Power in the Present: Performance Art
Feminist artists are constantly seeking innovative ways to reclaim their bodies, their voices, their lives and their futures. Throughout the 1970’s, aided by a multitude of art forms, feminist artists scorned, mocked, criticized and exposed the patriarchal nature of the art world and society as a whole. Feminist artists were looking for unique ways to express their truth and experience as not only women, but as women artists. One of the most unique and powerful art forms cultivated by women during this time was that of performance art. Performance artists such as Carolee Schneemann, Suzanne Lacy and Marina Abramovic wanted to challenge current art forms. These women created new forms of self-expression and reconstructed existing art forms, making them their own. The immediacy and reality of performance art blurs the boundary between art and life (Broude & Garrard 158). It evokes an emotional response in its viewers, challenging the viewer to face a personal truth of what is, what has been and what could be.
Performance art consciously raises awareness of the present day reality for women in society. Throughout history women have been asked to be the viewer, the image and the object of the male gaze but never the creator. Consciousness raising, through the medium of performance art allowed female viewers to discover a commonality between the artists suggested experience and their own (Broude & Garrard 35). The concept of performance art is not easily defined, yet the emotional response it evokes is nearly impossible to put into words. Artist Carolee Schneemann began challenging the patriarchal nature of the art world in the early 1960’s. Schneemann thrived in the unknown, resisting the “social, erotic and aesthetic restraints”(Drain 137) of the male dominated art world.
Carolee Schneemann redefined the meaning of the female nude and its presence in male artists works. In her work she was not nude in the general sense, conversely she was naked. The definition of nude carries “no uncomfortable overtone” (Clark 3) the nude woman in art is meant to be attractive, appealing and evoke a sexual or pleasant response from the viewer. The definition of naked “to be deprived of our clothes” (Clark 3) is raw. In Schneemann’s performance art piece Interior Scroll (1975) she stood naked in front of a live audience, slowly and strategically removing a paper scroll that she had placed within her vagina. Reading the words as she extracted them, she stated aloud the barriers faced by women.
Throughout the performance art piece Interior Scroll (1975) it was as if Schneemann was literally and figuratively giving birth to a new piece of work. Her naked body is not viewed through the male gaze as she is not sexualized, objectified or seen as a source of visual pleasure (Mulvey 59). She is completely uncensored as she reclaims her womanhood giving her exposed body a new meaning and purpose. Her body became her canvas in which she sent politically charged messages. Schneemann gave women permission to express their discontent with the current societal norms and challenge the meanings others placed on their bodies.
The viewers of this piece may have been shocked by the performances unconventionality yet this was Schneemann ’s intention. She wanted to expose the silent truth that was affecting all women in society. The truth of women’s subordination, which continued to be the unspoken plague against women. Schneemann brought women’s inequality to light through a unique and exceptional form of artistic expression. She challenged those who watched to consider the magnitude of this issue. Through her performance Schneemann proves that this inequality is not only a thing of the past but also a current issue that needs to be addressed. She does this by sharing a story from her own life in which she was denied access into the world of film production, simply because of her “gender.” As she reads the text inscribed on the scroll the viewers listen closely, identifying with the struggle, rage and pain she exhibits.
Feminist artist Suzanne Lacy was also interested in bringing awareness to the present day realities faced by women. Lacy tackled pressing issues, exposing the ways in which our culture conceals the truth and reality of violence against women. Suzanne Lacey sought to transform her viewers “into participants, even collaborators” (Fryd 23) with her performance art. As a result of her performances viewers were forced to think about their past, their present and what would become of their futures if they did not fight back. She sought to bring awareness to issues that affect society as a whole, giving victims of assault a voice that could not be silenced.
In her work In Mourning and In Rage Lacy (1977) used her position as a feminist and activist to shed light on violence against women. In Mourning and In Rage (1977) was a collaborative effort with artist and activist Leslie Labowtiz. The two women deconstructed and critiqued the ways in which the news chose to report and sensationalize acts of assault (Broude & Garrard 267). The performance itself was staged in 1977 at the Los Angeles City Hall with the intent to receive adequate press and media attention (Broude & Garrard 267). The two women were critically aware of the ways in which the performance would be shot on camera, strategically arranging each segment of the performance into thirty-second clips so it could be shown in its entirety (Broude & Garrard 267). .
In Mourning and In Rage (1977) was meant to directly critique the ways in which media had chosen to report on the acts of the “Hillside Strangler,” a man who had strangler and killed ten women. The performance consisted of ten women, nine of which were dressed in black robes standing on the steps of city hall (Keegan 1). Each woman spoke aloud on the topic of violence against women. One woman dressed in red came forward in order to “represent fighting back against all forms of violence” (Keegan 1). The women stood together holding a banner that read “In Memory of Our Sisters, Women Fight Back” (Labowitz-Starus & Lacy 52). The piece itself was broadcasted on national news redefining the ways in which sexual assault was discussed in media.
The audience of this piece became so inspired by its message that they joined in, dancing in a circle to the performances closing song (Labowitz-Starus & Lacy 53). Labowitz and Lacy gave women a space in which they could mourn and express their rage. It allowed viewers to juxtapose the ways in which women are portrayed through mediums such as national news and the way in which the artist chose to portray women. These women were targeted simply because they were women. With that title comes a slue of stereotypes such as weak, delicate, incapable and fragile, labels the news was continuing to perpetuate. The performance aided viewers in seeing the ways in which women have been represented as scared, weak victims and the ways that women can and should be represented as powerful, strong and capable.
Marina Abramovic is another artist who confronts and exposes present societal issues through her disturbingly provocative live performance art. Abramovic’s invites spectators into her art, requiring their engagement and commitment to the performance. Marina Abramovic, the grandmother of performance art (Greenwood 1) states that, “Art should be disturbing. Art has to have the power to open the eyes of the viewer” (Cook 1) especially that of performance art. Performance art is immediate, it is real and it is thought provoking. In Abramovic’s performance The Artist is Present (2010) the artist sat still in New York’s Museum of Modern Art. Nearly everyday for three months straight the artist sat in a wooden chair inviting guests to participate in her performance (Spodak 1). Through her work Abramovic reminds viewers that performance art is still alive today, it is not simply a thing of the past.
Abramovic’s performance art pieces are entirely focused around the audience; their participation and reaction are at the heart of what makes the artists work unbelievably powerful. Over 1,500 visitors participated in The Artist is Present (2010) (Spodak 1). Viewers sat down in a chair opposite the artist simply staring into her eyes for as long as they pleased (Spodak 1). Many visitors who engaged in this intimate act lost themselves in Abramovic’s gaze. Abramovic’s performance art pieces are said to “establish an unspoken dialogue with the beholder that intensify” (Fisher 32) and shape the space in which the performance takes place. Abramovic’s art has a purpose and an intent for each individual that chooses to take part in it. It is not just art for arts sake her work is intended to have an affect on its viewers.
There is nothing inherently unique or exceptional about the act of staring however the events that transpired as a result of The Artist is Present (2010) suggest something different. Those who participated in this performance art piece expressed a series of emotional reactions. Many cried, others sat still, smiled, laughed or cringed (Spodak 1). The artist allowed individuals to simply be present, reveal their true nature and loose track of time. The emotional response this piece evoked in its viewers enabled the viewer to face their own personal truth of what is, what has been and what could be. There was no universal reaction Abramovic was intending for her viewers, it was up to the viewer to determine what the piece meant for them. It was a public art piece with personal ramifications.
Performance art is unique. It inspires its viewers, challenges societal norms and brings silenced issues to light. It aids its viewers in seeing the ways in which stigmatized groups have been historically repressed. It highlights the fact that much of this “past” discrimination is still painfully present. During the 1970’s many female performance artists used their work to re-represent the cultural expectations placed on the female identity. Performance art continues to aid female artists in exposing the ways in which society continues to perpetuate the stereotype of what it means to be a woman. In addition performance art encourages viewers to participate in a way that is different from other modes of art.
Performance art allowed women to express their thoughts as they came. Whether it was a collaborative effort or a solo act performance art brought attention and awareness to the many issues women were facing in their everyday lives. In order to make or cause a significant change one must have a deep understanding of how an issue is created and is maintained. Performance art urges viewers to identify an issue and act out against it. Passivity will not change the future it will only make certain that we continue to repeat the past. The emotionally charged essence of performance art urged viewers to consider a personal truth of what is, what has been and what could be if they finally choose to fight back.
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