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Artículos de revistas sobre el tema "Performance art"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 9 de junio de 2025

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1

Botirova, Khilola Tursunbaevna. "Performance And Art." American Journal of Social Science and Education Innovations 03, no. 05 (May 31, 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 (January 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 (December 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 (December 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 (February 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 (January 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 (December 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 (April 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 (June 4, 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 communes with the audience. As the object of art that exists at the moment, it cannot be bought, sold or moved. It is a way of transmitting the artist’s ideas in an unusual, striking and unmediated way that is different from the traditional art forms. In the performances, it is mostly seen that breaking traditional forms, using the clay in raw form rather than firing it, reflecting the plasticity of the clay and revitalising it are used as assets. Performance art is a model of rebellion against the era in which we are imprisoned in mass communication and distanced from reality under the image bombardment. It is necessary to see the performance art as an experiment or suggestion, as the object of art which exists presently, rather than as a show to meet expectations.  Keywords: Present time, art, performance art, ceramics, process, audience.

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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 (May 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, as well as Serebryakov&rsquo;s own performance views drawn from autobiographical notes and interviews. Based on the author&rsquo;s conversation with P. Serebruakov&rsquo;s grandson P.V. Dmitriev, the author reveals the methods of the pianist&rsquo;s individual work with the repertoire and some peculiarities of his performance thinking. The scientific novelty of the research consists in the fact that it uses rare previously unpublished archive materials covering performance and music and social activity of P.A. Serebryakov, including: The Serebryakovs family archive documents provided by Serebryakov&rsquo;s grandson P.V. Dmitriev Materials, reviews and newspaper articles kept at the Central State Archive of Literature and Arts (fund 214) Audio recordings from the sound library of St.Petersburg Conservatory Materials of Serebryakov&rsquo;s conversations with students The research material can be used by young musicians, as well as the pedagogues of special music schools for illustrative and educational purposes. &nbsp;

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19

Jones, Dale, and Richard Bauman. "Verbal Art as Performance." Western Folklore 45, no. 1 (January 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 (January 1, 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 (May 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 (September 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 (October 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 (December 31, 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 (November 15, 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 developments in consumer technology for live events. This research examined three case projects through the method of autoethnography. The data presented in the article was either collected during the author’s performance art events or at performances the author was attending as a visitor. The cases are analyzed by means of qualitative data analysis, utilizing terms representing human biometric data and interactivity adopted from research within the fields of interactive art and interactive design. The study examines the combination of biometric data and art to explain the phenomenon of humans meeting technology, revealed through data collected from a body and transmitted to an audience during a performance art event. The conclusion revisits the key terms – performance art, biometric data, inhuman interconnections and transcorporeality – as applied to artistic practices, where performance art and biometric data meet.

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29

Da Silva Ribeiro, Acsa. "Performance art, corpo e gênero." Revista Limiar 6, no. 12 (November 21, 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 artistas e provocações que os mesmos fizeram, em suas obras, no tocante às noções de gênero. Além disso, o estudo propiciou verificar a importância do corpo do artista como matéria-prima essencial para a execução das performances, compondo um texto especial que é apropriado para essas manifestações artísticas. Assim, conclui-se que essa linguagem artística contemporânea tem sido de fato um importante veículo de realização das propostas de aproximação entre a arte e a vida.

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30

Qi, Jianan. "Against authority: Performance art in 1980s China." Journal of Contemporary Chinese Art 10, no. 1 (August 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, this article also addresses the factors that created spaces for radical performances under the art bureaucracy, including administrative reform, ambiguous guidelines, art education reform and exhibition policy.

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31

Stiles, Kristine, Mariana W. von Hartenthal, and Fernando Cesar Ribeiro. "PERFORMANCE." Revista Crítica Cultural 19, no. 1 (October 7, 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 resolution. Central to Stiles’ interpretation of performance is her concept of commissure, which signifies the dual operations of linkage: 1. Connection, and 2. Entrustment. The author utilizes this concept and traces a brief history of performance art since the early 20th to examine Jim Dine’s work The Smiling Workman (1960). Her discussion includes artists and movements such as Oskar Schlemmer and the Bauhaus, Hermann Nitsch and the OMT, Guy Debord and the Situationist International. Stiles concludes that performance “tells a truth about art” that is based on the processes of making and the emphasis on the human body as the center of art production.

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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 (June 1993): 87–89. http://dx.doi.org/10.1525/mua.1993.17.2.87.

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33

k, k. "Contemporary Media Art Performance under the Visual Threshold of Interpretation." Northeast Asian Business and Economics Association 4, no. 2 (November 30, 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, interpretation, and application. The conclusion is that artists express their desire for balance and wisdom, their perception of the world's spiritual state through multimedia forms, and also enable readers to associate and make independent judgments about the works, thereby exploring their own spiritual world and perceptual experience. At the same time, participants themselves are also creating meaning, interpreting value, completing perception, determining intention, and jointly explaining the humanistic value and responsibility of the work with the artist. Research Implications - The study of cultural communication at the visual level plays an important role in the development of social information. Multimedia image visual art has been integrated into daily aesthetic life in the form of popular culture, becoming the most important carrier for exploring artistic life. This article combines theory and practice, using typical art cases for specific analysis, in order to better apply contemporary multimedia art theory to artistic creation, and provide fresh materials and beneficial attempts for the research of digital media art application theory.

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34

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 various mishaps and mistakes in one way or another affect the overall quality of the performance, the tempo of the work, rhythm, pedalization, dynamics, as well as the presentation of the composition, and detection and solution of the problems with the proficiency. But on stage, in every situation, the performer has to be able to show stress resistance and be ready to benefit from undesirable mistakes.

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35

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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36

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

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37

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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38

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

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39

Berghuis, Thomas J. "Bodies in action: Performance art in China." Journal of Contemporary Chinese Art 10, no. 1 (August 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 played in the history of contemporary art in China. It extends this position to an argument for understanding the important role of performance art in the development of contemporary art worldwide, including in Asia. It does this by considering the art historical study of practices of performance art – and their relation to art, action, space and time – pointing at how each of these performances is considered a prepared action (happening or performance) by the artist, involves the preparation of materials, and invokes temporal and durational experiences, including in performance remediations. The editorial sees the social context of performance art as apparent. Yet, it also raises the important conditioning of performance art as a medium, a medium that can be trained as well. And, as a medium, linked to other mediums and media. The editorial raises concern with past and present urgings that consider performance art a restricted field and instead raise broad conditions of performativity and performative art, positioning the study of performance art as study of art conditioned by action and by the (urgent) condition to perform. In China, as well as elsewhere in Asia, the condition to perform is often urgent and unavoidable, including in the way performance art (art to perform) concerns artists working through conditions of art in relation to social reality. The articles in this Special Double Issue feature a range of examples of such conditions, which are introduced in this editorial, to strengthen the knowledge that performance art is an important field in the study of Chinese contemporary art and countering some of the ongoing criticism and censoring of performance art in China.

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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 (March 31, 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 action or reflection on certain social issues, connecting the moment of interactivity are widely used. In addition, public art, which includes performance art, focuses on the unprepared spectator and involves communication with the city’s space and its inhabitants. Democracy in performance art is manifested through the choice of a topic that can relate to any aspect of life. All performances art in the early 21st century are united by external orientation, having an onlooker in mind, but any individual performance art is aimed at the idea of awakening the mind of the viewer.

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42

Cheng, Meiling. "Politics of Performance/Performance of Politics." TDR: The Drama Review 68, no. 2 (June 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 (December 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 beneficial to the art studio in terms of empowering village communities, especially the art studio community, on how to give a punch in a cultural arts show that is associated with the exhibition and marketing of handicraft products that have been produced while creating creative economic transactions.

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44

Apple, Jacki. "Notes on Teaching Performance Art." Performing Arts Journal 17, no. 2/3 (May 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 (May 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 (May 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 (August 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 (May 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 of national and international male/ female artists whose practices illustrate the main directions in today’s performance art.

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49

Kinsey, T. A. "Cleveland Performance Art Festival Closes." Afterimage 27, no. 1 (July 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 (June 24, 2019): 88–102. http://dx.doi.org/10.1558/post.38245.

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