Performing the Era
"I have been carrying on a dialogue between the landscape and the female body. I believe this has been the direct result of my having been torn from my homeland (Cuba) during my adolescence. I am overwhelmed by the feeling of having been cast from the womb (nature).”
- Ana Mendieta
Ana Mendieta, Tree of Life, 1977.











Daniel Buren, Sandwich Boards, 1968.
Daniel Buren, Travail, 1973.











Sixth Guggenheim International Exhibition, 1971
Donald Judd, Untitled, 1968.











Daniel Buren, Photo-souvenir, work in situ at the Guggenheim Museum before removal, 1971.











The Minimalists "clearly sensed that Buren's work revealed several fallacies in their own positions."

"The first of these was the assumption of the neutrality of the phenomenological space within which the viewer interacts with the work." The Buren work asserted that "institutional interests, which are always mediated by economic and ideological interests, inevitably reframe and redefine the production, the reading, and the visual experience of the artistic object."
"The second fallacy was revealed through the way that Buren's piece set up a confrontation between museum architecture and sculptural work" on display. - Art Since 1900
Donald Judd, Untitled, 1968.











Andrea Fraser as Jane Castleton in Museum Highlights, 1989.












Andrea Fraser, Little Frank and His Carp, 2001.











*Cut Piece

First version for single performer:

Performer sits on stage with a pair of scissors in front of him. It is announced that members of the audience may come on stage one at a time to cut a small piece of the performer's clothing to take with them.

Performer remains motionless throughout the piece. Piece ends at the performer's option.

Second version for audience: It is announced that members of the audience may cut each others clothing.

* The audience may cut as long as they wish






















“I felt really violated: they cut my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the public. Everyone ran away, escaping an actual confrontation.” - Marina Abramovic
Abramovic recalls the performance
Marina Abramovic, Rhythm 0, 1974.












Adrian Piper, Catalysis IV, 1971.











Chris Burden, Five Day Locker Piece, 1971.
Chris Burden, Through the Night Softly, 1973.











Chris Burden, Shoot, 1971.





















"i was born in Tulsa Oklahoma in 1943. when i was sixteen i started shooting amphetamine. i shot with my friends everyday for three years and then left town but I've gone back through the years. once the needle goes in it never comes out." - Larry Clark
Larry Clark, Tulsa, 1971.












Larry Clark, Tulsa, 1971.











Accidental Gunshot Wound
Larry Clark, Tulsa, 1971.











Pregnant Woman Shooting Up

Larry Clark, Tulsa, 1971.











“It’s like, I call myself a moralist and my friends fall down laughing. But it’s true! Look at the work—everyone always comments on the photo in Tulsa of a pregnant girl shooting up, like it’s exploitative. Look at the next photo! It’s a funeral. Of a dead baby. I’m always trying to get at the consequences of actions. And if it’s titillating? Well, sometimes I’m dealing with good-looking people having sex, sure, but that’s not the point. The point is the consequences.” - Larry Clark
Baby in Coffin
Larry Clark, Tulsa, 1971.




















Chris Burden, Trans-fixed, 1974.











Chris Burden, Urban Light, 2010.











Vito Acconci, Theme Song, 1973.











Vito Acconci, Seedbed, 1972.


Vito Acconci Wants Revolution











Marina Abramovic performing Seedbed (for 7 hours) at the Guggenheim Museum on November 10, 2005.