EXPERIMENTAL MEDIA PRACTICES Topic One: Body. Key Concepts & Genres Body Art Performance Art Subjectivity, identity, embodiment Exchange and engagement.

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Presentation transcript:

EXPERIMENTAL MEDIA PRACTICES Topic One: Body

Key Concepts & Genres Body Art Performance Art Subjectivity, identity, embodiment Exchange and engagement Performativity Live (implies an audience, presence, theatrical setting) Mediated (Body art can take place in the privacy of the artists studio and experienced through photography, film, video, and/or text – an extension of portraiture.)

Artists and Movements Feminist Art Movement, Fluxus, Viennese Actionism, Gutai Carolee Schneemann, Yayoi Kusama, Ana Mendieta, Vito Acconci, Hannah Wilke, Orlan, Bob Flanagan/Sheree Rose, Yoko Ono, Ulay/Abramovic, Matthew Barney, Pipilotti Rist, Bruce Nauman, Mona Hatoum, Chris Burden, Regina Jose Galindo, Ron Athey, Skip Arnold, Kalup Linzy, Ryan Trecartin, Artur Zmijewski, Maria Diaz, Alex Villar, VALIE EXPORT, MaLiuming, He Chengyao, Yang Zhichao, Zhang Huan, Christian Marclay

Carolee Schneemann, Interior Scroll, 1975

Carolee Schneemann, Eye Body, 1963

Yayoi Kusama in her studio at St. Mark’s Place, NY, 1970

Yayoi Kusama, Sex Obsession Food Obsession Macaroni Infinity Nets & Kusama, 1962

Yayoi Kusama, Peep Show, 1966

Yayoi Kusama, Naked Happening Orgy & Flag Burning, 1968

Ana Mendieta, Silueta Series, 1970s, various locations

Ana Mendieta, Untitled (Body Tracks), 1973

VALIE EXPORT, Action Pants: Genital Panic, 1969

VALIE EXPORT, Tap and Touch Cinema, 1968

Guitar Drag (2000) Video installation by Christian Marclay

Christian Marclay’s video installation Guitar Drag (2000) is a single-channel video documenting an action Marclay performed on November 18, 1999, while he was artist-in- residence at ArtPace Foundation for Contemporary Art in San Antonio, Texas. The action involves tying a Fender Stratocaster guitar to the back of a pick-up truck and dragging it on the road. During the action, the guitar is connected to an amplifier, and the sounds it makes becomes the soundtrack of the work. Marclay prefers to show Guitar Drag as an installation, with the fourteen-minute video projected in an enclosed space and the sound played through speakers, but the work also circulates in other formats and through other channels, to a lesser degree.