Tag Archives : performance


2010.11.21

MAKING TIME: Shannon Jackson

I come to the questions of Making Time from the field of performance–and before that, the field of theatre. This is to say that, for a long time, the term “time-based art” did not mean that much to me. It sounded confusing, or maybe even redundant. What art form does not involve time? Indeed, it was not until I began working with experimental visual artists and critics of expanded visual art that I began to learn that I came from a time-based form. “Oh,” they would say, “you’re interested in duration.”

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ART/CITY: Lisa Bullwinkel

How to create more vibrant downtown districts in light of retail jumping to the Internet and leaving vacant storefronts? Bring in the arts! Fill those empty spaces with visual and performing artists who are clamoring for space. The landlords need to become involved in creating a simple process to allow this to occur.

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Making Time at Human Resources: Carol Stakenas

LACE has been a crucial participant in Los Angeles artistic production for over three decades. One can argue that LACE’s existence emerged directly from the creative intensity generated in Los Angeles in the 1970’s. More specifically, performance art was a driving force behind the emergence of Los Angeles’s alternative spaces, including LACE. At the same time, performance-based activities provided a central platform for three new forms of contemporary practice to emerge: performance art, video art and public practices.

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Making Time at Human Resources: Malik Gaines

Visual art and performance are in a classic bad relationship. Art stays for the sex, the good times, the feeling of being alive. But art will belittle performance in public, will call it late at night but won’t let it stay over, doesn’t really believe what performance does is valuable.

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Making Time at Human Resources: Suzanne Lacy

TWO WORKS I’m thinking about:

1) Otis Public Practice at CAA: Radical pedagogy and educational critique are key concepts in current debates on artistic public practices. Pedagogical models are explored, re-imagined, and deployed by art practitioners in highly diverse projects comprising laboratories, discursive platforms, temporary schools, participatory workshops, and libraries.

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Making Time at Human Resources: Nizan Shaked

Out of the six exhibitions my students curated since I began heading the Museum and Curatorial Studies program at Cal State Long Beach, two have taken the issue of exhibiting performance as their primary concern. In 2008 Un-figuring the Body (lead by Megan Hoetger) investigated the posthumous representation of performance-related objects in the gallery space, tackling the problem of how to represent the (intensely) physical work of performance after the event took place, and the theoretical implication of how the human body becomes “figured” in representation.

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Curating People: Lisa Wymore

Confessions of an experimental artist who has also become an academic and a dance/performance educator and mentor
Like many who are part of this symposium, I wear multiple hats in one day. I am both an administrator of a dance program within a university and an artist who manages, runs, and creates for my own dance company. My choice to make artistic work within an academic institution has provided me with distinct types of support and opportunity. I can make work with students and improve upon my own artistic process. I can educate about dance and deepen my understanding of dance practice and pedagogy.

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