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The State of Performance Art 2019

The State of Performance Art 2019 The State of Performance Art 2019 Jacki Apple n a 1994 article called “Performance Art Is Dead: Long Live Performance Art!” I wrote: “Whatever happened to performance art? It seems to have disappeared Iinto a fault line in the cultural terrain, swallowed up by theater and entertain- ment on one side, and the commodity driven art world on the other . . .” The article critically examined the evolution of performance art in response to the cultural and political environment of the 1980s and early 1990s. Now, twenty- five years later, the question is worth reconsidering, in 2019, when the term has been totally co-opted and appropriated by media culture to identify, promote, and sensationalize public actions and entertainments. In Los Angeles, producer, curator, and educator Deborah Oliver has been com- mitted to rejuvenating and reactivating performance art with a new generation of artists in the twenty-first century. Oliver’s goal has been to reconnect perfor - mance art to its process-based visual-art roots by re-situating it in the immersive environment of the art gallery where the audience would become participating viewers free to interact in real time with a broad range of live actions and diverse aesthetics. Produced and http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

The State of Performance Art 2019

PAJ: A Journal of Performance and Art , Volume 43 (2): 7 – May 1, 2020

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Publisher
MIT Press
Copyright
Copyright © MIT Press
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj_a_00518
Publisher site
See Article on Publisher Site

Abstract

The State of Performance Art 2019 Jacki Apple n a 1994 article called “Performance Art Is Dead: Long Live Performance Art!” I wrote: “Whatever happened to performance art? It seems to have disappeared Iinto a fault line in the cultural terrain, swallowed up by theater and entertain- ment on one side, and the commodity driven art world on the other . . .” The article critically examined the evolution of performance art in response to the cultural and political environment of the 1980s and early 1990s. Now, twenty- five years later, the question is worth reconsidering, in 2019, when the term has been totally co-opted and appropriated by media culture to identify, promote, and sensationalize public actions and entertainments. In Los Angeles, producer, curator, and educator Deborah Oliver has been com- mitted to rejuvenating and reactivating performance art with a new generation of artists in the twenty-first century. Oliver’s goal has been to reconnect perfor - mance art to its process-based visual-art roots by re-situating it in the immersive environment of the art gallery where the audience would become participating viewers free to interact in real time with a broad range of live actions and diverse aesthetics. Produced and

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: May 1, 2020

There are no references for this article.