Editing Performance art (section)

== 1980s ==
=== The technique of performance art ===
Until the 1980s, performance art has demystified virtuosism,{{clarify|date=October 2020}} this being one of its key characteristics. Nonetheless, from the 1980s on it started to adopt some technical brilliancy.<ref>{{cite book|last1=Banes|first1=Sally|title=Subversive expectations: performance art and paratheater in New York, 1976–85|publisher=The University of Michigan Press|year=1998|location=New York City|pages=120, 1|url=https://books.google.com/books?id=DdrVYfkAm6IC&q=1980s+performance+art&pg=PA10|access-date=March 23, 2011|isbn=0-472-09678-8}}</ref> In reference to the work ''Presence and Resistance''<ref>{{cite book|last1=Auslander|first1=Philip|title=Presence and Resistance: Postmodernism and Cultural politics in Contemporary American Performance|publisher=University of Michigan Press|year=1992|location=Ann Arbour|pages=64–65, 78–79}}</ref> by Philip Auslander, the dance critic Sally Banes writes, "... by the end of the 1980s, performance art had become so widely known that it no longer needed to be defined; mass culture, especially television, had come to supply both structure and subject matter for much performance art; and several performance artists, including Laurie Anderson, Spalding Gray, Eric Bogosian, Willem Dafoe, and Ann Magnuson, had indeed become crossover artists in mainstream entertainment."<ref>{{cite book|last1=Banes|first1=Sally|title=Subversive expectations: performance art and paratheater in New York, 1976–85|publisher=The University of Michigan Press|year=1998|location=New York City|pages=10, 1|url=https://books.google.com/books?id=DdrVYfkAm6IC&q=1980s+performance+art&pg=PA10|access-date=March 23, 2011|isbn=0-472-09678-8}}</ref> In this decade the parameters and technicalities built to purify and perfect performance art were defined.

[[File:Roselee Goldberg Роузли Голдберг (11345275236).jpg|left|thumb|Critic and performance expert [[RoseLee Goldberg]] during a symposium in Moscow]]
[[File:TehchingHsiehExhibitMOMA.jpg|300px|thumb|[[Tehching Hsieh]] exhibition in the [[Modern Art Museum of New York]], where the artist made a daily self-portrait]]

=== Critique and investigation of performance art ===
Despite the fact that many performances are held within the circle of a small art-world group, [[Roselee Goldberg]] notes in ''Performance Art: From Futurism to the Present'' that "performance has been a way of appealing directly to a large public, as well as shocking audiences into reassessing their own notions of art and its relation to culture. Conversely, public interest in the medium, especially in the 1980s, stems from an apparent desire of that public to gain access to the art world, to be a spectator of its ritual and its distinct community, and to be surprised by the unexpected, always unorthodox presentations that the artists devise." In this decade, publications and compilations about performance art and its best known artists emerged.

=== Performance art from a political context ===
In the 1980s, the political context played an important role in the artistic development and especially in performance, as almost every one of the works created with a critical and political discourse were in this discipline. Until the decline of the European Eastern bloc during the late 1980s, performance art had actively been rejected by most communist governments. With the exception of Poland and Yugoslavia, performance art was more or less banned in countries where any independent public event was feared. In the GDR, Czechoslovakia, Hungary and Latvia it happened in apartments, at seemingly spontaneous gatherings in artist studios, in church-controlled settings, or was covered as another activity, like a photo-shoot. Isolated from the western conceptual context, in different settings it could be like a playful protest or a bitter comment, using subversive metaphors to express dissent with the political situation.<ref>{{cite web|url=http://perfomap.de/current/kart/reclaiming-the-invisible|title=Reclaiming the Invisible Past of Eastern Europe|access-date=March 1, 2011|last=Zajanckauska|first=Zane|author2=Interview with Ieva Astahovska|publisher=map – media archive performance|archive-date=April 16, 2011|archive-url=https://web.archive.org/web/20110416151339/http://perfomap.de/current/kart/reclaiming-the-invisible|url-status=dead}}</ref> Amongst the most remarkable performance art works of political content in this time were those of [[Tehching Hsieh]] between July 1983 and July 1984, ''Art/Life: One Year Performance'' (Rope Piece).<ref>{{cite web|url=http://perfomap.de/current/kart/reclaiming-the-invisible|title=Reclaiming the Invisible Past of Eastern Europe|access-date=March 23, 2011|last=Zajanckauska|first=Zane|author2=Interview with Ieva Astahovska|publisher=map – media archive performance|url-status=dead|archive-url=https://web.archive.org/web/20110416151339/http://perfomap.de/current/kart/reclaiming-the-invisible|archive-date=April 16, 2011}}</ref>

=== Performance poetry ===
In 1982 the terms "poetry" and "performance" were first used together. [[Performance poetry]] appeared to distinguish text-based vocal performances from performance art, especially the work of escenic{{clarify|date=October 2020}} and musical performance artists, such as Laurie Anderson, who worked with music at that time. Performance poets relied more on the rhetorical and philosophical expression in their poetics than performance artists, who arose from the visual art genres of painting and sculpture. Many artists since [[John Cage]] fuse performance with a poetical base.

=== Feminist performance art ===
{{Main|Feminist Performance Art}}
[[File:Benglis from Arti.jpg|left|thumb|Portrait of [[Lynda Benglis]], 1974]]
[[File:Andres+Pina+Matthias wiki.jpg|thumb|Portrait of [[Pina Bausch]], 1985]]

Since 1973 the Feminist Studio Workshop in the Woman's Building of Los Ángeles had an impact in the wave of feminist acts, but until 1980 they did not completely fuse. The conjunction between feminism and performance art progressed through the last decade. In the first two decades of performance art development, works that had not been conceived as feminist are seen as such now.{{clarify|date=October 2020}}

Still, not until 1980 did artists self-define themselves as feminists. Artist groups in which women influenced by the 1968 student movement as well as the feminist movement stood out.<ref>{{Cite book|url=http://lasa.international.pitt.edu/Lasa2001/AlcazarJosefina.pdf|title=Mujeres y performance. El cuerpo como soporte|last=Alcázar|first=Josefina|date=2001|publisher=Centro de Investigación Teatral Rodolfo Usigli|access-date=June 10, 2020}}</ref> This connection has been treated in contemporary art history research. Some of the women whose innovative input in representations and shows was the most relevant were [[Pina Bausch]] and the [[Guerrilla Girls]] who emerged in 1985 in New York City,<ref>{{Cite web|url=http://www.guerrillagirls.com/our-story/|title=Our Story|access-date=September 21, 2016|author=Guerrilla Girls}}</ref> anonymous feminist and anti-racist art collective.<ref name=":657890" /><ref>{{Cite web|url=http://www.mujeresenred.net/spip.php?article1566|title=GUERRILLA GIRLS. La conciencia del mundo del arte|access-date=May 24, 2019|website=www.mujeresenred.net}}</ref><ref>{{Cite web|url=https://www.clarin.com/cultura/guerrilla-girls-traen-buenos-aires-30-anos-protestas_0_XQ75Uh2dL.html|title=Guerrilla Girls, la potencia del arte feminista llega a Buenos Aires|access-date=May 24, 2019|website=www.clarin.com|date=November 5, 2018}}</ref><ref>{{Cite web|url=https://www.revistacactus.com/la-guerra-de-guerrilla-girls/|title=La guerra de Guerrilla Girls|access-date=May 24, 2019|date=December 25, 2013|website=Cactus}}</ref> They chose that name because they used guerrilla tactics in their activism <ref name=":657890">{{Cite book|url=https://repositorio.uesiglo21.edu.ar/handle/ues21/13800|title=Guerrilla Girls|last=Josefina|first=Pierucci|date=2017|pages=1, 5|access-date=March 23, 2018}}</ref> to denounce discrimination against women in art through political and performance art.<ref>{{Cite journal|url=http://revistas.ucm.es/index.php/INFE/article/view/41877|title=El desafío de las artistas contemporáneas. Una aproximación a la presencia de las creadoras en las ferias de arte contemporáneo. El caso de ARCO.|last=Martín|first=Yolanda Beteta|date=April 23, 2013|journal=Investigaciones Feministas|volume=4|pages=49–65|access-date=March 23, 2018|issn=2171-6080|doi=10.5209/rev_INFE.2013.v4.41877|doi-access=free}}</ref><ref>{{Cite web|url=https://www.publico.es/culturas/guerrilla-girls-guerrilla-girls-revolucion-mujeres-artistas.html|title=Las Guerrilla Girls, la revolución de las mujeres artistas|access-date=May 24, 2019|website=www.publico.es|date=February 2, 2019 }}</ref><ref>{{Cite web|url=http://www.distritoarte.com/guerrilla-girls-arte-feminista/|title=Guerrilla Girls: arte feminista|access-date=May 24, 2019|date=June 9, 2016|website=Distrito Arte|archive-date=May 24, 2019|archive-url=https://web.archive.org/web/20190524183031/http://www.distritoarte.com/guerrilla-girls-arte-feminista/|url-status=dead}}</ref><ref>{{Cite web|url=https://indiehoy.com/especiales/galeria/guerrilla-girls-la-muestra-del-iconico-colectivo-feminista-llega-buenos-aires/|title=Guerrilla Girls: La muestra del icónico colectivo feminista que llega a Buenos Aires|access-date=May 24, 2019|last=Aiello|first=Julieta|date=November 15, 2018|website=[[Indie Hoy]]}}</ref> Their first performance was placing posters and making public appearances in museums and galleries in New York, to critique the fact that some groups of people were discriminated against for their gender or race.<ref>{{Cite web|url=https://historia-arte.com/artistas/guerrilla-girls|title=Guerrilla Girls|access-date=May 24, 2019|website=HA!}}</ref> All of this was done anonymously; in all of these appearances they covered their faces with gorilla masks (this was due to the similar pronunciation of the words "gorilla" and "guerrilla"). They used as nicknames the names of female artists who had died.<ref>{{Cite news|last=Tate|title='Do Women Have To Be Naked To Get Into the Met. Museum?', Guerrilla Girls, 1989 {{!}} Tate|url=https://www.tate.org.uk/art/artworks/guerrilla-girls-do-women-have-to-be-naked-to-get-into-the-met-museum-p78793|access-date=June 30, 2020|work=Tate}}</ref> From the 1970s until the 1980s, amongst the works that challenged the system and their usual strategies of representation, the main ones feature women's bodies, such as [[Ana Mendieta]]'s works in New York City where her body is outraged and abused, or the artistic representations by [[Louise Bourgeois]] with a rather minimalist discourse that emerge in the late seventies and eighties. Special mention to the works created with feminine and feminist corporeity{{clarify|date=October 2020}} such as [[Lynda Benglis]] and her phallic performative actions, who reconstructed the feminine image to turn it into more than a fetish. Through feminist performance art the body becomes a space for developing these new discourses and meanings. Artist [[Eleanor Antin]], creator in the 1970s and 1980s, worked on the topics of gender, race and class. [[Cindy Sherman]], in her first works in the seventies and already in her artistic maturity in the eighties, continues her critical line of overturning the imposed self, through her use of the body as an object of privilege.

[[File:Hallway in the Wexner Center for the Arts.jpg|thumb|Exhibition by [[Cindy Sherman]] in the United States]]

[[Cindy Sherman]] is an American photographer and artist. She is one of the most representative post-war artists and exhibited more than the work of three decades of her work in the [[MoMA]]. Even though she appears in most of her performative photographies, she does not consider them self-portraits. Sherman uses herself as a vehicle to represent a great array of topics of the contemporary world, such as the part women play in our society and the way they are represented in the media as well as the nature of art creation. In 2020 she was awarded with the ''Wolf prize in arts''.<ref>{{Cite news|url=https://wolffund.org.il/2020/01/13/cindy-sherman/|title=Cindy Sherman|access-date=January 20, 2020|date=January 13, 2020|website=Wolf Foundation}}</ref>

[[Judy Chicago]] is an artist and pioneer of feminist art and performance art in the United States. Chicago is known for her big collaborative art installation pieces on images of birth and creation, that examine women's part in history and culture. In the 1970s, Chicago has founded the first feminist art programme in the United States. Chicago's work incorporates a variety of artistic skills such as sewing, in contrast with skills that required a lot of workforce, like welding and pyrotechnics. Chicago's best known work is ''[[The Dinner Party]]'', that was permanently installed in the Elizabeth A. Sackler Center for Feminist Art in the [[Brooklyn Museum]]. ''The Dinner Party'' celebrated the achievements of women throughout history and is widely considered as the first epic feminist artwork. Other remarkable projects include ''International Honor Quilt'', ''The Birth Project,''<ref>{{Cite book|edition= 1st|title=The birth project|publisher=Doubleday|date=1985|isbn=0385187106|oclc=11159627|last=Chicago|first=Judy}}</ref> ''Powerplay,''<ref>{{Cite book|title=Judy Chicago : reviewing powerplay|publisher=David Richard Gallery|date=2012|isbn=9780983931232|oclc=841601939|last1=Chicago|first1=Judy|first2=David |last2=Richard}}</ref> and ''The Holocaust Project.''<ref>{{Cite book|title=Holocaust project: from darkness into light|url=https://www.worldcat.org/oclc/27145289|publisher=Penguin Books|date=1993|access-date=June 8, 2020|isbn=0140159916|oclc=27145289|last=Chicago|first=Judy}}</ref>

<gallery widths="200" heights="200">
File:Students visiting Martha Rosler's show with Gregory Sholette.jpg|Students in a [[Martha Rosler]] exhibition
File:Guerrilla Girls - V&A Museum, London.jpg|The [[Guerrilla Girls]] in an opening in London
File:Guerrilla girls MOMA.jpg|Works of the 'Guerrilla Girls' in an exhibition in the [[Museum of Modern Art]], [[Manhattan]], New York
File:Mjellby konstmuseum interiör 2019 guerrilla girls.jpg|[[Guerrilla Girls]] exhibition
File:Aranha, Louise Joséphine Bourgeois (5878031270).jpg|Installation by [[Louise Bourgeois]] in a Brazilian museum
File:Judy Chicago with flight hood.jpg|Portrait of [[Judy Chicago]]
</gallery>

=== Expansion to Latin America ===
In this decade performance art spread until reaching Latin America through the workshops and programmes that universities and academic institutions offered. It mainly developed in Mexico, Colombia -with artists such as ''Maria Teresa Hincapié''—, in Brasil and in Argentina.<ref name=":0" />
[[File:Escuchando los Sonidos de la muerte - Teresa Margolles.jpg|thumb|Women interacting with the work ''Listening to the sounds of death'' by [[Teresa Margolles]] in the Museo de la Memoria y la Tolerancia of [[Mexico City]]]]
[[Ana Mendieta]] was a conceptual and performance artist born in Cuba and raised in the United States. She's mostly known for her artworks and performance art pieces in land art. Mendieta's work was known mostly in the feminist art critic environment. Years after her death, specially since the Whitney Museum of American Art retrospective in 2004<ref>{{Cite news|last=Cotter|first=Holland|title=Art Review; Disappearing: Her Special Act|url=https://www.nytimes.com/2004/07/09/arts/art-review-disappearing-her-special-act.html|date=July 9, 2004|access-date=December 28, 2018|work=The New York Times|issn=0362-4331}}</ref> and the retrospective in the Haywart Gallery in London in 2013<ref>{{Cite web|url=https://www.southbankcentre.co.uk/blog/hayward-gallery-exhibition-trailer-ana-mendieta-traces|title=Hayward Gallery Exhibition Trailer: Ana Mendieta, Traces {{!}} Southbank Centre|access-date=December 28, 2018|website=www.southbankcentre.co.uk}}</ref> she is considered a pioneer of performance art and other practices related to body art and land art, sculpture and photography.<ref name=":1">{{Cite web|url=https://repositorio.uesiglo21.edu.ar/handle/ues21/13800|title=Guerrilla Girls|last=Josefina|first=Pierucci|year=2017|pages=1, 5|access-date=March 23, 2018|language=es}}</ref> She described her own work as ''earth-body art''.<ref name=":175">{{Cite news|last=O'Hagan|first=Sean|title=Ana Mendieta: death of an artist foretold in blood|url=http://www.theguardian.com/artanddesign/2013/sep/22/ana-mendieta-artist-work-foretold-death|date=September 21, 2013|work=The Guardian|access-date= June 10, 2020|issn=0261-3077}}</ref><ref name=":3">{{Cite journal|title=Ana Mendieta: "Pain of Cuba, Body I Am"|last=Cabañas|first=Kaira M.|year=1999|journal=Woman's Art Journal|
volume= 20|number= 1 (Spring – Summer, 1999)|pages=12–17|doi=10.2307/1358840|jstor=1358840}}</ref>

[[Tania Bruguera]] is a Cuban artist specialized in performance art and political art. Her work mainly consists of her interpretation of political and social topics.<ref name="hemispheric">{{cite web|url=http://hemisphericinstitute.org/hemi/es/enc09-performances/item/52-09-tania-bruguera|title=Tania Bruguera|access-date=May 27, 2020|author=Hemispheric Institute|date=2009|archive-date=October 5, 2016|archive-url=https://web.archive.org/web/20161005124055/http://hemisphericinstitute.org/hemi/es/enc09-performances/item/52-09-tania-bruguera|url-status=dead}}</ref>
She has developed concepts such as "conduct art" to define her artistic practices with a focus on the limits of language and the body confronted to the reaction and behavior of the spectators. She also came up with "useful art", that it ought to transform certain political and legal aspects of society. Brugera's work revolves around power and control topics, and a great portion of her work questions the current state of her home country, Cuba. In 2002 she created the Cátedra Arte de Conducta in La Habana.<ref>{{cite web|url=http://www.taniabruguera.com/cms/608-0-GLOSSARY.htm|title=Glosario|access-date=May 27, 2020|author=Tania Bruguera}}</ref><ref>{{Cite book|last=Pinto|first=Roberto|title=Ejercicio de Resistencia Tania Bruguera|year=2003|publisher=Torino|location=Turin, Italy|page=25}}</ref><ref>{{Cite book|last=Pinto|first=Roberto|title=Ejercicio de Resistencia Tania Bruguera|year=2003|publisher=Galeria Soffiantino|location=Turin, Italy|pages=25–26}}</ref>

[[File:Marta Minujín 1965 (2).jpg|left|thumb|Argentinean [[Marta Minujín]] during a performance art piece]]

[[Regina José Galindo]] is a Guatemalan artist specialized in performance art. Her work is characterized by its explicit political and critical content, using her own body as a tool of confrontation and social transformation.<ref>{{Cite web|url=https://puntadassubversivas.wordpress.com/2016/04/02/conversacion-con-regina-jose-galindo/|title=Conversaciones con Regina José Galindo|date=April 2, 2016|access-date=May 26, 2020}}</ref> Her artistic career has been marked by the Guatemalan Civil War that took place from 1960 to 1996, which triggered a genocide of more than 200 thousand people, many of them indigenous, farmers, women and children.<ref name=":0">{{Cite web|url=https://www.plataformadeartecontemporaneo.com/pac/woman-art-house-regina-jose-galindo/|title=Woman Art House: Regina José Galindo -|access-date=May 26, 2020|date=April 20, 2018|website=Plataforma de Arte Contemporáneo}}</ref> With her work, Galindo denounces violence, sexism (one of her the main topics is femicide), the western beauty standards, the repression of the estates and the abuse of power, especially in the context of her country, even though her language transgresses borders. Since her beginnings she only used her body as media, which she occasionally takes to extreme situations (like in ''Himenoplasty'' (2004) where she goes through a hymen reconstruction, a work that won the Golden Lyon in the [[Venice Biennale]]), to later have volunteers or hired people to interact with her, so that she loses control over the action.<ref name="c4ae0e89">{{Cite web|url=https://poetassigloveintiuno.blogspot.com.es/2012/08/7515-regina-jose-galindo.html|title=Poetas siglo XXI: Regina José Galindo|date=August 23, 2012 |access-date=June 5, 2020}}</ref>