.1080/00043249.1999.10791920.

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40

Han, Chanhee, and Youn-Gon Kang. "Importance-Performance Analysis of Audiences for Traditional Art Performances." Journal of Korea Culture Industry 20, no. 1 (2020): 43–52. http://dx.doi.org/10.35174/jkci.2020.03.20.1.43.

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41

Shkliarenko, Zhanna. "Performance Art: Interart, Intermediality and Interdisciplinarity." NaUKMA Research Papers. History and Theory of Culture 4 (June 15, 2021): 99–105. http://dx.doi.org/10.18523/2617-8907.2021.4.99-105.

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At the end of the 20th century performance art, as a rule, avoids pigeonholing itself as a separate form of the creative process, particular scientific orientation, or a definitive kind of art; it is an art of subliminal hints that everyone can perceive at their own discretion. Performance art involves mandatory involvement of the public and active communicative function. In an attempt to draw the attention of the public to the problem in performance art irony, epatage, exaggeration, metaphor, and association highlights of socialphenomena that provoke the viewer indirectly or directly to some

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42

Cheng, Meiling. "Politics of Performance/Performance of Politics." TDR: The Drama Review 68, no. 2 (2024): 55–78. http://dx.doi.org/10.1017/s1054204324000054.

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The 2022 anti–zero Covid White Paper protests that erupted in China and its diaspora demonstrated the intertwinement of politics and performance in contemporary China. The symbolic dimensions of blank sheets of A4 paper and other performative tactics used in these demonstrations exemplify the shifting roles of performance art in the field of contemporary Chinese art.

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43

Purba, Setia Dermawan, Frida Deliana, Prikuten Tarigan, and Evawany Aritonang. "The Art of Traditional Music Performance Management to Improve Live Performance in Siponjot Village." ABDIMAS TALENTA: Jurnal Pengabdian Kepada Masyarakat 5, no. 2 (2020): 638–46. http://dx.doi.org/10.32734/abdimastalenta.v5i2.5423.

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Siponjot village, Humbang Hasundutan is nurtured to be an art village which have already have several art center within the village. Sanggar Seni Silaban Margu (Art Studio) is one of the art studios that is also active in producing wood-based traditional musical instruments. The Silaban Margu periodically holds training for its members to perform art performances. Unfortunately, a performance art that is not well packed will only lose the spotlight while performing art. The main purpose of this community services is to help the performance management by providing knowledge transfer that is ben

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44

Apple, Jacki. "Notes on Teaching Performance Art." Performing Arts Journal 17, no. 2/3 (1995): 121. http://dx.doi.org/10.2307/3245785.

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45

White, John. "A Course in Performance Art." Performing Arts Journal 17, no. 2/3 (1995): 133. http://dx.doi.org/10.2307/3245787.

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46

Rush, Michael, Philip Glass, Robert Wilson, Gary Hill, Meg Stuart, and Damaged Goods. "Art Extensions: Technology and Performance." PAJ: A Journal of Performance and Art 21, no. 2 (1999): 57. http://dx.doi.org/10.2307/3246004.

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47

Rush, Michael. "A Note: Performance Art Lives." Fashion Theory 5, no. 3 (2001): 331–41. http://dx.doi.org/10.2752/136270401778960874.

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48

Nedelcu, Liviu. "Performance Art After The 1990s." Theatrical Colloquia 10, no. 1 (2020): 74–87. http://dx.doi.org/10.2478/tco-2020-0005.

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AbstractPerformance art has become over-represented in contemporary art museums, at art fairs, at major international exhibitions. In this context, I have proposed a brief overview of the history of performance in North America and Europe, to identify conceptual variations or continuities in post-1989 performing arts practices. What kind of queries caused the resort to the body? Which of the criticisms are still current and which new issues are formulated in the present geopolitical framework or in particular socio-political contexts? In order to answer these questions, I’ve selected a number

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49

Kinsey, T. A. "Cleveland Performance Art Festival Closes." Afterimage 27, no. 1 (1999): 3. http://dx.doi.org/10.1525/aft.1999.27.1.3.

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50

Burrus, Virginia. "Saints’ Lives as Performance Art." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 10, no. 1-2 (2019): 88–102. http://dx.doi.org/10.1558/post.38245.

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