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• W337668637 abstract "* As the documentary role (or capacity) of photography continues * to be debated, the relationship between performance art and * photo graphic continues to evolve. advent of media broadens the horizon of these discussions, particularly vis-a-vis the concept of telepresence. * MARISA S. OLSON is a San Francisco-based artist, writer and * curator whose temporary site-specific installations have been * seen throughout North America and Europe. She is Associate * Director of SF Camerawork and serves on several boards, including the SF MoMA Media Arts Council, Gen Art, and the EMMA Foundation. She has written for Mute, Wired, Rhizome, Camerawork and others. In what is, perhaps, the most-quoted essay in the world of photographic arts, The Work of Art in the Age of Mechanical Reproduction, Walter Benjamin discusses the decontextualization of the work of art, as it is reproduced. By now, most of us are familiar with his passionate argument that the mechanical reproduction of the work of art--as exemplified by photography--increases the auratic between the viewer and the authenticity of the work; its unique presence in time and space coupled with its historic testimony and place within tradition. Benjamin's argument hinges on the idea that the work, an experience as much as an object, comes into being as the product of ritualized behavior. Benjamin, then, ascribes performativity to work in all media. As the documentary role (or capacity) of photography continues to be debated, the relationship between performance art and photographic continues to evolve. advent of 'new media' broadens the horizon of these discussions, particularly vis-a-vis the concept of telepresence. When Chris Burden carried out his performance 'Shoot' in 1971, only a handful of people were present. We are told that the event entailed a friend shooting young Burden in the arm with a .22-caliber rifle. only remaining traces of this are the scars on Burden's arm and the few photographs taken after the shooting. Ironically, the etymology of the word trace (a term we often ascribe to the documentary photograph) is rooted in the of etching upon the body. 1960s and 705 were ripe with instances of artists underscoring this double entendre, so much so that even the corporeal traces became more and more temporary, from Vito Acconci's shaved head to Dennis Oppenheim's sunburned chest. performance works carried out three or four decades ago seem now to be more action-oriented, with the photograph standing in only as document or proof of the action. Today, the term action seems to be employed more in the sense of the on-set utterance meant to mark the beginning of a performance for the camera. A new generation of artists claims to be more interested in carrying out an Intervention that will lend itself to the creation of a particular image. In the recent show, Slowdive: Sculpture and Performance in Real Time, at the Yerba Buena Center for the Arts in San Francisco, Tony Labat showed his Project, a video installation based on a 1998 performance in the parking lot of the buxom restaurant chain. Labat hired four stuntmen to stage a violent fight and three videographers filmed the action: Labat, someone posing as a TV reporter, and a third cameraman posing as tourist. At Yerba Buena, the piece was installed on various screens within a four-part fence fashioned after the one i n the Hooters parking lot. precise physicality of the installation reminded gallery-goers of the distance between the viewer and the original work, whether that work is located in the or the various filmic incarnations of its documentation. Similarly, the Surveillance Camera Players (SCP) treat Manhattan's 10,000 surveillance cameras like television cameras, before which they perform theatrical relics, like Alfred Jarry's Ubu Roi, and stage protests. …" @default.
• W337668637 created "2016-06-24" @default.
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• W337668637 date "2002-07-01" @default.
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• W337668637 title "Performing the Moment. (Essay)" @default.
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