In Other Los Angeleses: Multicentric Performance ArtUniversity of California Press, 20.03.2002 - 407 Seiten Performance art and Los Angeles, two subjects spectacularly resistant to definitions, illuminate each other in this searching study by Meiling Cheng. A marginal artistic pursuit by choice as well as necessity, performance art has flourished in and about "multicentric" Los Angeles for nearly four decades, finding its own centers of activity, moving and changing as the margins have reconstituted themselves. The notion of multicentricity serves, somewhat paradoxically, as the unifying motif in Cheng's imaginative views of center and periphery, self and other, and "mainstream" and "marginal" cultures. She analyzes individual artists and performances in detail, bringing her own "center" gracefully and unmistakably into contact with all those others. Without suggesting that her approach is definitive, she offers a way of thinking and talking coherently about particularly elusive, ephemeral artwork. Cheng describes performance art as "an intermedia visual art form that uses theatrical elements in presentation." Performance art, which uses the living body as its central medium, occurs only "here" and only "now." Because it is intentionally volatile, highly adaptable, and often site-specific, with emphasis on audience interaction, context is inseparable from the work itself. When Cheng writes about Suzanne Lacy or Tim Miller, Johanna Went or Oguri and Renzoku, Sacred Naked Nature Girls or osseus labyrint, she is conscious of her role in extending their creative expression. As members of the "virtual audience," readers and viewers of other documentation concerning performance art are arrayed outside the center represented by a given artist and the circle represented by the immediate witnesses to a performance, but all may entertain what Cheng calls a conceptual ownership of the work. A person who reads about a performance, she says, may feel more affected by this virtual encounter than a person who has seen it live, and may reimagine it as a "prosthetic performance." Cheng's writing draws us into the many centers where a vibrant contemporary art phenomenon and a fascinating urban environment interact. Published in association with the Southern California Studies Center at the University of Southern California |
Inhalt
List of Illustrations xi | |
Toti M OBrien John OBrien and Steve Roden | |
Acknowledgments xxxi | |
Illustrations | |
Sam Francis Untitled Edge Painting 1966 2 | |
Anna Homler Breadwoman 26 | |
Rachel Rosenthal The Death Show 40 | |
Eleanor Antin as The King 42 | |
Tim Miller poster for My Queer Body 202 | |
Joan Hotchkis Tearsheets 210 | |
Danielle Brazell Tales from a Bitch Girl formerly Exorcising My Mythologies 215 | |
Dan Kwong Monkhood in Three Easy Lessons 219 | |
The Tale of Family and a Grandmothers Suicide by Fire 223 | |
Shishir Kurup Assimilation 227 | |
The double birth of Sacred Naked Nature Girls 234 | |
Whats in a Name? | |
Judy Chicago Suzanne Lacy Sandy Orgel and Aviva Rahmani Ablution 43 | |
Chris Burden White Light White Heat 57 | |
Out of Order | |
Yayoi Kusama Infinity Mirror Room 81 | |
Judy Chicago The Dinner Party 83 | |
Engendering OtherSelves | |
Suzanne Lacy Car Renovation 94 | |
A TrueLife Story 106 | |
Swimming 107 | |
Suzanne Lacy Inevitable Associations 110 | |
Suzanne Lacy She Who Would Fly 119 | |
Suzanne Lacy The Dark Madonna 126 | |
Elia Arce preperformance installation | |
Elia Arce | |
Elia Arce Blessed by the Contradictions 144 | |
Elia Arce Lip Sync 150 | |
Elia Arce Grandma Helia segment in Stretching My Skin Until It Rips Whole 168 | |
Elia Arce chicken incantation scene from Stretching My Skin Until It Rips Whole 169 | |
Elia Arce Grandma Carmen monologue in Stretching My Skin Until It Rips Whole 170 | |
Elia Arce Mom 171 | |
A Heterolocus in Process | |
Guillermo GómezPeña The Loneliness of the Immigrant 175 | |
Sacred Naked Nature Girls Untitled Flesh 244 | |
Pablo Picasso Les Demoiselles dAvignon 257 | |
Promotional photograph of Sacred Naked Nature Girls 259 | |
Kinesthetic Transmutation of Theatricality | |
Johanna Went Alchemy of Monsters 291 | |
Johanna Went Twin Travel Terror 293 | |
Johanna Went complete script for Passion Container 298 | |
Johanna Went Monkey Womans Inferno 302 | |
Linglot terrace version 311 | |
Toti M OBrien John OBrien and Steve Roden Linglot terrace version too 311 | |
Husk 317 | |
Toti M OBrien John OBrien and Steve Roden Somnia 317 | |
Oguri and Renzoku Fu Ru I sift2 | |
Oguri and Renzoku A Flame in the Distance 323 | |
Oguri and Renzoku thestreamofconsciousness 325 | |
Oguri and Renzoku In Between the Heartbeat 328 | |
Oguri and Renzoku In Between the Heartbeat 331 | |
osseus labyrint Gordiannot 334 | |
osseus labyrint THEM 340 | |
osseus labyrint The Tragedy of Macbeth 347 | |
osseus labyrint Liquor Cotunnii 348 | |
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
a¤ective action aesthetic African American American ance Angeles Festival Angeleses Arce Arce’s art performance artwork audience become body art body’s Brazell Burden’s Butoh cage CalArts centricity city’s collaborative color conceptual contemporary context critical critique cultural Dan Kwong Dark Madonna di¤erent diverse e‹cacy e¤ect Edge Painting embodied enacted episode ethnic female body feminism feminist art function gender genre Gómez-Peña Guillermo Gómez-Peña hegemonic her/his hetero-locus Highways Hotchkis identity immigrant individual Joan Hotchkis Judy Chicago Kaprow’s Kurup Kwong Lacy’s Loneliness Los Angeles male margins medium Miller’s mother’s multicentric multiculturalism multiple Naked Nature Girls Nature Girls nodes O’Brien o¤ers one’s osseus labyrint performance art performance artists performance’s Photo piece political present queer redressive performance ritual sexual skin SNNG SNNG’s social solo space spectators strategy su¤ering Suzanne Lacy theater theatrical tion transculturation tural Uyehara viewers visible visual art voice Went’s woman Womanhouse