There is a new retrospective at MOMA in New York City of the performance artist Marina Abramovic. A snippet from the New York Times states, "For more than a generation, nudity, pain, grueling endurance tests and even bloodletting have been elements of a certain strain of performance art, one Ms. Abramovic helped pioneer. But they have never come together in New York quite as boldly or publicly as they have since the opening this week of the Modern’s new show." Which is an interesting overview of the artist's raison d'etre. And while some might find the content salacious, controversial, or even obscene, I have a whole other question: Is it relevant?
The power of performance art is it's cutting relevancy. It's ability to toss out an idea that demands attention and challenge our present paradigm. But what happens when these things are re-presented in a retrospective and slide into the land of quaint?
It's kind of the real discussion that I think would be the most interesting thing to come out of this exhibition.
There is a new retrospective at MOMA in New York City of the performance artist Marina Abramovic. A snippet from the New York Times states, "For more than a generation, nudity, pain, grueling endurance tests and even bloodletting have been elements of a certain strain of performance art, one Ms. Abramovic helped pioneer. But they have never come together in New York quite as boldly or publicly as they have since the opening this week of the Modern’s new show." Which is an interesting overview of the artist's raison d'etre. And while some might find the content salacious, controversial, or even obscene, I have a whole other question: Is it relevant?
The power of performance art is it's cutting relevancy. It's ability to toss out an idea that demands attention and challenge our present paradigm. But what happens when these things are re-presented in a retrospective and slide into the land of quaint?
It's kind of the real discussion that I think would be the most interesting thing to come out of this exhibition.
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