Found 7,253 Resources containing: Performance artists
Over the course of his career, Bruce Nauman has, in a wide variety of media, consistently returned to his own body as a site of experimentation. Nauman's self-reflexive turn finds expression in this self-portrait, which subverts traditional expectations by distancing the artist from the viewer rather than promoting engagement. Nauman's drypoint etching reflects the artist's interest in the front-back reversals inherent in printmaking. Here, it is not only a mirror reversal with which Nauman works, but also a shift of orientation. Positioned horizontally, the artist's profile hovers between a recognizable image and a fluctuating line. Whether sleeping, unconscious, or daydreaming, whether speaking or merely breathing, the artist, through his likeness, resists personal contact, even as he exposes himself. Ultimately, this may be the artist's most provocative gesture: that of deliberate withdrawal, even as he makes himself visible.
A trailblazer in experimental theater, Robert Wilson has achieved worldwide fame for works such as King of Spain (1969); Einstein on the Beach (1976), in collaboration with avant-garde musical composer Philip Glass; and The Life and Death of Marina Abramovic (2011). Beyond his professional endeavors, Wilson also manages the Watermill Center in Long Island, New York, an interdisciplinary laboratory for theater professionals and students. Wilson’s honors include the Dorothy and Lillian Gish Prize for Lifetime Achievement (1996), the National Design Award for Lifetime Achievement (2001), and the Olivier Award for Best New Opera Production (2013). He was also elected to the American Academy of Arts and Letters (2000).
Artist Chuck Close depicts Wilson using the woodburytype—a photomechanical printing process that results in a slight relief of the image. The close-up framing, elimination of background, and dramatic lighting allow us to engage Wilson eye to eye.
Robert Wilson nacido en 1941
Nacido en Waco, Texas
Pionero del teatro experimental, Robert Wilson se ha hecho famoso en el mundo por obras como King of Spain (1969); Einstein on the Beach (1976), en colaboración con el compositor vanguardista Philip Glass; y The Life and Death of Marina Abramovic (2011). Más allá de su quehacer profesional, Wilson maneja el Watermill Center en Long Island, Nueva York, un laboratorio interdisciplinario para profesionales y estudiantes de teatro. Entre sus distinciones se cuentan el Premio Dorothy and Lillian Gish por su trayectoria (1996), el Premio Nacional de Diseño, también por su trayectoria (2001), y el premio Olivier al mejor montaje de una ópera nueva (2013). También fue elegido miembro de la Academia Americana de las Artes y las Letras (2000).
Para retratar a Wilson, el artista Chuck Close ha utilizado un método de impresión llamado woodburytipia, un proceso fotomecánico con el que se obtiene un leve relieve en la imagen. El encuadre en primer plano, la eliminación del fondo y la dramática iluminación nos permiten tener un “tú a tú” con Wilson.
Chuck Close (nacido en 1940)
Avant-garde composer and performer Laurie Anderson was trained as a sculptor and evolved into a musician during the 1970s when she put on a series of multimedia art installations and performance pieces. She started releasing records in the late 1970s and became part of the countercultural art scene that included such figures as Frank Zappa, Philip Glass, and John Cage, who all bridged popular and high art in order to create new, post-harmonic musical compositions. Anderson attained mainstream success with a number-one record in England (1981), and in 2003 she was named NASA's artist in residence, composing the piece The End of the Moon.
Celebrated for his groundbreaking contributions to time-based art media, Nam June Paik was a pioneer in his recognition of television and video as artistic tools. The Korean-born artist studied music in Japan and Germany during the 1950s, becoming a key participant in the international fluxus movement, which stressed liberation from traditional artistic categories, with an emphasis on performance. Combining his interest in electronic art and musical composition, Paik collaborated with John Cage and developed a longstanding artistic partnership with the cellist Charlotte Moorman, who famously performed in a "TV bra" created by Paik. A deep sympathy with Zen Buddhism, shared by many artists of his generation and alluded to in this playful portrait by Abe Franjndlich, informed much of Paik's art, leading to projects such as Zen for Film (1962) and TV Buddha (1974). In 2009, the Smithsonian American Art Museum became the home for Paik's archives.
Jim Dine suele representar objetos con los que siente una relación personal. Escogió el motivo de la bata de baño a manera de autorretrato luego de ver dicho objeto en un anuncio publicitario del New York Times en 1964. Para él, la imagen fue más que un mero objeto encontrado. Según explicó: “Nadie llevaba puesta la bata de baño, pero cuando la vi, se parecía a mí”. Poco después, la bata sería la base de una exposición de pinturas en la Sidney Janis Gallery. También sirvió de motivo para la primera incursión del artista en la técnica del aguafuerte. Como si reflejara el orgullo de Dine por sus primeros trabajos bien logrados en una técnica que describió como “dibujar con ácido”, la bata con sus mangas arqueadas, comunicando el gesto del artista invisible con las manos en las caderas, parece expresar una juvenil satisfacción.
Every summer, blues and jazz musicians from around the country come to Davenport’s LeClaire Park, on the banks of the Mississippi River. The three-day Mississippi Valley Blues Festival takes place on or around the July 4 weekend, and organizers promise a "down-home, non-commercial atmosphere." A few weeks later, LeClaire Park hosts the Bix Beiderbecke Memorial Jazz Festival, named for the legendary coronet player and Davenport native. The four-day festival has brought top bands to Davenport since 1972.
The Des Moines Arts Festival brings a juried visual arts exhibition and a variety of performing artists to Iowa’s state capital every summer. Past weekend-long festivals have featured blues concerts, ballet, poetry slams, jazz and street theater, as well as a fireworks show on Saturday night.
Jim Dine born 1935
For Jim Dine, etching contributed to a new approach to self-representation. As he later observed: "Making prints was the first place my interest in figurative art raised its head." Dine's transition to figuration in the 1970s reflected increased personal and professional confidence. He confronts the viewer with an intense gaze. Using a profusion of expressive lines, he captures the thickness of his beard and the hair around his temples, and also conveys the aging of his skin. Professing his interest in "what life has done to the face," Dine has remarked, "I love people's tracks. . . . I want all that history." Taking advantage of etching's capacity to register such expressive marks, Dine invests his 1978 self-portrait with yet another layer of autobiographical significance, printing it on paper watermarked with his initials: J.D.
Transcript: 53 p.
An interview of Senga Nengudi conducted 2013 July 9-11, by Elissa Auther, for the Archives of American Art's, Stoddard-Fleischman Fund for the History of Rocky Mountain Area Artists, at the University of Colorado and at RedLine Denver in Denver, Colorado.