Editing Performance art (section)

=== Main artists ===
[[File:Warhol and Beuys by Jodice.tif|left|thumb|Portrait of [[Joseph Beuys]] and [[Andy Warhol]] in [[Naples]]]]

The works by performance artists after 1968 showed many times influences from the political and cultural situation that year. [[Barbara Smith|Barbara T. Smith]] with ''Ritual Meal'' (1969) was at the vanguard of body and scenic feminist art in the seventies, which included, amongst others, [[Carolee Schneemann]] and [[Joan Jonas]]. These, along with [[Yoko Ono]], [[Joseph Beuys]], [[Nam June Paik]], [[Wolf Vostell]], [[Allan Kaprow]], [[Vito Acconci]], [[Chris Burden]] and [[Dennis Oppenheim]] were pioneers in the relationship between body art and performance art, as well as the [[Zaj]] collective in Spain with [[Esther Ferrer]] and [[Juan Hidalgo Codorniu|Juan Hidalgo]].

[[Image:Schneemann-Interior Scroll.gif|thumb|[[Carolee Schneemann]], performing her piece ''Interior Scroll.'' [[Yves Klein]] in France, and [[Carolee Schneemann]], [[Yayoi Kusama]], [[Charlotte Moorman]], and [[Yoko Ono]] in New York City were pioneers of performance based works of art, that often entailed nudity.]]

[[Barbara Smith]] is an artist and United States activist. She is one of the main African-American exponents of [[feminism]] and [[LGBT]] activism in the United States. In the beginning of the 1970s she worked as a teacher, writer and defender of the black feminism current.<ref>Smith interview by Loretta Ross, [http://www.smith.edu/libraries/libs/ssc/vof/transcripts/Smith.pdf Voices of Feminism Oral History Project], pp. 5–6.</ref> She has taught at numerous colleges and universities in the last five years. Smith's essays, reviews, articles, short stories and [[literary criticism]] have appeared in a range of publications, including ''[[The New York Times]]'', ''[[The Guardian]]'', ''[[The Village Voice]]'' and ''[[The Nation]]''.<ref name="Ross interview">Smith, Barbara, interview by Loretta Ross, transcript of video recording, May 7, 2003, [http://www.smith.edu/libraries/libs/ssc/vof/transcripts/Smith.pdf Voices of Feminism Oral History Project], Sophia Smith Collection, p. 2.</ref><ref>Smith interview by Loretta Ross, [http://www.smith.edu/libraries/libs/ssc/vof/transcripts/Smith.pdf Voices of Feminism Oral History Project], pp. 3–4.</ref><ref>Smith, Barbara. ''Home Girls: A Black Feminist Anthology'', Kitchen Table: Women of Color Press, 1983, {{ISBN|0-913175-02-1}}, p. xx, Introduction</ref>

[[Carolee Schneemann]]<ref>{{Cite web|url=https://www.artlyst.com/news/carolee-schneemann-pioneering-feminist-artist-dies-age-79/|title=Carolee Schneemann Pioneering Feminist Artist Dies Age 79}}</ref> was an American [[visual artist|visual experimental artist]], known for her multi-media works on the body, narrative, [[human sexuality|sexuality]] and [[gender]].<ref>{{cite news|title=Carolee Schneeman on Feminism, Activism and Ageing|url=http://www.anothermag.com/art-photography/8462/carolee-schneemann-on-feminism-activism-and-ageing|access-date=March 19, 2016|publisher=AnOther magazine}}</ref> She created pieces such as ''Meat Joy'' (1964) and ''Interior Scroll'' (1975).<ref name="performa07">{{cite web |url=http://www.timeout.com/newyork/article/23687/carolee-schneemann-remains-to-be-seen-new-and-restored-films-and-videos-with-video |work=[[Time Out New York]] |title=Carolee Schneemann: "Remains to Be Seen: New and Restored Films and Videos" |date=October 25, 2007 |access-date=June 10, 2020 |archive-date=January 5, 2013 |archive-url=https://archive.today/20130105010205/http://www.timeout.com/newyork/article/23687/carolee-schneemann-remains-to-be-seen-new-and-restored-films-and-videos-with-video |url-status=dead }}</ref> Schneemann considered her body a surface for work.<ref name="stiles-3">{{cite book|title =Imaging Her Erotics: Essays, Interviews, Projects|last=Stiles|first=Kristine|year=2003|publisher=[[MIT Press]]|location=[[Cambridge, Massachusetts]] |isbn=026269297X|chapter=The Painter as an Instrument of Real Time|page=3}}</ref> She described herself as a "painter who has left the canvas to activate the real space and the lived time."<ref>[http://gregcookland.com/journal/2007_10_28_archive.html Carolee Schneemann Speaks], ''New England Journal of Aesthetic Research''. Posted 11 de octubre de 2007.{{Self-published source|date=December 2020}}</ref>{{Failed verification|date=October 2020|reason=Quote does not exist at all on provided reference}}

[[Joan Jonas]] (born July 13, 1936) is an American visual artist and a pioneer of [[video art|video]] and performance art, who is one of the most important female artists to emerge in the late 1960s and early 1970s.<ref name=MIT>[http://act.mit.edu/people/professors/joan-jonas/ Faculty: Joan Jonas] ACT at MIT – MIT Program in Art, Culture and Technology.</ref> Jonas' projects and experiments provided the foundation on which much video performance art would be based.  Her influences also extended to [[conceptual art]], theatre, performance art and other visual media. She lives and works in New York and Nova Scotia, Canada.<ref>[http://joanjonasvenice2015.com/artist-joan-jonas/ "Artist Joan Jonas"], Venice Bienniale, Retrieved August 17, 2014.</ref><ref name="EAI">[http://www.eai.org/artistBio.htm?id=408 "Joan Jonas: Biography"] {{webarchive|url=https://web.archive.org/web/20110121122518/http://www.eai.org/artistBio.htm?id=408|date=January 21, 2011}}, Electronic Arts Intermix, Retrieved June 6, 2020.</ref> Immersed in New York's downtown art scene of the 1960s, Jonas studied with the choreographer [[Trisha Brown]] for two years.<ref name=GuggenheimBio>{{cite web |url=http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/9903 |title=Collection Online – Joan Jonas |publisher=[[Solomon R. Guggenheim Museum]] |access-date=June 8, 2014 |url-status=dead |archive-url=https://web.archive.org/web/20140416181309/http://www.guggenheim.org/new-york/collections/collection-online/artists/bios/9903 |archive-date=April 16, 2014 }}</ref>
Jonas also worked with choreographers Yvonne Rainer and Steve Paxton.<ref name="Joan Jonas">{{cite web |title=Joan Jonas |url=https://www.pbs.org/art21/artists/joan-jonas |website=pbs.org}}</ref>

[[Yoko Ono]] was part of the avant-garde movement of the 1960s. She was part of the Fluxus movement.<ref>{{Cite web|url=http://www.milartgranada.com/yoko-ono-la-artista-desconocida-mas-famosa-del-mundo/|title=Yoko Ono: La Artista desconocida más Famosa del Mundo}}</ref> She is known for her performance art pieces in the late 1960s, works such as ''Cut Piece'', where visitors could intervene in her body until she was left naked.<ref>{{cite news|title=Yoko Ono, Cut Piece y la performance feminista|url=https://revistamirall.com/2017/07/12/yoko-ono-cut-piece-y-la-performance-feminista/|access-date=May 21, 2020|work=Mirall|date=July 12, 2017}}</ref> One of her best known pieces is ''Wall piece for orchestra'' (1962).<ref>{{cite web |url= https://www.revistavanityfair.es/sociedad/celebrities/articulos/john-lennon-yoko-ono-boda-gibraltar-bed-peace-hair-peace/23747|publisher= Vanity Fair|title=John Lennon, Yoko Ono y Gibraltar|author=Ana López-Varela |date=September 2017|access-date=May 26, 2020}}</ref><ref>{{cite news |url= https://www.lanacion.com.ar/lifestyle/la-yoko-que-no-vemos-nid195543|newspaper= La Nación|title= La Yoko que no vemos|date=October 1998|access-date=May 26, 2020}}</ref>

[[Joseph Beuys]] was a German Fluxus, [[happening]], performance artist, painter, sculptor, [[medallist]] and [[installation artist]]. In 1962 his actions alongside the Fluxus neodadaist movement started, group in which he ended up becoming the most important member. His most relevant achievement was his socialization of art, making it more accessible for every kind of public.<ref>{{cite web|url=http://www.walkerart.org|title=Walker Art Center – Contemporary Art Museum – Minneapolis|website=www.walkerart.org}}</ref> In ''How to Explain Pictures to a Dead Hare'' (1965) he covered his face with honey and gold leaf and explained his work to a dead hare that lay in his arms. In this work he linked spacial and sculptural, linguistic and sonorous factors to the artist's figure, to his bodily gesture, to the conscience of a communicator whose receptor is an animal.<ref>{{cite book|last=Tisdall|first=Caroline|title=Joseph Beuys|year=2010|publisher=Thames & Hudson|page=37}}</ref> Beuys acted as a shaman with healing and saving powers toward the society that he considered dead.<ref>Andre Chahil: [http://andrechahil.com/wien-1985-phaenomen-fax-art-beuys-warhol-und-higashiyama-setzen-dem-kalten-krieg-ein-zeichen ''Wien 1985: Phänomen Fax-Art. Beuys, Warhol und Higashiyama setzen dem Kalten Krieg ein Zeichen.'']</ref> In 1974 he carried out the performance ''[[I Like America and America Likes Me]]'' where Beuys, a coyote and materials such as paper, felt and thatch constituted the vehicle for its creation. He lived with the coyote for three days. He piled United States newspapers, a symbol of capitalism.<ref name="henry-moore.org">{{cite web|url=http://www.henry-moore.org/hmi-journal/homepage/view-occasional-papers/beuysto-be-a-teacher-is-my-greatest-work-of-art/page-1|title=Henry Moore Institute|access-date=June 10, 2020}}</ref> With time, the tolerance between Beuys and the coyote grew and he ended up hugging the animal. Beuys repeats many elements used in other works.<ref>{{cite AV media|people=Halpern, John (Director)|date=April 15, 1988|title=[Joseph Beuys / Transformer]|medium=Television sculpture|location=New York City|publisher=I.T.A.P. Pictures|url=http://www.beuysfilm.com/}}</ref> Objects that differ form Duchamp's ready-mades, not for their poor{{clarify|date=October 2020}} and ephemerality, but because they are part of Beuys's own life, who placed them after living with them and leaving his mark on them. Many have an autobiographical meaning, like the honey or the grease used by the tartars who saved{{clarify|date=October 2020}} in World War Two. In 1970 he made his ''Felt Suit''. Also in 1970, Beuys taught sculpture in the Kunstakademie Düsseldorf.<ref>{{cite book |last1=Hopper |first1=Kenneth |last2=Hopper |first2=William |title=The Puritan gift: triumph, collapse, and the revival of an American dream |publisher=I.B.Tauris |year=2007 |isbn=978-1-85043-419-1 |page=334}}</ref> In 1979, the [[Solomon R. Guggenheim Museum]] of New York City exhibited a retrospective of his work from the 1940s to 1970.<ref>{{cite book |last=Hughes |first=Robert |title=The Shock of the New |edition= revised |publisher=Alfred A. Knopf |location=New York |isbn=0-679-72876-7 |year=1991 |page=[https://archive.org/details/shockofnew0000hugh/page/444 444] |url=https://archive.org/details/shockofnew0000hugh/page/444 }}</ref><ref>{{Cite web|url=https://www.eliasmariareti.de/Biografie|title=Elias Maria Reti - Künstler – Biografie|website=www.eliasmariareti.de|language=de|access-date=December 18, 2018|archive-url=https://web.archive.org/web/20181218193410/http://www.eliasmariareti.de/Biografie|archive-date=December 18, 2018}}</ref><ref>{{cite book|last=Ulmer|first=Gregory|title=Applied Grammatology: Post(e)-Pedagogy from Jacques Derrida to Joseph Beuys|year=1985|publisher=Johns Hopkins University Press|page=230}}</ref>

<gallery widths="200" heights="200">
File:Barbara Smith at NWSA 2017.jpg|Portrait of [[Barbara Smith]]
File:2012 Yoko Ono (8170166921).jpg|Conference by [[Yoko Ono]] in the Viena Biennial, 2012
File:Yoko Ono at John Lennon Plaque Unveiling (5107729471).jpg|Portrait of [[Yoko Ono]]
File:CaroleeSchneemann2008.jpg|Video art piece from the Brooklyn Museum with an interview with [[Carolee Schneemann]]
File:Joan Jonas Vertical Roll.jpg|[[Joan Jonas]] during a performance documented on video and installed, 1972
File:Joan Jonas (4518929754).jpg|Portrait of artist [[Joan Jonas]]
File:BeuysAchberg78.jpg|Portrait of [[Joseph Beuys]] in a conference-performance, 1978
File:Joseph Beuys Filtz TV by Lothar Wolleh.jpg|[[Joseph Beuys]] in a video art piece
</gallery>

[[Nam June Paik]] was a South Korean performance artist, composer and video artist from the second half of the 20th century. He studied music and art history in the University of Tokyo. Later, in 1956, he traveled to Germany, where he studied Music Theory in Munich, then continued in Cologne in the Freiburg conservatory. While studying in Germany, Paik met the composers [[Karlheinz Stockhausen]] and [[John Cage]] and the [[conceptual art]]ists [[Sharon Grace]] as well as [[George Maciunas]], [[Joseph Beuys]] and [[Wolf Vostell]] and was from 1962 on, a member of the experimental art movement [[Fluxus]].<ref>[[Christiane Paul (curator)|Christiane Paul]], Digital Art, Thames & Hudson, London, pp. 14–15</ref><ref>Petra Stegmann. ''The lunatics are on the loose – European Fluxus Festivals 1962–1977, Down with Art!'', Potsdam, 2012, {{ISBN|978-3-9815579-0-9}}.</ref> Nam June Paik then began participating in the [[Neo-Dada]] art movement, known as [[Fluxus]], which was inspired by the composer [[John Cage]] and his use of everyday sounds and noises in his music.<ref>{{cite web |url= https://www.guggenheim-bilbao.eus/exposiciones/los-mundos-de-nam-june-paik |publisher= Museo Guggenheim|title=Los mundos de Nam June Paik|date=September 30, 2002|access-date=June 5, 2020}}</ref> He was mates with [[Yoko Ono]] as a member of [[Fluxus]].<ref>{{cite web |url=  https://www.imdb.com/name/nm0656760/bio|publisher=IMDb|title=Biografía de Nam June Paik|first1=Steve|last1=Shelokhonov|access-date=June 5, 2020}}</ref>

[[Wolf Vostell]] was a German artist, one of the most representative of the second half of the 20th century, who worked with various mediums and techniques such as painting, sculpture, [[installation art|installation]], [[decollage]], [[video art]], [[happening]] and [[fluxus]].<ref>{{cite web|url=http://www.medienkunstnetz.de/works/you/|title=Media Art Net – Vostell, Wolf: YOU|date=April 12, 2018|website=www.medienkunstnetz.de}}</ref>

[[Vito Acconci]]<ref name="artnews">{{cite news|last1=Russeth|first1=Andrew|title=Vito Acconci, Whose Poetic, Menacing Work Forms Bedrock of Performance, Video Art, Dies at 77|url=http://www.artnews.com/2017/04/28/vito-acconci-dies-at-77/|access-date=April 28, 2017|work=ARTnews|agency=Art Media|publisher=Sarah Douglas|date=April 28, 2017}}</ref><ref name="nytimes">{{cite web |url=https://www.nytimes.com/2017/04/28/arts/design/vito-acconci-dead-performance-artist.html |title=Vito Acconci, Performance Artist and Uncommon Architect, Dies at 77 |first=Randy |last=Kennedy |date=April 28, 2017 |work=[[The New York Times]] |access-date=April 30, 2017|archive-url=https://archive.today/20170430074005/https://www.nytimes.com/2017/04/28/arts/design/vito-acconci-dead-performance-artist.html?_r=0 |archive-date=April 30, 2017}}</ref> was an influential American performance, video and [[installation art]]ist, whose diverse practice eventually included sculpture, architectural design, and landscape design. His foundational performance and video art<ref name="newyorker">{{cite magazine |url= https://www.newyorker.com/culture/culture-desk/postscript-vito-acconci-1940-2017 |title=Postscript: Vito Acconci, 1940–2017 |first=Andrea K. |last=Scott |date=April 28, 2017 |magazine=[[The New Yorker]] |access-date=March 20, 2018}}</ref> was characterized by "existential unease," exhibitionism, discomfort, transgression and provocation, as well as wit and audacity,<ref name="nytimes" /> and often involved crossing boundaries such as public–private, consensual–nonconsensual, and real world–art world.<ref name="atlantic">{{cite web |url=https://www.theatlantic.com/entertainment/archive/2017/05/vito-acconcis-sensational-performance-art-and-the-shifting-standards-of-pc-in-museums/524919/ |title=Vito Acconci and the Shelf Life of Sensational Art |first=Kriston |last=Capps |date=May 3, 2017 |work=[[The Atlantic]] |access-date=March 20, 2018}}</ref><ref name="guggenheim">{{cite web |url=https://www.guggenheim.org/artwork/artist/vito-acconci |title=Vito Acconci, Guggenheim Collection Online |work=[[Solomon R. Guggenheim Museum]] |access-date=March 20, 2018}}</ref> His work is considered to have influenced artists including [[Laurie Anderson]], [[Karen Finley]], [[Bruce Nauman]], and [[Tracey Emin]], among others.<ref name="atlantic" /> Acconci was initially interested in radical poetry, but by the late 1960s, he began creating [[Situationist]]-influenced performances in the street or for small audiences that explored the body and public space. Two of his most famous pieces were ''Following Piece'' (1969), in which he selected random passersby on New York City streets and followed them for as long as he was able, and ''[[Seedbed (performance piece)|Seedbed]]'' (1972), in which he claimed that he masturbated while under a temporary floor at the [[Sonnabend Gallery]], as visitors walked above and heard him speaking.<ref name="met">{{cite web |url=https://www.metmuseum.org/art/collection/search/266876 |title=''Seedbed'', Vito Acconci, The Met Collection Online |work=[[Metropolitan Museum of New York]] |date=1972 |access-date=March 20, 2018}}</ref>

[[Chris Burden]] was an American artist working in [[Performance Art|performance]], sculpture and [[installation art]]. Burden became known in the 1970s for his performance art works, including ''[[Shoot (Burden)|Shoot]]'' (1971), in which he arranged for a friend to shoot him in the arm with a small-caliber rifle. A prolific artist, Burden created many well-known installations, public artworks and sculptures before his death in 2015.<ref name="Margalit Fox 2015">{{cite news|first=Margalit|last=Fox|date=May 11, 2015|url=https://www.nytimes.com/2015/05/12/arts/chris-load-a-conceptualist-with-scars-dies-at-69.html|title=Chris Burden, un conceptualista con cicatrices, muere a los 69.|work=The New York Times}}</ref><ref name="newyorker.com">{{cite magazine|first=Peter|last=Schjeldahl|date=May 14, 2007|url=http://www.newyorker.com/arts/critics/artworld/2007/05/14/070514craw_artworld_schjeldahl|title=Actuación: Chris Burden y los límites del arte|magazine=The New Yorker}}</ref><ref name="nytimes.com">{{cite news|first=Roberta|last= Smith|date=October 3, 2013|url=https://www.nytimes.com/2013/10/04/arts/design/chris-burden-extreme-measures-at-the-new-museum.html|title=Las cosas de construir y destruir: 'Chris Burden: Extreme Measures' en el New Museum|work=The New York Times}}</ref> Burden began to work in performance art in the early 1970s. He made a series of controversial performances in which the idea of personal danger as artistic expression was central. His first significant performance work, ''[[Five Day Locker Piece]]'' (1971), was created for his master's thesis at the University of California, Irvine,<ref name="Margalit Fox 2015"/> and involved his being locked in a locker for five days.<ref name=WorkEthic>[https://books.google.com/books?id=XcAGVtDLBpMC&dq=%22chris+burden%22+%22honest+labor%22&pg=PA115 Work Ethic], by Helen Anne Molesworth, M. Darsie Alexander, Julia Bryan-Wilson, Baltimore Museum of Art, Des Moines Art Center, Wexner Center for the Arts; published 2003 by [[Penn State Press]]</ref>

[[Dennis Oppenheim]] was an American [[conceptual art]]ist, performance artist, [[Land art|earth artist]], sculptor and photographer. Dennis Oppenheim's early artistic practice is an epistemological questioning about the nature of art, the making of art and the definition of art: a meta-art which arose when strategies of the Minimalists were expanded to focus on site and context. As well as an aesthetic agenda, the work progressed from perceptions of the physical properties of the gallery to the social and political context, largely taking the form of permanent public sculpture in the last two decades of a highly prolific career, whose diversity could exasperate his critics.<ref name="Taylor">Simon Taylor, ''Dennis Oppenheim, New Works'', Guild Hall Museum, East Hampton, NY: 2001.  {{ISBN|0-933793-53-7}}</ref>

[[Yayoi Kusama]] is a Japanese artist who, throughout her career, has worked with a great variety of media including:sculpture, installation, painting, performance, film, fashion, poetry, fiction, and other arts; the majority of them exhibited her interest in psychedelia, repetition and patterns. Kusama is a pioneer of the pop art, minimalism and feminist art movements and influenced her coetaneous, [[Andy Warhol]] and [[Claes Oldenburg]].<ref>Kate Deimling (May 16, 20, [http://www.blouinartinfo.com/news/story/804726/yayoi-kusama-writes-of-hunger-grudges-and-necking-with-joseph-cornell-in-her-odd-autobiography Kusama Writes of Hunger, Grudges, and Necking With Joseph Cornell in Her Odd Autobiography] {{Webarchive|url=https://web.archive.org/web/20131106035904/http://www.blouinartinfo.com/news/story/804726/yayoi-kusama-writes-of-hunger-grudges-and-necking-with-joseph-cornell-in-her-odd-autobiography |date=November 6, 2013 }}, Blouinartinfo France.</ref> She has been acknowledged as one of the most important living artists to come out of Japan and a very relevant voice in avant garde art.<ref>Yamamura, Midori (2015) ''Yayoi Kusama: Inventing the Singular.'' MIT Press. {{ISBN|9780262029476}}</ref><ref>{{Cite news|last=Russeth|first=Andrew|title=Carolee Schneemann, Protean Artist Who Helped Define Contemporary Avant-Garde, Has Died at 79|url=http://www.artnews.com/2019/03/06/carolee-schneemann-died-feminist-art/|date=March 6, 2019|access-date=June 6, 2020|publisher=ArtNews|location=New York (Estados Unidos)}}</ref>

<gallery widths="200" heights="200">
File:Korea-Nam June Paik-One hundread-and-eight Tourments.jpg|Video-installation-performance by [[Nam June Paik]] in 2008
File:"Perpetual Mobile I" within "Fish Flies On Sky".jpg|Video-installation-performance by [[Nam June Paik]] in Düsseldorf
File:Wolf Vostell, 1980 in Spain.jpg|Portrait of [[Wolf Vostell]] in 1980
File:Allan Kaprow.jpg|Portrait of [[Allan Kaprow]] in 1973
File:Vito1973.jpg|[[Vito Acconci]] during a video-performance in 1973
File:Vito acconci, multi bed -1, 1992.jpg|Installation by [[Vito Acconci]] in the Luigi Pecci Contemporary Art Centre
File:Dennis Oppenheim "Engagement" Vancouver Sulpture Biennale (5086405361).jpg|Installation by [[Dennis Oppenheim]] in the Vancouver Sculpture Biennial
</gallery>