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Articles de revues sur le sujet « Performance art »

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Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 25 juillet 2024

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1

Botirova, Khilola Tursunbaevna. « Performance And Art ». American Journal of Social Science and Education Innovations 03, no 05 (31 mai 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 (janvier 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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Wilson, Martha. « Performance Art ». Art Journal 56, no 4 (décembre 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 (décembre 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 (février 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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Carson, John. « Performance Art Tips ». Circa, no 111 (2005) : 49. http://dx.doi.org/10.2307/25564270.

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Dirmoser, Gerhard, et Boris Nieslony. « Performance Art Kontext ». Performance Research 6, no 2 (janvier 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 (décembre 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 (2 avril 2020) : 117–25. http://dx.doi.org/10.1080/19443927.2020.1769377.

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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 (4 juin 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, et 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 (mai 1995) : 126. http://dx.doi.org/10.2307/3245786.

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17

Song, Hyun A., Hyun Ok Kim, Tae Hyun Lee et Seong No Lee. « Eurythmie as Art Performance ». Journal of Sport and Leisure Studies 21 (31 mai 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 (juin 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’s individual style, his repertoire preferences, concert, music and social activity. The author gives special attention to particular facts of the great artist’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’s own performance views drawn from autobiographical notes and interviews. Based on the author’s conversation with P. Serebruakov’s grandson P.V. Dmitriev, the author reveals the methods of the pianist’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’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’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.  
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19

Jones, Dale, et Richard Bauman. « Verbal Art as Performance ». Western Folklore 45, no 1 (janvier 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 (1 janvier 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 (mai 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 (septembre 2015) : 69–71. http://dx.doi.org/10.1177/0956474815604301b.

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24

Kinton, Leslie, Heinrich Schenker, Heribert Esser et 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, et Kathryn Lichti-Harriman. « Performance, art and anthropology ». Anthropology Today 25, no 5 (octobre 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 (31 décembre 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 (15 novembre 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 (21 novembre 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 (1 août 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

k, k. « Contemporary Media Art Performance under the Visual Threshold of Interpretation ». Northeast Asian Business and Economics Association 4, no 2 (30 novembre 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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32

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

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33

Jowitt, Deborah, et 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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34

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

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35

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

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37

Han, Chanhee, et Youn-Gon Kang. « Importance-Performance Analysis of Audiences for Traditional Art Performances ». Journal of Korea Culture Industry 20, no 1 (31 mars 2020) : 43–52. http://dx.doi.org/10.35174/jkci.2020.03.20.1.43.

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38

Berghuis, Thomas J. « Bodies in action : Performance art in China ». Journal of Contemporary Chinese Art 10, no 1 (1 août 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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39

Shkliarenko, Zhanna. « Performance Art : Interart, Intermediality and Interdisciplinarity ». NaUKMA Research Papers. History and Theory of Culture 4 (15 juin 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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Cheng, Meiling. « Politics of Performance/Performance of Politics ». TDR : The Drama Review 68, no 2 (juin 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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Apple, Jacki. « Notes on Teaching Performance Art ». Performing Arts Journal 17, no 2/3 (mai 1995) : 121. http://dx.doi.org/10.2307/3245785.

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

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

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

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Nedelcu, Liviu. « Performance Art After The 1990s ». Theatrical Colloquia 10, no 1 (1 mai 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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Kinsey, T. A. « Cleveland Performance Art Festival Closes ». Afterimage 27, no 1 (juillet 1999) : 3. http://dx.doi.org/10.1525/aft.1999.27.1.3.

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Burrus, Virginia. « Saints’ Lives as Performance Art ». Postscripts : The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 10, no 1-2 (24 juin 2019) : 88–102. http://dx.doi.org/10.1558/post.38245.

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Davies, David. « Précis de Art as Performance ». Philosophiques 32, no 1 (2005) : 207. http://dx.doi.org/10.7202/011071ar.

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Knapp, Bettina L., Bonnie Marranca et Gautam Dasgupta. « Conversations on Art and Performance ». World Literature Today 74, no 1 (2000) : 250. http://dx.doi.org/10.2307/40155555.

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Tubridy, Derval. « Samuel Beckett and Performance Art ». Journal of Beckett Studies 23, no 1 (avril 2014) : 34–53. http://dx.doi.org/10.3366/jobs.2014.0085.

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‘Samuel Beckett and Performance Art’ explores the interconnections between Performance Art and Samuel Beckett's prose and drama. It analyses the relations between Beckett's work and that of Franz Erhard Walther, Bruce Nauman, Dennis Oppenheim, Vito Acconci, Chris Burden, Marina Abramovic, Alastair MacLennan and Amanda Coogan. It concludes that examining Beckett in the context of Performance Art enables us to reconsider elements vital to his theatre: the experience of the body in space in terms of duration and endurance; the role of repetition, reiteration and rehearsal; and the visceral interplay between language and the body.
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