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Essay / Research Paper Abstract
An 8 page paper which examines whether or not the viewer is implicated in the performance art of Marina Abramovic. The pieces examined are The Lip’s of Thomas and Rhythm 0. Bibliography lists 10 sources.
Page Count:
8 pages (~225 words per page)
File: JR7_RAlps.rtf
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Unformatted sample text from the term paper:
in the world. She stands, in many ways, as the master of the form and even when her work seems to repulse people it also intrigues them as she mutilates,
exposes, and offers herself for the audience, sometimes allowing audience participation. In many other pieces she simply engages in different acts that the audience can stand/sit and watch or not.
She has long offered herself as something of a canvas, something of a mirror, of society and obviously her own turmoil. Clearly
the audience is a very important element in her work for without an audience her work does not really exist. This is the case with all performance art. But, at
the same time one must stop and examine whether the audience members are actually implicated in her performances in such a way as to endanger her body. Through action or
inaction there are many ways of being implicated in such a performance. With that in mind the following paper examines whether or not the viewer is implicated in such performances
as it involves endangering the performers body. The works of Abramovic examined are The Lips of Thomas and Rhythm 0. Viewer Implication in the Work of Marina Abramovic
In many instances involving performance art the performer actually counts on the "willingness of audiences to participate in media spectacle, however degrading or extreme"
(Heathfield, 2004; 59). When one examines the focus of Abramovics work one can clearly see this connection. One author notes how she explores "the physical and mental limits of her
being" withstanding "pain, exhaustion and danger in the quest for emotional and spiritual transformation" all in front of an audience (NGV, 2007). This allows them to become a part of
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