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Статті в журналах з теми "Performance art"

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Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 11 березня 2023

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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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Анотація:

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.

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.

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.

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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Анотація:

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.  

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

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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27

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.

28

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.

29

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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30

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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31

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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32

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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33

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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34

Dustov, Sanoqul. "The Role Of Uzbek National Performance In The Music Art." American Journal of Social Science and Education Innovations 03, no. 02 (February 27, 2021): 126–32. http://dx.doi.org/10.37547/tajssei/volume03issue02-20.

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In the article the role of our national percussion words formed on the basis of Uzbek musical performance art in IX-XII centuries in the cultural life of people at all stages of development from generation to generation for centuries, their joy, sometimes accompanying us in our sad days, reaching us in a perfected and perfected form, the necessary influence on the spiritual world of people with the sound of percussion instruments, their place in our modern cultural life.

35

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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36

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.

37

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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38

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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39

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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40

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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41

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.

42

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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43

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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44

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

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45

Knapp, Bettina L., Bonnie Marranca, and 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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46

Tubridy, Derval. "Samuel Beckett and Performance Art." Journal of Beckett Studies 23, no. 1 (April 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.

47

Preston, VK. "Performance, Climate, and Critical Art." Theatre Journal 72, no. 2 (2020): E—7—E—13. http://dx.doi.org/10.1353/tj.2020.0028.

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48

Horn, Sheridan. "Performance Art at Secondary Level." International Journal of Art & Design Education 28, no. 2 (June 2009): 160–73. http://dx.doi.org/10.1111/j.1476-8070.2009.01603.x.

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49

Roddy, Bernard. "Bubbly Creek Performance Art Assembly." Afterimage 45, no. 4 (July 1, 2018): 2–3. http://dx.doi.org/10.1525/aft.2018.45.4.2.

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50

Nitsche, Michael. "Performance art and digital media." Digital Creativity 24, no. 2 (June 2013): 93–95. http://dx.doi.org/10.1080/14626268.2013.806333.

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