- ABRAMOVIC Marina & ULAY, Es wird wärhend 14 Tagen in der Galerie De Appel in Amsterdam, mars 1979.
- ABRAMOVIC Marina & ULAY, Modus Vivendi, 1979-1986.
Cette performance a eu lieu en septembre 1985 au Saskia Theater de Arnhem (NL). C’est une mise en scène pauvre en images individuelles. Le premier tableau montre une scène sombre, qui ne laisse qu’entrevoir la silhouette d’Ulay, étendu le long de cartons. Derrière lui, un panneau d’affichage et un papier d’emballage enroulé. Lentement, il se redresse, se lève et déroule l’affiche, lumineuse, qui montre le squelette de jumeaux siamois. Il commente son acte d’une voix calme, comme si cela devait l’aider à s’en souvenir: leaning - lifting - sitting - standing - rising - falling -touching - intending, etc. Au bout d’un moment, il reprend sa position initiale. Puis la lumière éclaire la deuxième personne présente sur la scène : Marina Abramovic. Accompagnée d’un petit bouleau en soie verte brillante, elle représente la symbiose singulière d’une créature de cire androgyne. Aucune action ne vient : l’affiche éclairée, Ulay irréel dans le noir et la pose de Marina Abramovic produisent une image à partir de moments hétérogènes uniques. Soudain, Marina agite brusquement le bras et la lumière s’éteint.
A la vision des jumeaux siamois, le rêve d’une unification humaine se transforme d’un coup en une situation inévitable, une fatalité. D’un autre côté, la représentation de deux individus indivisibles dans un état d’esprit positif évoque directement la symbiose des artistes Ulay/Abramovic dans la vie et le travail. Deux images s’opposent ici: celle de l’adhésion entre la nature et l’homme et celle de l’être seul qui, dans ses actions, prend conscience de son individu agissant.
Le geste soudain de Marina Abramovic est comme une protestation, une ultime réaction à la situation endurée, mise en scène de manière extraordinaire par les éclairagistes, avant que la scène ne retombe dans l’obscurité. (Lilian Haberer)
- ACCONCI Vito, The Peoplemobile, 1979.
- ANDERSON Laurie, Americans on the Move, 1979. NYC.
First performed at Carnegie Recital Hall.
- ANDERSON Laurie, United States, 1979. performance multimedia et enregistrement.
- ANDERSON Laurie, Duets on Ice, 1979. Gênes. Italie.
- ANTIN Eleanor
— John R. Clarke, ‘‘Life/Art/Life, Quentin Crisp and Eleanor Antin: Notes on Performance in the Seventies,’’ Arts Magazine, v.53, February 1979, pp.131-135. Article on the use of ‘‘biography’’ in art, focusing on the work of Eleanor Antin and Quentin Crisp. Excerpt:
‘‘If style is the expression of constant form, then the word ‘performance’ adds the dimension of action. Doing something within a given form also implies the element of time. To perform then means to act through or act out the given form of shape in a specified period of time.
It is a truism to say that every art form is a time form. A poet must arrange his sounds to fit the number of lines of syllabes dictated by the shape of the poem. Words like concerto, sonata, and symphony imply a similar time structure in music. Even in the so-called visual arts one speaks of composition, i.e., the time it takes for the eye to go from point to point, from color to color, from shape to shape.
Allan Kaprow’s notion that Jackson Pollock destroyed painting as an part form has proven true. He spoke of the two roads open to the artist of the sixties – either to make more ‘‘near-paintings’’ in Pollock’s vein or simply to be an artist by channeling artistic consciousness in the direction of the sensual stuff of everyday life.
The time, therefore, of so-called performance art is the artist’s own life-time. The stuff of performance art’s creativity is the sensorium of the performer: how he or she sees, hears, touches, tastes, smells, moves, and so on. The success of performance, like the success of traditional painting, can be judged by the subjective experience of the artist and by that of the spectator. In a sense the critic can speak only of the form or schape in which events happened over the time he was in contact with the artist. The performance becomes a kind of brain-tap into the consciousness of the artist executed at specific intervals in the laboratory of the gallery space.’’
- ANTIN Eleanor, Antinova, The ‘‘black ballerina’’, 1979, exhibition/performance at the Ronald Feldman Gallery, NYC.
— Madeline Burnside, ‘‘Eleanor Antin; Ronald Feldman, NY,’’ Art News, v.78, May 1979, p.167. Review of Antin’s exhibition/performance at the Ronald Feldman Gallery, New York, where Antin appears as Antinova, the ‘‘black ballerina’’.
- ANTIN Eleanor, Before the Revolution, 1979, The Kitchen Center for Video, Dance and Music, New York, NY.
The Black Ballerina, Eleonora Antinova, in the role of Marie-Antoinette seen dancing with Nijinsky in the role of a soldier of the revolution.
— Barbara Cavallere, ‘‘Eleanor Antin,’’ Arts Magazine, v.53, May 1979, pp.29-30. Review of Antin’s exhibition/performance at the Ronald Feldman (Feb.17-Mar.17) and The Kitchen (Feb.23-24), NY; Antin appears as Antinova, the ‘‘black ballerina,’’, and performs the ballet Before the Revolution in which Antinova plays the role of Marie Antoinette as a shepherdess.
— Bonnie Marranca, ‘‘Eleanor Antin, Before the Revolution,’’ Performance Art Magazine, no.1, 1979, pp.41-42. Review of Antin’s performance at The Kitchen, New York, February 1979; and compared with JoAnne Akalaitis’ work, Southern Exposure, presented at The Performing Garage, April 1979.
— Eleanor Munro, Originals: American Women Artists. New York: Simon and Schuster, 1979. Extensive interview with photos, pp.417-430.
— Arlene Raven and Deborah Marrow, ‘‘Eleanor Antin: What’s Your Story,’’ Chrysalis, no.8, 1979. Cover & essay.
- ANTIN Eleanor, The Nurse and the Hijackers, 1979. Videotape, color, approx. 2 hours.
work: Antin is involved in a hijacking where she is the narrator and paper dolls act out the scene. Made in conjunction with installation at the Long Beach Museum of Art, January-February 1979.
— Carrie Rickey, ‘‘Eleanor Antin, Long Beach Museum of Art,’’ Artforum, v.17, March 1979, p.72. Review of Antin’s installation and videotape, The Nurse and the Hijackers.
- APPELT Dieter, Die Befreiung der Finger, 1979.
- APPELT Dieter, Images de la vie et la mort, 1979 (film). (musique)
- BANANA Anna, Futurist Sound Poetry, 1979, Living Artist Performance Festival, Vancouver. (see 1978)
- BECKLEY Connie. 1979.
- BENITO Jordi. 1979.
- BEST Paul, Octavia Goes Out for a Beer, 1979, San Diego, Californie.
— Paul Best, ‘‘Octavia Goes Out for a Beer,’’ High Performance, no.7, v.2, September 1979, pp.42-43. Text with documentary photographs of a performance in San Diego, California on March 28, 1979. Excerpt:
Octavia woke up at about 1:30 p.m., O.S.T. (Octavia Standard Time). He was dying for a beer, and there was none in the apartment. He also did not feel much like getting out of bed just to go out and get a beer. But he had to make a decision: either he would be comfortable and stay in bed, like he usually does and die from alcohol starvation, or he would have to fight the crowds and get all dressed up to go out and satisfy his burning desire for a bud.
- BLUME Bernhard Johannes, Selbstvergewisserung, 1979.
- BOB & BOB, Performance, 1979, The Kitchen, NYC.
— Peter Frank, ‘‘Bob & Bob,’’ Performance Arts Magazine, no.1, 1979, pp.43-45. Review of Bob & Bob’s performance at The Kitchen, January 1979; compared with The Kipper Kids performance there in November 1978.
- BOB & BOB, The School of Painting, 1979, LAICA.
— Michael Kurcfeld, ‘‘Bob & Bob Get Serious: Be straight with Bob & Bob & Bob & Bob will be straight with you,’’ High Performance, no.6, v.2, June 1979, pp.18-22. Major interview. Excerpt:
DB: We did a piece (at LAICA) called ‘‘The School of Paintings.’’ I called Bob, who was planted out in the audience, up to the stage where I immediately taught him how to be an artist. There were two canvases set up, and I was demonstrating a still life on one. He eventually got frustrated and just taped the real fruit to his canvas. I critiqued it, saying that was just spectacular the way it looked like it was coming right off the canvas…
LB: The LAICA performance, was our greatest performance. It was like Meet the Beatles all over again. We had a terrible rock band that was loud, rambunctious and off-key. Our microphones distorted our voices, and we danced around like Popo-Tarts. We had a tape of screaming girls running at full blast, and the surgical women carried around big poster blowups of Bob & Bob. It was pandemonium, just like a Beatle concert there in the little art gallery. We even had autograph hounds at the end.
DB: We closed it with fifteen minutes of chanting of ‘‘Life Your Own Life.’’
DB: We did a performance at the Ruth Schaffner Gallery. It opened with a film called ‘‘A Visit With Bob & Bob.’’ It takes the viewer to your studio where we discuss our work, then to our home, where we discuss how we live, then out into the woods where we philosophize, and bump into trees a lot. Then we came out and sang ten new songs, accompanied by an old player accordion player in a tuxedo and toupee.
LB: He was like a robot, playing this ridiculous music we couldn’t understand. He was always smiling, even when Bob & Bob were a mess. We had four black girls dancing on stage while we sang ‘‘I Heard It Through The Grapevine,’’ accompanied by the accordion…
MK: Your image is in everything you do. You’ve made yourselves the content of your art, in the flyers you sent out, the films, leading up to the present series of paintings. Why?
DB: Here we are with our product, and our product is Bob & Bob. Bob & Bob is to us what the sopu can was to Andy Warhol. They’re our inconography.
- BOLLING George, Newport Beach Revisited, 1979. Videotape, 35 mins. b/w.
A new tape from footage originally shot in 1972 related to the San Francisco Performance exhibition organized by Tom Marioni for the Newport Harbor Art Museum.
- BROWN Trisha, Glacial Decoy, 1979. Costumes & décor: Robert Rauschenberg.
- BUCHANAN Nancy, Around and About Purity, 1979, Kansas City Art Institute, Kansas City, Mis.
— Nancy Buchanan, ‘‘Around and About Purity,’’ High Performance, no.6, v.2, June 1979, pp.48-49. Description of a performance at the Kansas City Art Institute, Kansas City, Missouri, on February 20, 1979. Excerpts:
Around and About Purity was a meditation on some of the various (often contradictory) ideas having to do with the subject of purity. The performance was built around audiotapes and slide sequences punctuated by spoken introductions, actions and tableaux. The space was an auditorium, with stage…
The Part I slide/tape sequence concerned the metaphysical aspects of purity: the desire to separate the spirit from the body…
Part II dealt with food and how the irony of having to put up with the body is compounded by the problem of survival; also the arbitrary idea of ‘‘sacrifice,’’ depending on who is condering it…
Part III examined how some bodies are even more vile than others – women’s bodies, of course…
Part IV contained information about the social impact of the search for purity – Statistics of witch-burnings and the identifying characteristics of witches.
Part V was a return to the metaphysical; narration of hellfire, the flames of lust, the old myths about women originally discovering fire and hiding it in their genitals – the slides including atomic bomb explosions.
- BURDEN Chris
— ‘‘Border Crossing,’’ High Performance, no.5, v.2, March 1979, pp.4-11.
Major interview discusses recent works and activities of Chris Burden. Includes photo and text documentation for the following works produced between 1972-78: Working Artist (1975), Deadman (1972), Art & Technology (1975), The Citadel (1975), In Venice Money Grows on Trees (1978), TV Hijack (1972), Full Financial Disclosure (1977).
— Robin White, ‘‘Chris Burden’’ View, no.8, v.1, January 1979, 20 pages.
Chris Burden interviewed by Robin White at Crown Point Press, Oakland, 1978. Includes a list of performances, one-person exhibition and group exhibitions. Excerpt:
RW: Well, what kind of insight do you think you have gained from doing these – these things, you know, these endurance tests? These risk situations? These isolations?
CB: What kind of insights?
RW: Yes, I mean, what have you learned?
CB: I don’t know. I’m not sure I can – you know, spew it out in a few words or something.
RW: Well. I think that it’s a reasonable question to ask you, because people have fears and fantasies about things like that and then you – did tem. I mean, they’re as extreme, in a way, as going to the moon or something like that.
CB: Yes. I know. I often think of myself as sort of training for some sort of -– you know, outer space program. I mean, I feel like, in some way, I’ve done some of the same things.
RW: Yes, yes, that just occurred to me right now. But it seems to me that it would be impossible to do things like that and not feel that you’ve understood something more about human nature, or about the cosmos, or –
CB: I think one of the things I learned is that human beings really need other human beings. I mean, actually the thing I missed most on the platform wasn’t food, or anything, it was actually seeing other people. Seeing them. Seeing other human faces. And so maybe that’s the thing I think I’ve learned the most, is that people need people need people.
CB: In some fashion. And – also that some of the things that you can’t believe you can get through, you often can.
CB: Because of lot of times, in those pieces I couldn’t believe that I could actually make it through those things. I decided I would, so I was going to, but at the beginning they seemed totally gargantuan, and – you know, I had a lot of fear about being able to do them. An then I would adapt somehow to them…
I think what happens is that people confuse what I do with me; what I do is separate from me as a person.
RW: Well, it’s separate, but only so far, because you did conceive of it, and you did do it.
CB: Yes, but it’s pretty formalized. You know I set them apart: this is art and this is life.
- BURDEN Chris, The Big Wrench, 1979, San Francisco: La Mamelle Inc., videotape, approx. 15 mins., color.
Third in a series entitled, Produced for Television, a project of La Mamelle, Inc.; broadcast live on airwave television, Channel 26, San Francisco, November 1969.
- BUSTAMANTE Maris, Patente de Taco (Taco Patent), 1979.
Since her first happening in 1971 Maris Bustamante (1949, Mexico) – a graduate from the Escuola Nacional de Pintura y Escultura La Esmeralda at Mexico City – began ‘‘a search for non-traditional supports’’ or what she called ‘‘non-objective art.’’ In 1977, with three male artists, she started a movement of ‘‘savage vanguard’’ called ‘‘No-Gruppo’’ (No-Group). As they declared, ‘‘No-Group is a workshop of critique, of attitudes and positions.’’ With No-Group Bustamante created humored and caustic performances where gender was a major source material. In 1983, Bustamante and Monica Mayer founded the first feminist art collective in Mexico, Polvo de Gallina Negra (Black Hen Powder).
In Patente de Taco (Taco Patent), Maris Bustamante patented this Mexican cultural and culinary symbol to use it as ‘‘a weapon for cultural penetration’’; the artist utilized the taco’s visual and formal image in a variety of ways, including erotic ones.
- CALLE Sophie, Strip-Tease, 1979.
- CHILDS Lucinda, Dance, 1979. Brooklyn Academy of Music. décor : Sol LeWitt (Danse).
- CLOSE RADIO
— Linda Burnham, ‘‘The Death of Close Radio,’’ High Performance, no.6, v.2, June 1979, pp.2-3. Description of Burden’s live performance in Los Angeles on Close Radio. Excerpt:
Chris Burden, Live on Close Radio, March 21, 1979, 9:30-10:30 p.m.
‘‘I’m asking you to consider the possibility of everyone listening to me tonight sending me money, that is, money directly to me: Chris Burden, 823 Oceanfront Walk, Venice, California 90291. It would be such a wonderful think. Paper money is preferable because it’s easier to handle, but I’ll accept a quarter. I’m not a member of a religious group or any organization. I’m asking you to conceive of the idea of walking to your desk, getting an envelope, putting a quarter in it and sending it directly to me: Chris Burden, 823 Oceanfront Walk, Venice, California 90291. I’m asking you to consider the ‘what if?’ What if you sent me money, sent it directly to me. I can’t legally ask you to do this, but I’m asking you to conceive of the idea. It would be such a wonderful thing. I need money, it could make me close to rich. You probably pay bills every day, but this would be cheap.’’
- COLETTE, Justine, 1979.
Justine sleeps during her lecture on the Moliere Busd, while writer Alan Jones and Barbara Braiden lecture on her work. Performance Columbia University, 1979.
- CONCIERTO ZAJ, Festival musical de St. Baume, France. Performers : Ferrer/Hidalgo/Marchetti.
- DE COINTET Guy, Tell Me, 1979, Rosamund Felsen Gallery, Los Angeles.
— Peter Clothier, ‘‘Questions of Language and Meaning,’’ Artweek, v.10, March 24, 1979, pp.4,13. Review of de Cointet work, Tell Me, performed 14 times during March 1979 at the Rosamund Felsen Gallery, Los Angeles.
— Frantisek Deak, ‘‘Tell Me, a play by Guy de Cointet,’’ The Drama Review, v.23, September 1979, pp.11-20. An analysis of structure of de Cointet’s Tell Me, special issue on Structuralist Performance.
- DE KROON Harry, Identity, 1979. Stuttgart.
- DEAK Norma Jean, ‘‘Writing For My Performances,’’ The Drama Review, v.23, March 1979, pp.63-68.
— Essay describing Deak’s performance activity of the past two and half years.
- DISBAND, Every Day Same Old Way, 1979. Video Performances. 1978-1982.
— DISBAND (USA, 1978-1982) was an all-girl punk and a capella band none of whose members were able to play an instrument. Their singing was accompanied by percussion sounds created with everyday objects and their own bodies, and the band’s concerts included performative interludes. Among others, DISBAND’s changing line-up at one time included Ilona Grant, Donna Henes, Ingrid Sischy, Diane Torr and Martha Wilson, who created stage personas for themselves like a Puerto Rican rioter or aggressive chicks. The band’s lyrics were very outspoken. Disband satirised the clichéd image of the male rock musician and performed 22 times in the USA, Canada and Europe.
These video recordings document several performances by DISBAND between 1978 and 1982.
- ELWES Catherine, Menstruation, 1979. Londres.
- EXPORT Valie, Restringierter Code, 1979.
- FEMINIST ART WORKERS, Three Goddesses, 1979.
- FLATZ Wolfgang, Treffer, 30 sept. 1979. Stuttgart.
- FLEMING Sherman, Something Akin to Living, 1979. Washington DC.
- FOX Terry
— Robin White, ‘‘Terry Fox,’’ View, v.2, June 1979, 24 pages. Terry Fox interviewed by Robin White at Crown Point Press, Oakland, 1979. Includes list of performances, one-person exhibitions and group exhibitions. Excerpt:
RW: So the work that you’re doing now still relates very much to your physical being?
TF: Well, I would say taht everything I’ve done relates to the same thing, and my physical being has had a lot to do with it.
RW: In the past?
TF: In the past, and now.
RW: You use your body as a–as a reference, a standard of measurement.
TF: Sure. You and I both have the same body. So it’s universal. It’s personal and universal at the same time. Everybody has a liver–you could base work on the liver. Everybody would understand it. Or, the eye–what I’m starting to do now are works with the eye and the ear…
It’s almost impossible to talk about performance anymore. That word means something different from what it used to. There must be better word, we could say ‘‘situation.’’ I make a situation. The actual situation is what’s going on in the space we’re in. And the situation involves everybody there, and there is a blend when everybody starts participating…
RW: And I think that’s one thing that’s been really hard to deal with about performance. People haven’t had a clear definition of what it should be.
TF: Well, they should never have one. That is another thing that happened to performance; once an artist becomes known by people, they expect certain things from you, and communication becomes difficult. One reason for doing a long performance is that–sure, evrybody comes with expectations. But even if you have expectations, if the performance is successful enough, you just drop all those; I mean – you’ll be able to – to go to a new place that you have never been before.
RW: So you have to clean out your mind.
TF: And one way to make it happen is by extended time. Those expectations get fuzzler and fuzzler and then maybe you go through a boredom or anxiety period, and then that goes away, and then you can really get into what’s going on.
- FOX Terry & PERIN Romaine, Erossore, 1979, King and West Housten, NYC.
- FOX Terry, Beard Harp, 1979, 75 Warren Street, NYC.
- FOX Terry, Chorda Tympanni, 1979, Ex Coop. Pittore, Reggio de Emilia.
- FOX Terry, Declination, 1979, Galerie Dany Keller, München.
- FOX Terry, Lago Contunni, 1979, Casa Della Studenti, Ravenna.
- FOX Terry, Liquor Contunni, 1979, Centro Arte Gallignano, Italy.
- FOX Terry, Radiation, 1979, Intermix, Los Angeles, California.
- FOX Terry, Radiation, 1979, Museum Folkwang, Essen.
- FOX Terry, Sound, 1979, Los Angeles.
— John & Natasha Stodder, ‘‘Performing with Sound,’’ Artweek, v.10, August 11, 1979, p.5. Review of performances by Terry Fox and Tom Marioni presented July 20, 1979 for Sound, an exhibition/event sponsored by the Los Angeles Institute of Contemporary Art.
- FOX Terry, Suono con Tensione, 1979, Sala Polivente, Ferrara.
- FOX Terry, Suno Interno, 1979, Chiesa Santa Lucia, Bologna.
- FOX Terry, Und…, 1979, Kolnischer Kunstverein, Köln.
- FOX Terry, Wenia Ring, 1979, Galerie Insam, Vienna.
- FRIEDMAN Ken, Fruit in Three Acts (1966), 1979.
Fluxus Retrospective Concert, 24 mars 1979, The Kitchen. NYC.
- GAULDIN Anne, Making it safe, 1979. Waitresses events.
- GAULKE Cheryl, Ghostdance of Rosebud, 1979.
- GERZ Jochen, English Letter to Jane. action.
- GOMEZ-PENA Guillermo & HICKS Emily, Tijuana-Niagara (mobile temple kitsch), 1987.
- GOMEZ-PENA Guillermo, The Birth of Pyoesis Genetica, 1979, Cal Arts.
- GOMEZ-PENA Guillermo, Poyesis Genetica-neo-azteca shaman, 1979, Los Angeles.
- GOMEZ-PENA Guillermo, The Birth of Poyesis Genetica, 1979, Cal Arts.
- GOMEZ-PENA Guillermo, The Loneliness of the Immigrant, 1979.
- HELLMUTH Suzanne & REYNOLDS Jock, Navigation, 1979.
— Mary Stofflet, ‘‘Suzanne Hellmuth and Jock Reynolds, ‘Navigation,’’’ Artforum, v.18, October 1979. Performance review.
- HERSHMAN Lynn & BALBRIDGE Rea, Test Patterns, 1979, San Francisco: La Mamelle Inc. Videotape, approx. 15 mins. color.
— ‘‘A Factional Docudrama (in time), ‘‘created by Myth America Corporation for the series entitled, Produced for Television, a project of La Mamelle, Inc.; broadcast live on airwave Channel 26, San Francisco, December 1979.
- HOOVER Nan, Progression.
- JONAS Joan & ZADEKIAN Linda, The Juniper Tree, Whitechapel Art Gallery, Londres, 1979.
- JOURNIAC Michel, Action érotico patriotique, 1979.
- IVEKOVIC Sanja, Town Crier, 1979.
- IVEKOVIC Sanja, Triangle, 1979.
« The action takes place on the day of the President’s visit to the city, and it develops as intercommunication between three persons: 1. a person on the roof of a tall building across the street from my apartment; 2. myself, on the balcony; 3. a policeman in the street in front of the house. Due to the cement construction of the balcony, only the person on the roof can actually see me and follow the action. My assumption is that this person has binoculars and a walkie-talkie apparatus. I notice that the policeman in the street also has a walkie-talkie. The action begins when I walk out onto the balcony and sit on a chair, I sip whiskey, read a book, and make gesture as if I perform masturbation. After a period of time, the policeman rings my doorbell and orders the persons and objects are to be removed from the balcony. (source: Sanja Ivekovic, Museum of Contemporary Art, Zagreb, 1998, S. 27.)
- KAHLEN Wolf, Noli me videre, 1979.
- KAPROW Allan
— Sanda Agalidi, ‘‘Allan Kaprow: Shaping the Unnoticed,’’ LAICA Journal, no.22, March/April 1979, pp.60-63. Article on Kaprow’s ‘‘Activities’’.
— James T. Hindman, ‘‘Self Performances: Allan Kaprow’s Activities,’’ The Drama Review, v.23, March 1979, pp.95-102.
— Allan Kaprow, ‘‘Project for the Hamburger Kunsthalle,’’ The Dumb Ox, Winter 1979. Account of a rejected Activity.
- KAPROW Allan, Standards, 1979, Cedar Falls: Dept of Art, University of Northern Iowa.
— An artist book describing ‘‘a work of art commissioned by the department of Art, for the Gallery of art, University of Northern Iowa, January 16-February 18, 1979.’’
- one and another, finding a messy place
tidying it up
photographing it before and after
- one and the other, finding some tidy people
photographing and tape-recording their tidiness
- one tidying the other’s place
photographing it before and after
- one and the other, eating;
the other improving partner’s manners
photographing them before and after
tape-recording instructions and results
- one improving the other’s appearance
photographing it before and after
recording observations and results
- one and the other, finding a tidy place
tidying their behavior
each photographing the other’s improvement
both recording why they’ve improved.
(Standards is an experiment with what many of us suppose are the signs of an orderly life tidy surroundings, tidy personal space, tidy apparance, tidy manners, tidy thoughts – and the abiding desire to improve these traits. It is an experiment because we rarely question our assumptions about the value of orderliness; nor do we think much about why this or that is orderly at all.
To find out what happens when we focus on these simple issues, a small group of persons divided into pairs, carried out the preceding ‘‘program’’ on the weekend of December 9th and 10th, 1978, in and around Cedar Falls – Waterloo, Iowa. Each pair independently executed the six parts of the piece in the everyday environment, at their own pace, in their own way, and without audience. Following its completion, the group as a whole met and reviewed experiences.
Since these notes are being written in advance for this publication, and since Standards has not been done before, I can’t relate what actually happened, but I can note certain speculations I had in conceiving the event. For years I have been impressed by that pervasive appearance of conventional tidiness found in Iowa and much of the American rural midwest: raked lawns, clean streets, geometrical fields, well-kept farms, open light faces, consistent friendliness, good but uncomplicated humor, relatively unchanging cultural and ethnic patterns, mild political conservatism, belief in the stable family, and desire to remain geographically close to one’s birthplace.
There are exceptions of course but this picture is a truism many others have drawn, and I wondered how it would appear when probed. In contrast, this picture of order is so different from my sense of the east and west coats where rapid change is the norm, and where feelings of disorder often color daily life. And it is also so different from big midwestern cities like Chicago through which such changes are funneled on their way across the continent.
Thus, my probe formed situations which involved confederacy (finding a messy place, some tidy persons), territoriality (tidying up a partner’s appearance and table manners), and confessionality and trust (sharing thoughts of one’s ‘‘improved’’ tidiness). Each situation is intentionally ambiguous since there are no given guidelines as to what is meant by tidiness.
Similarly, the photos accompanying the texte of Standards are just as ambiguous: they are the same (or nearly the same) photograph. They contain both commonly considered elements of order and disorder (neat houses, a shirt tail hanging out), and less common ones (a formal, photographic order which contains images of untidiness (the shirt tail and a crumpled candy wrapper thrwn on the sidewalk). Then, a man points at the camera (the viewer) and a hand intrudes in the foreground pointing the viewer to two men talking in the middle distance. Are they tidy? Is the photo tidy? Is the text-photo linkage tidy? Are these questions tidy?
To maintain this questioning, captions are placed under each photo stating that it is a tidy situation or that it is not. The reader is invited to examine why, and may agree or disagree depending on what she or he looks at. This parallels the intended task of the participants in the actual piece. Any standards after all, are cultural artifacts. When they are relatively useful they assume objective value; when they no longer serve in most cases, questions arise.
Allan Kaprow, 1978-79)
- KIPPER KIDS, 1979, (photo).
- KIPPER KIDS, Silly Ceremonies, 1979. The Kitchen. NYC.
- KIPPER KIDS & BEAN Anne, Illogical Conclusions, 1979 (photo. Elisa Leonelli)
— Peter Clothier, ‘‘The Kipper Kids: Illogical Conclusions,’’ Artweek, v.10, February 3, 1979. Review of a performance done in collaboration with Anne Bean, at the Vanguard Gallery, Los Angeles.
- KOS Paul, Ax, 1979, videotape, 25 mins., b/w and color.
- LA MAMELLE INC.
— Carl Loeffler, ‘‘A Literal Exchange/La Mamelle Inc. at A-Space August 1978,’’ High Performance, no.6, v.2, June 1979, p.4. Description of an exchange program between La Mamelle Inc. and A-Space of Toronto in August 1978. Excerpt:
August 1978 La Mamelle Inc. and A-Space of Toronto traded roles in a program titled A LITERAL EXCHANGE. For the month of August, La Mamelle Inc. operated out of A-Space. Projects consisted of producing a special issue of the A-Space publication ONLY PAPER TODAY, exhibitions of La Mamelle Inc. video and California publications (exhibited were in excess of 100 artists books and artists periodicals), and a series of performance events. The performance utilized video as a main element. Introductions, presented Friday, evening, re-enacted a typical Westcoast television talk show comple with multiple cameras, floor directors, pre-recorded commercials, prerecorded applause, and a live studio viewing audience. Selections, presented Saturday evening, re-enact a cable cast boardcast to multiple cities (New York, Toronto, San Francisco, LA, and Tokyo) and consisted of pre-recorded video performances and live events. Sunday evening, The International Dance Contest, brought the town out to take a chance to win a $100.000 first prize awarded by Willoughby Sharp, Buster Cleveland, and Eldon Garnet. The dance contest utilized multiple camera video in a set resembling Hollywood Disco. All performance events were documented on video and available through La Mamelle Inc., Participating in the exchange: Carl E. Loeffler, Nancy Frank, Buster Cleveland, Anna Banana, Bill Gaglione, Paul Forte, G.P. Skratz, Linda Lemon, Norman Gould, Mary Stofflet, Kirk deGooyer, Willoughby Sharp, Eldon Garnet, and a cast of thousands.
- LADIK Katalin, The Screaming Hole, Tribina mladlh, Novi Sad, 1979 (also 1978 and 1996).
Katalin Ladik (1942, Serbia) performs her artistic work on the radio, in the theatre and, finally, in the world of visual art. A writer of poems, she transfers poetic language to other filds of expression, suc as visual poetry, performance, Mail art and sound art. Her work is bound to feminist matters in Eastern Europe and reflects the personal, social and existential difficulties that female artists must face. Recurrent dual structures and the use of sexually ambiguous figures (androgynes and angels) as well as gender-neutralising elements inhabit her work, which occasionally acquires Shamanic overtones and integrates therapeutic mechanisms of liberation.
The artist is inside a paper-covered structure, where she begins to cook. The audience realises that something is happening behind the walls and tear the paper, thus ‘deflowering’ the intimacy of the artist who is staging one of her best-known performances. Voyeurism, anticipation and the interaction between the artist and the audience mark this metaphorical performance.
- LORD Chip & GARNER Phil, Auto Parts, 1979, San Francisco, La Mamelle Inc., videotape, approx. 15 mins., color.
First in a series entitled, Produced for Television, a project of La Mamelle, Inc.; broadcast live on airwave television, Channel 26, San Francisco, September 1979.
- MACIUNAS George, Solo for Lips and Tongue, 1979 (reprise de 1961), Fluxus Retrospective Concert, 24 mars 1979, The Kitchen, NYC.
- MARIONI Tom, ‘‘The Sound of Tooting My Own Horn,’’ LAICA Journal, no.22, March/April 1979, pp.63-64.
- MARIONI Tom, 1979, 1979, videotape, 8 mins., color.
- MARIONI Tom, Cafe Society (Last Day at Breen’s Bar), Museum of Conceptual Art, San Francisco, Ca., 1979.
Breen’s Bar, Salon of MOCA, the site of Marioni’s Cafe Society, where on Wednesdays from 2-4 p.m. artists would meet and exchange ideas and energy. Beer was free. Marioni’s ‘‘concept of Cafe Society is drunken parties where ideas are born.’’
- MARIONI Tom, Free Beer on Friday, 1979.
- MAURER Dóra, Proporties, 1979.
Dóra Maurer (1937, Hungary) is one of the most important figures of Hungarian art since the 1970s. Together with Orshi Drozdik and Judit Kele, she was one of the pioneers of feminist body and performance art in Hungary. In her analysis of the medial image of photography and video, Maurer’s mise-en-scènes negotiate the processes involved in perception, construction of reality and subversion of gender norms. In the early 1980s, she began exploring abstract painting and spatial concepts in her conceptual and geometric abstractions in photography, film and graphic art.
Using the lenght of her body as a basic measurement, Dóra Maurer draws evenly spaced black lines on a rolled out strip of paper, creating a kind of grid on the surface. She then performs minimalist actions on the equally sized squares. She starts over and over again, performing different choreographed movements on the white strip of paper while comparing the proportions of her hands, arms, feet and body. Her body measurements take on a strictly serial nature and are structured trhough the repetitive movements and the segments of individual image sequences on paper.
- McCARTHY Paul
— Barbara Smith, ‘‘Paul McCarthy,’’ LAICA Journal, no.21, Janurary/February 1979, pp.45-50.
- McLEAN Bruce, Nice Style Pose Band, 1979. Londres.
- MILLER Larry, Remote Music, 1979, Fluxus retrospective concert. The Kitchen NYC
- MOGUL Susan, Waiting at Columbia, 1979, Hollywood.
— Ruth Askey, ‘‘Susan Mogul Goes Hollywood,’’ Artweek, v.10, July 14, 1979, p.4. Review of Mogul’s performance/exhibition, Waiting at Columbia, Hollywood, July 1979.
— Suzanne Muchnic, ‘‘Four Offbeat Exhibitions Downtown,’’ Los Angeles Times, July 19, 1979, partIV, p.20. Short review/announcement of Mogul’s work, Waiting in Columbia.
- MOGUL Susan, Waiting at Columbia, Los Angeles, Ca., 1979.
Installation and set for ‘‘Chocolate Shake Performance.’’ Mogul directs Cheryl Swannack at screen test. Mogul’s collages in background.
— Susan Mogul, ‘‘Chocolate Shake Performance,’’ High Performance, no.7, v.2, September 1979, pp.66-67. Description and photographs of performance at Columbia Coffee Shop, Hollywood, California on July 21, 1979. Excerpts:
WAITING AT COLUMBIA FOR HOLLYWOOD MOGULS I DRANK 929 CHOCOLATE MALTEDS, STILL UNDISCOVERED, I DRANK MY LAST CHOCOLATE MALTED THE DAY BEFORE I TURNED THIRTY.
Columbia Coffee Shop, formerly Columbia Drugs, is located in front of the old Columbia Studias in the area known as Gower Gulch since 1928.
Susan R. Mogul, portraying a stereotyped Hollywood director, gave 13 women screen tests at the soda fountain. The women were in costume portraying women of the past five decades who have waied to be discovered.
Screen Test #6
Director: I’d like to hear how you would order a chocolate malted. Miss Margolies, please hand her the lines.
Women-in Waiting: I’d like to order a chocolate malted.
- MOL Kees, Wallen, 1979. Hambourg.
- MONTANO Linda, Mitchell’s Death, 1979.
— Theodore Shank, ‘‘Mitchell’s Death: Linda Montano’s Autobiographical Performance,’’ The Drama Review, v.23, March 1979, pp.43-48.
- MUNICIPAL SOFTBALL LEAGUE
— ‘‘Mister Twister/A Perfect Record,’’ High Performance, no.5, v.2, March 1979, pp.14-15. Photos of players on the Municipal Softball League, Los Angeles Metropolitan Area. Included: Bob Smith, Richard Newton, and Paul McCarthy, among others.
- MUSEUM OF CONCEPTUAL ART
— Cecile McCann, ‘‘MOCA,’’ Artweek, v.10, June 16, 1979, p.16. Photo and brief statement regarding MOCA’s installation at the San Francisco Museum of Modern Art, May-June 1979. Tom Marioni, MOCA Director, re-created MOCA’s environment with refrigerator, table, and shelves for empty beer bottles. During the 6-week installation beer was available in the refrigerator and ‘‘guests’’ were expected to add their empty bottles to the shelf.
- NICOLA L, Travelling Penetrable Nicola carrying a suitcase with a body cut in pieces (made in 1970), 1979, New York. (case plexi, body in soft penetrable canvas, 6 ft. high).
- NIESLONY Boris, Jumping through genetic flair, 1979.
- POMMEROY Jim, Extrax/Abstrax/1974-79, 1979, San Francisco: Self-Published, 1979. ‘‘Miscellaneous notes on music, stereography, and performance.’’
- POMMEROY Jim, Mozart’s Moog, Nocturne and Apollo’s Jest (a little night musing), 1979, Artists Space, NYC.
— Carrie Rickey, ‘‘Jim Pommeroy, Artists Space,’’ Artforum, v.17, January 1979, pp.60-61. Review of Pommeroy’s performance of Mozart’s Moog, Nocturne and Apollo’s Jest (a little night musing), at Artists Space, NYC.
- PARTUM Ewa, Change. Mein Problem ist das Problem der Frau, 1979.
Due to her unique position in the Polish neo avant-garde dominated by men, Ewa Partum turned her attention to her female subjectivity in the 1970s and often appeared nude in front of her audience, taking a radical stance as a performer. In the performance Change, she lay naked on a pedestal. While one half of her body was ‘aged’ by make-up artists, she spoke about the reproduction of images of women in society. Text passages on feminism in art by VALIE EXPORT and Lucy Lippard could also be heard from an audio tape. After two hours, the make-up artists were finished and Partum declared herself an artwork. According to Angelika Stepken, this divided female body image represents the location of artificial self-identification questioning traditional beauty ideals while also touching on the taboo of the ageing female body.
- POTTER Sally, Thriller, 1979.
- REINDER WERK (Dirk LARSEN/Tom PUCKEY), Denken, Prediction. 5 Tage und Nächte, 1979. Hambourg.
- ROLFE Nigel, Ramp Drawing, 1979. Dublin.
- ROSENTHAL Rachel
— Jim Moissan, ‘‘Rachel Rosenthal,’’ LAICA Journal, no.21, January/February 1979, pp.51-55.
- ROSENTHAL Rachel, Solo for Florence and Orchestra’’ (Dick Higgins), 1979, I.D.E.A., Santa Monica.
— Dick Higgins, ‘‘Solo for Florence and Orchestra,’’ High Performance, no.7, v.2, September 1979, p.61. A performance originally written by Dick Higgins in 1961; performed by Rachel Rosenthal and directed by Jerry Benjamin with costumes by Huck Snyder for a performance at I.D.E.A., Santa Monica, June 24, 1979.
- ROSENTHAL Rachel, The Arousing (Shock, Thunder) A Hexagram in Five Parts, 1979. Los Angeles.
— Rachel Rosenthal, ‘‘The Arousing (Shock, Thunder),’’ High Performance, no.7, v.2, September 1979, pp.22-23. Description and photographs of a performance that took place January 27, 1979, at the Los Angeles Institute of Contemporary Art.
- ROSLER Martha
— Martha Rosler, ‘‘For an Art Against the Mythology of Everyday Life,’’ LAICA Journal, no.23, June/July 1979, pp.12-15.
- SAINT JAMES Marty, I’ll See You, 1979, Llanduno Mostyn Gallery.
- SAPIEN Darryl
— Robert McDonald, ‘‘Darryl Sapien’s Drawings,’’ Artweek, v.10, February 10, 1979, p.4. Review of an exhibition of drawings that developed from some of Sapien’s performances, at the Gallery Paule Anglim, San Francisco.
- SAPIEN Darryl, Liberated Zone, The Sculpture Center, Sydney, Australia. 1979.
Performed in a vacant lot in downtown Sydney this performance focused on the subjects of judment, confinement, escape, and libération. It examined how people may judge themselves, consequently wall themselves off, and the necessity of breaking down those walls in order to grow.
- SAPIEN Darryl, Portrait of the Artist x 3, 1979. Videotape.
Ruins of Playland at the Beach, San Francisco. Ca., with Michael Hinton and others. Taking place amongst the ruins of demolished amusement park this three part performance Drew a portrait of the artist at three crucial stages of development. The Learning stage where the artist masters his skills, the middle period of hard work and monumental effort, and the final period of entrapment, escape, and renewal. The audience wandered through the vast sandy landscape of broken concrete and jutting abutments to view the three performances which were running simultaneously.
— Robert Atkins, ‘‘Celebrating Alienation,’’ Artweek, v.10, September 29, 1979, p.7. Review of Sapien’s Work, Portrait of the Artist x 3, performed September 1, 1979, in San Francisco near the ruins, site of Playland at the Beach. Excerpt:
Three groups of male performers (all members of the Performance Foundation) simultaneously performed in three different locations. Michael Hinton, Henri Bridges and Jamal constructed a tall, phallic tower from sandbags. Cyd Gibson and Horace Washington used blow torches to inscribe geometric forms on a tar-covered wall on which geometric images by Jeff Vaughan were projected. Darryl Sapien and Brian Carter performed in the ruins of a cylindrical, high-walled building. Within it was a central pit lit a hellish red. One performer typed in the pit while the other manipulated the discarded lumber and junk littering the larger arena. (I found this the most engrossing of the three performances.) Sapien and Carter were futuristically garbed in white, and a dark, primitive and corporeal energy pulsated throughout the surreal, Fellini-esque environment.
- SCHILL Rudy, Meine Imagination: Die geheimen Wünsche des Jünglings von Marathon, Luzern. 1979.
- SCHOUTEN Lydia, Smile, 1979. Hambourg.
- SEEMAYER Stephen
— ‘‘Untitled,’’ High Performance, no.5, v.2, March 1979, pp.30-33. Text and photo documentation of a performance work at Close Radio, January 17, 1979. Seemayer (in a black room built outside the station) leaps over numbers that make up his social security number, wearing a burning mask, while three women (Edie Daniell, Monique Stafford and Linda Burnham) are in the radio station screaming, talking, and whispering the same numbers.
- SMITH Barbara, Just Passing, 1979, La Mamelle, Inc., San Francisco, videotape approx. 15 mins., color.
— Produced for Television series, broadcast on KTSF-TV, San Francisco, by La Mamelle, Inc. Second in a series entitled Produced for Television, a project of La Mamelle Inc.; broadcast live on airwave television Channel 26, San Francisco, October 1979.
- SOON 3
— Michael O’Conner, ‘‘Soon 3: An Interview with Alan Finneran,’’ New Performance, no.3, v.1, 1979, pp.14-22. Extensive interview; includes photographs.
- STURGEON John
— Louise Lewis, ‘‘Art as Alchemy,’’ Artweek, v.10, July 28, 1979, pp.1, 20.
- 1er SYMPOSIUM D’ART PERFORMANCE LYON DIRIGÉ PAR HUBERT BESACIER
- THE WAITRESSES, So You Want to Be a Waitress, All City Waitress Marching Band performance, Doodah Parade, December 1979, Pasadena, California, USA.
The Waitresses (USA 1978-1985) was a collaborative performance art group formed by artists who were also waitresses during the 1970s in Los Angeles. These graduates of the Feminist Studio Workshop at the Woman’s Building entertained audiences in restaurants, women’s conferences and labour conferences and designed installations for galleries and museums from 1978 to 1985.
They explored working conditions for women, used humour, and were precursors to later groups like The Guerrilla Girls. In one of their performances they formed a marching band with 33 women and children in white waitress uniforms with red aprons and marched in the Pasadena Doo-Dah parade on New Year’s Day in 1979. In 2007 five original waitresses – Jerri Allyn, Chutney Gunderson Berry (bandleader), Ann Gauldin, Anne Mavor, Denise Yarfitz Pierre – and 37 other men, women and children marched in support of pay equity now.
- TOT Endre, Gladness Demonstration, 1979. Amsterdam.
- UKELES Mierle Laderman, Touch Sanistation, 1979-81.
- UTHCO T.R.
— Jody Procter, ‘‘T.R. Uthco Edited by Fire,’’ High Performance, no.5, v.2, March 1979, pp.27-29. Text and documentation of the fire destroying T.R. Uthco’s (Diane Hall, Doug Hall, and Jody Procter) studio at Pier 40, San Francisco, on August 7, 1978 and a subsequent exhibition of charred props from past performances, drawings and documentation of works from 1970-78, at La Mamelle Arts Center, San Francisco, November-December 1978.
- VIDEO FREE AMERICA
— Joanne Kelly, Video Free America Presents. (San Francisco: Video Free America, 1979). Catalogue of artists who have presented works at Video Free America, San Francisco. Includes a description of the work shown at VFA and current address for each artist.
- WARPECHOWSKI Zbigniew, Electrical Love Story, 1979, Pologne.
- WENT Johanna, Soloperformance, 1979.
- WHITE John
— Louise Lewis, ‘‘Sound as Sculpture: Observations on John White’s Performance art,’’ LAICA Journal, no.22, March/April 1979, pp.53-55.
- WICK Susan
— ‘‘Susan Wick,’’ Bay Area Biographies. Oakland Modern Myths, 1979.
- WILKE Hannah, So Help Me Hannah, 1979 (série photo)
- WILMAN Jaime as Wonder Waitress in ready to order, 1979.
- WISE Nina
— Chris Orr, ‘‘City-Lives and Natural Rhythms,’’ Plexus, January 1979.
- WISE Nina, Glacier, 1979, Epic West, Berkeley, Ca.
— Janice Ross, ‘‘Women and Widerness,’’ Artweek, v.10, January 27, 1979, pp.5-6. Review of Wise’s performance piece, Glacier, an ecology-oriented work performed by Deborah Bucher, Suzanne Landucci, Grace Fergusson and Peggy Lutz, at Epic West, Berkeley, Ca.
- YARFITZ Denise, A form of drawing, mai 1979.
- ZURITA Raul, No, no puedo mas, 1979, Santiago, Chili.