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| Last update 10-08-2023 |
HU Credits:
2
Degree/Cycle:
2nd degree (Master)
Responsible Department:
History of Art
Semester:
2nd Semester
Teaching Languages:
Hebrew
Campus:
Mt. Scopus
Course/Module Coordinator:
Dr. Noam Gal
Coordinator Office Hours:
Tuesday 10:30-12:30
Teaching Staff:
Dr. Noam Gal
Course/Module description:
Our main subject is the evolution of Performance Art from the 1960s to the present. We will explore the main texts written by the pioneers of this subversive, independent medium, as well as the texts written about their first actions. Many of the artworks that we will explore shake the very boundary between the existence of the artwork and the existence of its creator. As watching documentation of performances, rather than actually being present in them, will qualify most of our investigations, we will discuss this methodological limitation in relation to the construction of knowledge in the discipline of Art History. We will also discuss: the relation of Performance and Conceptualism (the Happenings and Environments); the relation of performance to pedagogy and its political spaces and experiences; the artist-audience relationships; the space for performance in the art market; and the presence of performance art in Israel.
Course/Module aims:
Learning outcomes - On successful completion of this module, students should be able to:
Students will be introduced to key works in the history of performance art and will gain tools for critical analysis about this medium based on its pedagogic and political dimensions.
Attendance requirements(%):
Teaching arrangement and method of instruction:
Course/Module Content:
Session 1: Introduction
Session 2: A traceless medium (what is performativity?)
Session 3: A traceless medium (problems with history, display and the market)
Session 4: Performance as conceptual art (the pioneers)
Session 5: What is presence in art (practically political)
Session 6: Every teacher is an artist (politicization of the pedagogic)
Session 7: Art against life (extreme cases, holding on/beholding)
Session 8: Living women (divided)
Session 9: Demonstrations, lectures (public meanings)
Session 10: Performing for cameras (video against life)
Session 11: Participatory art (viewing viewers)
Session 12: On performance art in Israel (beginnings)
Session 13: On performance art in Israel (now)
Required Reading:
Antonin Artaud [1938], The Theatre and Its Double, trans. Mary Carolyn Richards, Grove Press, 1958, pp. 89-100.
J. L. Austin [1955], How to Do Things with Words, Oxford: The Clarendon Press, 1962, 1-12.
Amelia Jones. "Presence in Absentia", Art Journal 56(4), 1997, 11-18
Rebecca Schneider, “Performance Remains”, Performance Research 6(2), 2001, 100-108
Philip Auslander, “The Performativity of Performance Documentation,” PAJ: A Journal of Performance Art 28, no. 3 2006:1-10.
Jieun Rhee, “Performing the Other: Yoko Ono’s ‘Cut Piece’”, Art History 28(1), 2005, 96-118.
Jayne Wark, "Conceptual Art and Feminism: Martha Rosler, Adrian Piper, Eleanor Antin, and Martha Wilson", Women's Art Journal 22(1), 2001, 44-50.
Anna Dezeuze, "How to Live Precariously: Lygia Clark's Caminhando and Tropicalism in 1960s Brazil", Women and Performance, vol. 23 (2), 226-247.
Peggy Phelan, “Marina Abramovic: Witnessing Shadows”, Theatre Journal 56(4), 2004, pp. 569-577
Bettina Funcke. “Joseph Beuys: Charlatanism as Media Strategy”, Public 37 (2008), pp. 87-96
Qian Zhijian, “Performing Bodies: Zhang Huan, Ma Liuming, and Performance Art in China (Conversation)”, Art Journal, 58(2), 1999, 60-81
Gavin Butt, “Should We Take Performance Seriously?”, Oreet Ashery: Dancing With Men, London: Live Art Development Agency, 2009, 79-92.
Hélène Cixous, "The Cat's Arrival", Parallax vol. 12(1), 2006, pp. 21-42.
Thyrza Nichols Goodeve, “’The Cat Is My Medium’: Notes on the Writing and Art of Carolee Schneemann”, Art Journal 74(1), 2015, 5-22
Jeanie Forte, “Women’s Performance Art: Feminism and Postmodernism”, Theatre Journal 40(2), 1988, 217-235.
Anne M. Wagner, “Performance, Video, and the Rhetoric of Presence”, October 91 (winter 2000), 59-80.
Allan Kaprow, “How to Make a Happening”, 1966 (recording from LP Album, Mass Art Inc.) [online access].
Betty Smith Franklin, "Freire, Boal, You, and Me", Transformations vol. 10(2), 1999, pp. 1-10.
Susan Sontag, "Happenings: An Art of Radical Juxtaposition", in: Against Interpretation, New York: Delta, 1966, pp. 263-274.
Dorothea Von Hantelmann, “The Experiential Turn,” in On Performativity, edited by Elizabeth Carpenter. vol. 1. Living Collections Catalogue (Minneapolis: Walker Art Center, 2014) http:// walkerartrg/collections/publications/performativity/experiential-turn.
Klaus Biesenbach, “Interview with Roman Ondak”, Flash Art, Nov. 2006 [https://flash---art.com/article/roman-ondak]
Clair Bishop, "Antagonism and Relational Aesthetics", October 110, 2004, 51-79.
חנה פרוינד-שרתוק, למה הם עושים את זה לעצמם: פגיעה עצמית באמנות גוף רדיקלית, תל אביב: קו אדום, 2019, 133-149.
צ'ארלס גרויאן, "הפדגוגיה המשחררת של המיצג", המדרשה 7, 2004, 121-152.
הדס עפרת, מציאות רבה מדי: על אמנות המופע, תל אביב: הקיבוץ המאוחד, קו אדום, 2012, 123-143 [זמין דיגיטלית באתר הספריה]
דפנה בן-שאול, "המורה בור, הארנבת מתה", מעקף 11, זמין לקריאה ברשת כאן: https://www.maakaf.co.il/issue/%d7%92%d7%99%d7%9c%d7%99%d7%95%d7%9f-11/
נעם גל. "כל מורה הוא אמן: פדגוגיה רדיקלית אצל יוזף בויז", פרוטוקולאז': מתודולוגיות בחקר התרבות החזותית, ברטל, מאירי-דן ואריאלי (עורכות), 2013, 315-332
דרור הררי, "אל מקורות המיצג: צמיחתה של אמנות פרפורמטיבית בישראל בשנות השישים", זמנים 99, 2007, 74-83
אילנה טננבאום. "ההקשר הישראלי: בין הגוף הפרטי לגוף הלאומי", וידאו ZERO כתוב בגוף. מוזיאון חיפה לאמנות, 2006, 35-55
דפנה בן-שאול, "זיקרון", קבוצת זיק: עשרים שנות עבודה, ירושלים: כתר, 2005, 13-31
טלי תמיר, "עשרה עקרונות בשפת המופע של הדס עפרת, ואקס טריטוריה אחת", בתוך: הדס עפרת, מציאות רבה מדי: על אמנות המופע, תל אביב: הקיבוץ המאוחד, קו אדום, 2012, 145-158
Additional Reading Material:
Grading Scheme :
Essay / Project / Final Assignment / Home Exam / Referat 70 %
Attendance / Participation in Field Excursion 30 %
Additional information:
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Students needing academic accommodations based on a disability should contact the Center for Diagnosis and Support of Students with Learning Disabilities, or the Office for Students with Disabilities, as early as possible, to discuss and coordinate accommodations, based on relevant documentation.
For further information, please visit the site of the Dean of Students Office.
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