Editing Performance (section)

== Aspects of performance art ==

Another aspect of performance that grew in popularity in the early 20th century is [[performance art]]. The origins of Performance art started with [[Dada]] and [[Russian constructivism]] groups, focusing on avant-garde poetry readings and live paintings meant to be viewed by an audience. It can be scripted or completely improvised and includes audience participation if desired.<ref>{{Cite web|url=https://morethanthreeartists.wordpress.com/2015/09/07/adrian-piper-performances-and-activism/|title=Adrian Piper: Performances and Activism|last=kelseymt|date=2015-09-07|website=More Than Three Women Artists|access-date=2019-11-24}}</ref>

The emergence of [[abstract expressionism]] in the 1950s with [[Jackson Pollock]] and [[Willem de Kooning]] gave way to [[action painting]], a technique that emphasized the dynamic movements of artists as they splattered paint and other media on canvas or glass. For these artists, the motion of putting paint on canvas was just as valuable as the finished painting, and so it was common for artists to document their work in film; such as the short film Jackson Pollock 51(1951), featuring Pollock dripping paint onto a massive canvas on his studio floor.<ref>{{Cite web|url=http://www.openculture.com/2011/08/jackson_pollock_lights_camera_paint.html|title=Jackson Pollock 51: Short Film Captures the Painter Creating Abstract Expressionist Art|website=Open Culture|access-date=2019-11-21}}</ref> [[Situationists]] in France, led by [[Guy Debord]], married avant-garde art with revolutionary politics to incite everyday acts of anarchy. The "Naked City Map" (1957) fragments the 19 sections of Paris, featuring the technique of [[détournement]] and abstraction of the traditional environment, deconstructing the geometry and order of a typical city map.<ref>{{Cite web|url=http://homepages.phonecoop.coop/vamos/work/lecturenotes/documents/nakedcity.html|title=The Naked City|website=homepages.phonecoop.coop|access-date=2019-11-21}}</ref>

At the [[New School for Social Research]] in New York, [[John Cage]] and [[Allan Kaprow]] became involved in developing [[happening]] performance art. These carefully scripted one-off events incorporated the audience into acts of chaos and spontaneity. These happenings challenged traditional art conventions and encouraged artists to carefully consider the role of an audience.<ref>{{Cite web|url=https://www.artsy.net/article/artsy-editorial-what-were-1960s-happenings-and-why-do-they-matter|title=A Brief History Of "Happenings" and Their Impact on Art|last=Cain|first=Abigail|date=2016-03-12|website=Artsy|access-date=2019-11-21}}</ref> In Japan, the 1954 [[Gutai group]] led by Yoshihara Jiro, Kanayma Akira, Murakami Saburo, Kazuo Shiraga, and Shimamoto Shozo made the materials of art-making come to life with body movement and blurring the line between art and theater. [[Kazuo Shiraga]]'s ''Challenging Mud (1955)'' is a performance of the artist rolling and moving in mud, using their body as the art-making tool, and emphasizing the temporary nature of performance art.

[[Valie Export]], an Austrian artist born Waltraud Lehner, performed "Tap and Touch Cinema" in 1968. She walked around the streets in [[Vienna]] during a film festival wearing a styrofoam box with a curtain over her chest. Bystanders were asked to put their hands inside the box and touch her bare chest. This commentary on women sexualization in film focused on the sense of touch rather than sight.<ref>{{Cite web|url=https://www.theartstory.org/artist/export-valie/|title=VALIE EXPORT Art, Bio, Ideas|website=The Art Story|access-date=2019-11-24}}</ref> [[Adrian Piper]] and her performance Catalysis III (1970) featured the artist walking down [[New York City]] streets with her outfit painted white and a sign across her chest that said "wet paint." She was interested in the invisible social and racial dynamics in America and was determined to encourage civic-mindedness and interruption of the system.<ref>{{Cite web|url=https://morethanthreeartists.wordpress.com/2015/09/07/adrian-piper-performances-and-activism/|title=Adrian Piper: Performances and Activism|last=kelseymt|date=2015-09-07|website=More Than Three Women Artists|access-date=2019-11-24}}</ref><ref>{{Cite journal|last=Smith|first=Terry|date=September 2011|title=Currents of world-making in contemporary art|journal=World Art|volume=1|issue=2|pages=171–188|doi=10.1080/21500894.2011.602712|s2cid=191639109|issn=2150-0894}}</ref> [[Carolee Schneemann]], American artist, performed Interior Scroll in 1975, where she unrolls Super-8 film "Kitsch's Last Meal" from her genitals. This nude performance contributes to a discourse on femininity, sexualization, and film.