The research assistant's unit of the year!

1. What is a role an viewer plays in a piece of art?
Elly: The viewer provides perspective on the art. Even if the
author has an intention, the viewer interprets. Some do it for
the viewers (like most musicians, or like Sol Lewitt). Some
artists do it for themselves.
Freddi: Felix Gonzales-Torres doesn’t really care about the
viewer. Like Untitled (Toronto).
.
.

2. What is a role an viewer plays in a piece of art?
Lauren: The way they “interact” with it could relate to the artist intentions.
Britt: Viewers carry personal baggage with them when they look.
Ryder: preference for style or historical artwork
Miles: Sometimes the artist uses styles or images/words to communicate
direct ideas.
Sawicka: It depends on what the artist wants. It’s like Felix
Gonzalez-Torres’ candy piece “Ross in LA,” That’s a different type of way
of interacting with art. Most art doesn’t do that.
Sara: Viewers get to mentally/emotionally play a role with the art.
#touchwithyourmind
Eric: Viewers need to find new meanings, or simply appreciate it.

3. How do we react to art we don’t like?
Jov! Personally, I know that I don’t think before I speak sometimes. And I can be
ignorant towards things or have a quick reaction….and then just...walk away. Like
the piece I had for “Living with Art” “like, ew.”
Sara: I’ve noticed other people in museums look at some contemporary art and
say “IT DOESN’T MEAAAANNN ANYTHING.”
Eric: As time goes by i dislike artwork less. I try to understand them before moving
away from them.
NK: Ok. Jackson Pollock. When I see it, i try to understand it, but I can’t. It makes
me mad, so I just walk away.

4. How do we react to art we don’t like?
Eli: We criticize it. Say what we don’t like about it...and we might try to make
others not like it too. I might try to fight against it.
Dom: I agree with Eli...maybe we could be offended by it, it’s just one reason
someone may not like it. I don’t like Andres Serrano’s work. I just think it’s nasty.
Sums: We “make a wall” between you and the art piece. You try to not engage
with it or be curious about the intention.
Kozak: agreed. This may lead to misrepresenting the artist intention too.
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5. Performance is a genre in which art is presented
"live," usually by the artist but sometimes with
collaborators or performers. It has had a role in
avant-garde art throughout the 20th century,
playing an important part in anarchic movements
such as Futurism and Dada.
Whenever artists have become discontented with
conventional forms of art, such as painting and
traditional modes of sculpture, they have often
turned to performance as a means to rejuvenate
their work (ArtStory).
Some artists include: Marina Abramovic, Joseph
Beuys, Chris Burden, Vito Acconci, Yoko Ono.

6. I LIKE AMERICA AND AMERICA LIKES ME

7. I LIKE AMERICA AND AMERICA LIKES ME
In May 1974, the visionary German artist Joseph Beuys flew into New York City’s John F
Kennedy International Airport and was immediately taken by ambulance to a room in
West Broadway’s René Block Gallery. But he was not ill, or even in pain. Carried by
stretcher, which was covered in his signature layer of felt, Beuys shared the
gallery space with a coyote – a wild beast, often considered to represent
America’s untamed spirit – for three days. It was a performance, entitled I Like
America and America likes Me, taut with caution (the animal at first was erratic, and tore
apart a blanket in the room), but one that was ultimately a success: the coyote grew
tolerant and accepting, simply through Beuys’ desire to heal (KidsOfDada).

8. How to Explain Pictures to a
Dead Hare

9. How to Explain Pictures to a Dead Hare
How to Explain Pictures to a Dead Hare (Wie man dem toten Hasen die Bilder
erklärt) was a solo performance by Joseph Beuys, who was filmed and
photographed for three hours as he moved through the Schmela Gallery exhibition
with the carcass of a hare, whispering inaudibly to it. His entire head was
covered in honey and gold leaf; a felt sole was tied to his left foot, and an
iron sole was tied to his right. The Action ended with Beuys seated on a stool
with one of its legs wrapped in felt (a bone and wire 'radio' was placed underneath
the seat), protectively cradling the deceased hare in a manner akin to the
Madonna in a pietà. (Phiadon)

10. Cut Piece

11. Yoko Ono
A landmark work, and one of the artist's best-known, Cut Piece was presented at
the Sogetsu Art Center, the same Tokyo venue that had hosted her Bag Piece.
Ono wore one of her best suits and knelt on the stage holding a pair of scissors.
She invited audience members to cut pieces of her clothing off using the scissors.
The artist remained still and silent until she was down to only her underwear. The
process of witnessing clothes cut from the body elicited a range of responses from
the audience. Themes of materialism, gender, class, and cultural identity were
central to the work. (ArtStory)

12. Thoughts? What do you think of performance art so far?
.
Chris: A bit uncomfortable.
Britt: It’s interesting. It reveals new ideas.
Ryder: This is all a bit unexpected. It’s different from other types of art. It’s
UNCOMMON. Like when I go to see art, I don’t usually see people cutting off
people’s clothing.
Mena: I think i might like performance art, but there’s an aspect to it that exposes
you to stuff that you would never see before.
.

13. Thoughts? What do you think of performance art so far?
Katie: Vulnerability. To perform without knowing what to expect shows a lot of vulnerability. But the
Ono piece, allowing someone to hold scissors near your body, and as a woman, allowing a man to
cut clothing off you….it’s really vulnerable.
Elly: This reminds me of conceptual art. A lot of it is indirect, and seems to not be about the visual
but about an idea. But it’s all very bold, and sometimes uncomfortable.
Nate: It’s different. I didn’t even know that this type of art existed! It seems like a good way to
express ideas. These all seem kinda dark though. Not very lively.
Sam: Most artwork is a bit removed from reality. But with this, the artist is like RIGHT THERE!
Imani: I like it so far, but I’m kinda scared of what is considered performance art...like if someone
just cuts a string and that’s art. I would have trouble with that. But it seems like these artists are
trying to PROVOKE A REACTION. It seems to have to do with audience reception.

14. Rhythm 0

15. Rhythm 0
In Rhythm 0 (1974), Abramovic invited audience members to do whatever they wanted to her using
any of the 72 items she provided: List of the 72 Objects on the Table: Gun, Bullet, Blue paint,
Comb, Bell, Whip, Lipstick, Pocket Knife, Fork, Perfume, Spoon, Cotton, Flowers, Matches,
Rose, Candle, Water, Scarf, Mirror, Drinking glass, Polaroid camera, Feather, Chains, Nails
,Needle, Safety pin, Hairpin , Brush , Bandage, Red paint , White paint , Scissors , Pen , Book ,
Hat , Handkerchief , Sheet of white paper , Kitchen knife , Hammer , Saw , Piece of wood , Ax ,
Stick , Bone of lamb , Newspaper , Bread , Wine , Honey , Salt , Sugar , Soap , Cake , Metal pipe ,
Scalpel , Metal spear , Box of razor blades , Dish , Flute , Band aid , Alcohol , Medal , Coat , Shoes
, Chair , Leather strings , Yarn , Wire , Sulfur , Grapes , Olive oil , Rosemary branch , Apple.

16. Why do you think she used these specific objects?
How might these objects be used?
In Rhythm 0 (1974), Abramovic invited audience members to do whatever they wanted to her using any of the 72 items she
provided: List of the 72 Objects on the Table: Gun, Bullet, Blue paint, Comb, Bell, Whip, Lipstick, Pocket Knife, Fork, Perfume,
Spoon, Cotton, Flowers, Matches, Rose, Candle, Water, Scarf, Mirror, Drinking glass, Polaroid camera, Feather, Chains,
Nails ,Needle, Safety pin, Hairpin , Brush , Bandage, Red paint , White paint , Scissors , Pen , Book , Hat , Handkerchief , Sheet
of white paper , Kitchen knife , Hammer , Saw , Piece of wood , Ax , Stick , Bone of lamb , Newspaper , Bread , Wine , Honey , Salt
, Sugar , Soap , Cake , Metal pipe , Scalpel , Metal spear , Box of razor blades , Dish , Flute , Band aid , Alcohol , Medal , Coat ,
Shoes , Chair , Leather strings , Yarn , Wire , Sulfur , Grapes , Olive oil , Rosemary branch , Apple.

18. Thoughts? What themes is this artist exploring?
Daniel: I was honestly disgusted and lost even more faith in humanity. It just made me
recoil in disgust and I feel like she wanted to find the limit of people.
Araceli: I find it terrifying that she allowed people to do anything to her body. As a
women we are taught to not let strangers touch us. It felt as belittling
Moh: Artist’s is pushing herself to the limit knowing what the risks were...
Corina: I was surprised and disturbed with how the public interacted with her and saw
her as an object and when she started moving they were all ran away.
Lauren: She’s like a “doll” and people could do whatever they wanted. Like an “ideal”
woman for trash men...some men. No retaliation.
Objectification…Personal/Social Responsibility….Sexualization...Dehumanization

19. Thoughts? What themes is this artist exploring?
Elly: I agree with the whole power dynamic thing. How humans can abuse power
so easily. But this piece can be covering other things too.
Sam: Is this about an “object?” or “objectification?”
Morgan: I agree with this idea of objectification...it’s interesting to see human
responses, but disturbing, very disturbing.
Eli: I think it’s more about herself….she did this to herself. It was her choice at the
end of the day, she put bad stuff and good stuff on the table. I like the idea behind
it though, it’s risky.

20. This artist is Marina Abramovic.
Marina Abramović was born in 1946 in Belgrade,
Yugoslavia. Since the beginning of her career in the early
1970s when she attended the Academy of Fine Arts in
Belgrade, Abramović has pioneered the use of
performance as a visual art form. The body has been
both her subject and medium. Exploring the physical
and mental limits of her being, she has withstood pain,
exhaustion and danger in the quest for emotional and
spiritual transformation. As a vital member of the
generation of pioneering performance artists that includes
Bruce Nauman, Yoko Ono, and Chris Burden, Abramović
created some of the most historic early performance pieces
and continues to make important durational works.
(ArtStory, Art21)

21. Rhythm 10
Abramovic wrote this about the piece:
Preparation
I lay a sheet of white paper on the floor. I lay twenty knives of different shapes and sizes on
the floor. I place two cassette recorders with microphones on the floor.
Performance
I switch on the first cassette recorder. I take the knife and plunge it, as fast as I can, into the
flesh between the outstretched fingers of my left hand. After each cut, I change to a different
knife. Once all the knives (all the rhythms) have been used, I rewind the tape. I listen to the
recording of the first performance. I concentrate. I repeat the first part of the performance. I
pick up the knives in the same sequence, adhere to the same rhythm and cut myself in the
same places. In this performance, the mistakes of the past and those of the present are
synchronous. I rewind the same tape and listen to the dual rhythm of the knives. I leave.
(MedienZunsnetz)

22. Do you think this is extreme? What other work do you expect
from this artist? What limits does she have?
Miles: YES.
Jov: She has NO limits. She like doesn’t care! She’s crazy!
Dan: She’s gotta be a bit no right in the mind. Not TOO far gone….
Miles: She’s not crazy, she’s just pushing her limits. You’ve gotta account for her
personal history. Her life sounds extreme, and she reflects it in her artwork.
E-ROC: It’s extreme. Crazy may not be the best word, but it’s a bit abnormal. It’s
outside the average.
Mena: I don’t think she’s intending to hurt herself, but she’s accepting the fact that
she might get hurt.

23. Do you think this is extreme? What other work do you
expect from this artist? What limits does she have?
Elly and Dom: YES.
Sums: It’s VERY extreme. She’s sacrificing her hand. I don’t know why she wanted to
do that. She must be very attached to her meaning or artistic purpose to go that
extreme with her body.

24. Rhythm 5

25. Rhythm 5
In a 1998 interview with Thomas McEvilly, Abramovic said of the impact of
the performance: “I was supposed to stay there, till it burned down, but as
I was lying there the fire took up all the oxygen and I passed out. Nobody
knew what was happening till a doctor in the audience noticed it and
pulled me out. This was when I realized that the subject of my work
should be the limits of the body.” (Lima)

26. Rhythm 5
http://www.li-ma.nl/lima/catalogue/art/marina-abramovic/rhythm-5/19629#
“I construct a five-pointed star (made of wood and wood chips soaked in 100 litres of
petrol). I set fire to the star. I walk around it. I cut my hair and throw the clumps into
each point of the star. I cut my toe-nails and throw the clippings into each point of the
star. I walk into the star and lie down on the empty surface. Lying down, I fail to notice
that the flames have used up all the oxygen. I lose consciousness. The viewers do not
notice, because I am supine. When a flame touches my leg and I still show no reaction,
two viewers come into the star and carry me out of it. I am confronted with my physical
limitations, the performance is cut short. Afterwards I wonder how I can use my body –
conscious and otherwise – without disrupting the performance.”
-Marina Abramovic Elly: She’s different. In a creepy way.”

27. What events do you think influenced this piece,
given the time period (1970s)?
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28. What events do you think influenced this piece,
given the time period (1970s)?
Dom: Cold War? Communism?
→ Yep. her family was in the communist party.
Imani: This is kinda abstract for me to understand it. I need more than just
“communism” to connect to the burning star.
Nate: tbh, I don’t even know...i don’t see any political influence or anything than
can be tied to political events. I think it’s more about her and her body.
.
.

29. What kind of point might Abramovic
be making with the Rhythm series?
Lauren: People are so scared of how fragile human life is...and
they do everything to avoid harm. She’s going against that.
Alex: This brings a new idea to what art can really be. This is
NOT tame like other art can be.
Sara: It’s a lot of pushing the body to limit. Seeing how far you
can go before you die (or pass out). A lot of people are scared of
death, and this confronts this idea.
Miles: a lot of people aren’t comfortable with their body, knowing
all the things that their body can do. It’s more for HERSELF than
viewers.

30. What kind of point might Abramovic
be making with the Rhythm series?
Eli: She’s really just hurting herself….except Rhythm 0, when
others are hurting her.
Freddi: I think she’s making a comment about how violent the
world is? Relating it to all the wars going on around the world.
Imani: She gets to control what gets done to her, the objects,
and how people can hurt her.
Sums: She’s treating her body like an object. Like in a general
kind of way. Seeing a body as a unit.
Kozak: limits of the body and limits of the audience.

31. Ulay
Abramovic met artist Uwe Laysiepen, known by his
artist name Ulay in 1976 – in which they
immediately bonded over collaborations and started
living together. Together, they formed a collective
being called “the other”, and spoke of themselves as
parts of a “two-headed body” in a relationship based
on complete trust. You can see that trust in action
with some of their most famous performances,
which includes Relation in Time (1977), Breathing
In/ Breathing Out (1977) and Rest Energy (1980).

32. Rest Energy
This polaroid photograph and video of Marina and Ulay
is part of a series of joint performances, Relation Works
[1976-1981]. Their relationship, personal and
artistic, is the area of investigation here. The public’s
presence is an integral component. In the photograph
and video we see how the artist-pair stood close, facing
each other in the performance, slightly back on their
heels. Their respective weights tense the bow. Just
one false move by Marina or Ulay could prove fatal.
Marina surrenders herself – if Ulay lets the arrow loose,
it’s over. The position of the woman seems subordinate
to the man, while it’s the woman who is in the spotlight.
The other striking feature is the fire-red arrow, in a
photograph where use of colour is limited.Microphones,
placed over the heart, registered the acceleration of the
beat. In addition to the polaroid photo from the
performance, there is also a video, and the sound of
their heartbeats is audible there. (M KHA)

33. Breathing in / Breathing out
Ulay and Abramovic introduce the video of 'Breathing
in, Breathing out' (April 1977, Belgrade) as follows:
'We are kneeling face to face, pressing our mouths
together. Our noses are blocked with cigarette filters.'
Ulay says: 'I am breathing in oxygen. I am breathing
out carbon dioxide.' Abramovic: 'I am breathing in
carbon dioxide. I am breathing out carbon dioxide.'
Ulay: 'I am breathing in carbon dioxide. I am breathing
out carbon dioxide.' (LIMA)
“I don’t see the significance of injuring yourself to
make art.” - Dom

34. Breathing in / Breathing out
For almost twenty minutes, Ulay and Abramovic depend
desperately on each other to stay alive. They share their
breath, without external access to oxygen. The physical
struggle that ensues due to the lack of oxygen and to the
breathing in of carbon dioxide is visibly exhausting.
Abramovic is sweating profusely; her breathing is clearly
audible. Ulay manages to control the rhythm of his
breathing for slightly longer, but soon he is suffering too. At
that point, Ulay and Abramovic are no longer sitting still, but
are moving vehemently to and fro until they cannot take it
anymore. They let go of each other's mouths, gasping to
regain their breath. Compared to the other
performances based on bodily stamina, this highly
strenuous performance is relatively short, due to the
lack of the most essential ingredient of life. (LIMA)
“They test their
relationship but they
like TEST their
relationship.”
-NK

35. What might someone be going through personally
that would lead to the creation of work like this?
Jov: This gets me mad! Like what are you doing?! What if she would have died?
Ryder: I guess the point is to test limits...so this is like the main way to test it?
Taking away this very necessary thing you need to live.
Celly: She’s pushing herself to the point of death! This seems suicidal. What is her
rock bottom?? It’s kind of crazy to me.

36. What might someone be going through personally that
would lead to the creation of work like this? (speculation)
Imani: Pain, limits, and identity
Nate: Maybe she’s lost? And this helps her find a sense of reality? Testing her
body and limits to FEEL something. And when she met somebody that she can
relate to, she wanted to see how far he could go with her. The limits of their
attraction. The whole point is to find her Rhythm. To find her way of life. And when
she met him, she found it. Because if you mess up, everything is over!
Dom: I understand a bit more why she’s doing it...but I think it is extreme.
Freddi: She seems really angry, like maybe she wants to take control of her life.
But even with Rhythm 0, she has SOME control.

37. Imponderabilia
At the opening of an exhibition in June 1977 at the
Museum of the Galleria d'Arte Moderna Bologna,
Abramovic/Ulay stood naked at the entrance
opposite each other in such a way that the people
streaming in had to squeeze singly through the
gap between the two, unable to avoid physical
contact. The crucial factor was that everybody had
to decide whom to look at as they passed. Most
people were looking straight ahead to avoid a direct
gaze, squeezed through with a lot of physical contact
or tried bumping into the bare skin of the two as little
as possible. Some also held on to the artists'
shoulders. Abramovic/Ulay kept looking at each other
motionless like statues flanking an entrance. (New
Media Art)

38. Imponderabilia
At the opening of an exhibition in June 1977 at the
Museum of the Galleria d'Arte Moderna Bologna,
Abramovic/Ulay stood naked at the entrance
opposite each other in such a way that the people
streaming in had to squeeze singly through the
gap between the two, unable to avoid physical
contact. The crucial factor was that everybody had
to decide whom to look at as they passed. Most
people were looking straight ahead to avoid a direct
gaze, squeezed through with a lot of physical contact
or tried bumping into the bare skin of the two as little
as possible. Some also held on to the artists'
shoulders. Abramovic/Ulay kept looking at each other
motionless like statues flanking an entrance. (New
Media Art)

39. Relation in Time
The performance 'Relation in Time' (October
1977) took place at Studio G7 in Bologna,
Italy. Sitting quietly for seventeen hours,
Abramovic and Ulay were connected to each
other by means of their hair. They spent the
first sixteen hours doing this alone, but visitors
were allowed in to witness the final hour. At
the start of the seventeen-hour marathon, the
are sitting up straight. Later, when fatigue sets
in, Abramovic in particular begins to slump a
little, so that their hair, which was tied together
tightly, begins to become looser. The process
makes heavy demands on both the physical
and mental stamina of the artists...
...In a very simple way, the artists try
to reach a state of harmony between
body and mind. Ulay and Abramovic
have to rely on their mental strength
to be able to sit still for seventeen
hours, without speaking.(LIMA)

40. How is Abramovic’s work different with Ulay? Why?
Britt: With these works, they’re relying on each other,
Wicka: There’s still a feeling of uncertainty...but with the two of them the artwork is
more about TRUST. Rather than Rhythm 0, where the audience is unknown.
Ryder: When I see both of them together, the work they make is less dangerous.
But when Abramovic is working solo, the work pushes more limits.
Lauren: Ulay kind of takes on the form of what she was testing herself with. The
Limits changed from her testing herself to her testing her. It mellowed her out.
.
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41. How is Abramovic’s work different with Ulay? Why?
Elly: When shes alone, shes testing her own limits, and when shes with him shes
testing their relationship.
Nate: Her work before, was much more about herself. It was about her sence of
reality. And now, with ulay, it is much more intamate. She takes advantage of the
connection, and she enjoys the connection.
Eli: Her work is really risky, both ways. When she is working alone, she can just
hurt herself.
Nate: The amount of connection they have is rare. I appresciate her work, and
how she gets across messages. Its rare for this to happen.
.

42. Artists Marina Abramovic and Ulay are known in many parts of the world as the
lovers whose relationship ended at the Great Wall of China. Initially, when the
couple planned the trip, they intended to get married at the center of the wall.
However, it was years later when the couple finally acquired all the authorization
required from the Chinese government and were able to raise funds for the
project. Sadly, by then, the couple’s 12-year relationship had crumbled and
what started out as a marriage celebration turned into last goodbyes for the
couple. (Public Delivery)

43. Abramovic would start walking the wall from the east while Ulay would start from
the west. It would take three months for the couple to meet in the middle, where
they would break up and go their separate ways. The couple titled the piece The
Lovers. The couple had planned to be the first people to walk the entirety of the
Great Wall, however, they were beaten to the punch by a Chinese railway clerk.
(Public Delivery)

44. (video) Why do you think she went through with the performance, even after they broke up?
Ryder: It’s because it’s ART! Why not do this after 8 years of preparation.
Lauren: Their relationship was so intense. That there’s no other way to end it. Ulay says how their
relationship started so fast and the work was so intense, that it was only a matter of time that it would
burn out quickly. No relationship like this can end well. It would have to be something BIG to give
them closure.
Miles: The infidelity changes the piece. It seems like they still had strong feelings for each other
though. That moment when they meet at the middle and CONNECT.
Sara: It’s a good way to end it. 3 months to THINK, most relationships end and they’re just over, and
you can think about it afterwards but it doesn’t go anywhere. They’re both contemplative people so it
works.
Gayathri: I don’t like her work at all. I think she just did this to make headlines. She just did this to
flow with her entire art career.

45. (video) Why do you think she went through with the performance, even
after they broke up?
Elly: They wanted it to have some sort of meaning. They wanted a final peice.
Sums: I think they did that, beacause they both had a big impact on echother. They wanted to see a journey.
The committment of walking for 3 months streight is a big aspect.
Kozak: 3 months, they were alone, knowing that they dont get to stop walking until they see this person they now dispise. It makes it
more of an endurance.
Nate: Its like, I agree with what kozak was saying, but the thoughts are so simple. Its kind of a disappointing ending. Its
dissapointing for their relationship. They seem so attracted to echother, and it ended terribly.
Kozak: Is it selfish to think that had they not broken up, they would have kept making good art.
Nate: Them breaking up the way they did is a very tragic ending.
ELLY!! : It is sad, but it is also just reality. There are good times, and bad times. It was a journey, and it was reality.
SAM: WHAT MATTERS IS THAT THE RELATIONSHIP TOOK PLACE, NOT THAT IT ENDED.
Eli:its still stupid. It seems toxic.

46. Post-Ulay Abramovic
Spirit Cooking is a performance Abramovic did in
an Italian gallery in 1996, in which she painted
apparent instructions on the white wall with pigs
blood. Instructions like: “with a sharp knife cut
deeply into the middle finger of your left hand
eat the pain.” She also painted a small kind
of icon in the corner with the blood too.
Abramovic also published a Spirit Cooking
cookbook, containing comico-mystical,
self-helpy instructions like: “spit inside your
naval / until the lake is filled / lie motionless /
listen to the heartbeat / of a dog.”

47. Spirit Cooking
was also part of
Do It, and here is
the full text
Mix Fresh Milk From The Breast
With Fresh Milk Of The Sperm
Drink on Earthquake Nights
On Your Knees, Clean The Floor
With Your Breath
Inhale The Dust
Wash Your Bedsheets In Lemon Juice
Cover The Pillow With Sage Leaves
With A Sharp Knife
Cut Deeply Into The
Middle Finger Of The Left Hand
Eat The Pain
Facing The Wall
Eat Nine Red Hot Peppers
Take Uncut 13 Leaves of Green Cabbage
With 13000 Grammes Of Jealousy
Steam For Long Time In Deep Iron Pot
Till All Water Evaporates
Eat It Just Before Attack
Fresh Morning Urine
Sprinkle Over Nightmare Dreams

48. House With An Ocean View

49. House With An Ocean View
This work (2002) demonstrates part of Abramovic's concern with creating
works that ritualize the simple actions of everyday life like lying, sitting,
dreaming, and thinking; in effect the manifestation of a unique mental state.
As a vital member of the generation of pioneering performance artists that
includes Bruce Nauman, Vito Acconci, and Chris Burden, Abramovic created some
of the most historic early performance pieces and is the only one still making
important durational works. (NYT)
The House with the Ocean View is a public living installation: for the first twelve
days of the exhibition Abramovic will fast following a strictly defined regimen in
three specially constructed living units in the main gallery space. For this unique
and challenging performance, the gallery will have special hours to facilitate
repeated attendance by the public, as their presence is integral to the work.

50. House With An Ocean View
The House with the Ocean View is a public living installation: for the first twelve days of the
exhibition Abramovic will fast following a strictly defined regimen in three specially
constructed living units in the main gallery space. For this unique and challenging
performance, the gallery will have special hours (see below), to facilitate repeated
attendance by the public, as their presence is integral to the work. (NYT)

51. What themes is she covering with her post-Ulay, later work?
Sums: Before this, her work was very dependent on hurting herself. This is more
aobut vulrabilty. Spirit cooking is not very normal.
Imani: Shes completley transparent now.
Dom: Not sure, don’t know how to feel.
Nate: She was more independent prior to Ulay, then with him she was more
closeminded. After him, she seems more dependent on the audiance. SHe wantes
people to see her work, and her. Shes lost a lot of trust.
Nate: her work was just about her before, now it is about the audiance. Her work
would have been done without an audiance, but this seems like it needs an
audiance.

52. What themes is she covering with her post-Ulay, later work?
Eric: Its less about trust, and less about limits. It feels more held back. Spirit
cooking was very simple
Brianna: House with an ocean view is more about not being dependent on a
person, and being more of a machine. Especially with Ulay, they depended on
echother. Breathing out, the lovers.
Lauren?: Before this, it was about physical Limits. Now it is about her and other
peoples mental state. Also, the audiance is less involved.
Eric: She is trying to distance herself from everything. Not just her past work, but
from her life/audiance. Shes trying to change herself and her audiance
Sara :This not about physical limits, its about mental limits. She needs the space

53. The Artist is Present
In 2010 at MoMA, Abramović engaged in an
extended performance called, The Artist Is
Present. The work was inspired by her belief
that stretching the length of a performance
beyond expectations serves to alter our
perception of time and foster a deeper
engagement in the experience. Seated
silently at a wooden table across from an
empty chair, she waited as people took turns
sitting in the chair and locking eyes with her.
Over the course of nearly three months, for
eight hours a day, she met the gaze of 1,000
strangers, many of whom were moved to
tears.

54. The Artist is Present
“Nobody could imagine…that anybody would
take time to sit and just engage in mutual
gaze with me,” Abramović explained. In fact,
the chair was always occupied, and there
were continuous lines of people waiting to sit
in it. “It was [a] complete surprise…this
enormous need of humans to actually have
contact.” (MOMA)

55. The Artist is Present
This performance retrospective traces the
prolific career of Marina Abramović
(Yugoslav, b. 1946) with approximately fifty
works spanning over four decades of her
early interventions and sound pieces, video
works, installations, photographs, solo
performances, and collaborative
performances made with Ulay (Uwe
Laysiepen). In an endeavor to transmit the
presence of the artist and make her historical
performances accessible to a larger
audience, the exhibition includes the first live
re-performances of Abramović’s works by
other people ever to be undertaken in a
museum setting. (MOMA)

56. Also, at Artist is Present…

57. Do you think she is doing her art as an exhibition?
Would she be doing this kind of work if she was not
being viewed?
Imani: I dont think she would, she cant be vulnrable if shes by herself.
With her ulay work, it was about exposing how intimate/ close their relationshp was.
Rose: Her solo work is really dependent on the audiance, the reason she created it was to talk about what
humans would do if they had the option.
Freddie: A few of her peices, it seems like she would have done without an audiannce. It was about
bonding.
Imani disagrees. In order for someone to appreaciate this, they have to have viewers. They wouldn’t do
this alone, even if they didnt need the audiance presentation.
Freddie: They are doing this for themselves.

58. Do you think she is doing her art as an exhibition?
Would she be doing this kind of work if she was not
being viewed?
Sums: In the beginning, it wasnt dependent on the audiance. It was about finding herself. But, as time
went on, her relationship with her audiance evolved. Like in house with an ocean view, or artist is present.
Beginning: Lost, her porpose wasn’t really the audiance.
Ulay: Her work became more about vulnrability.
Post- Ulay: She was trying to find trust, after ulay.

59. Do you think she is doing her art as an exhibition?
Would she be doing this kind of work if she was not
being viewed?
Ryder: Part of the art is how the viewers react. I dont think this could be done without people watching.
Brianna: I agree with ryder. I think the audiance is integral to her work. Speicalically, the artist is present,
rythym 0, imponderabelia
Lauren: Her works would have a completley diffrent context if she wasnt being watched. If she was at
home,
I agree with everyone. Without the viewer, there would be no one to interact with it. She needs the viewer.
Miles: Her work is about spiritual connection, and she is trying to share that energy. She wants the
resonance. She could not have done the work without.
Sara: She might not need a full audiane, but she needs a person there. She always has someone there.

60. What is the role a viewer plays in a piece of art?
Dom: Interpretation. What we take away from it. Its a static, end role of
understanding
Kozak: What if were misinterperting?
Dom: It means we arent getting what the artist wants us to get.
Ellyani: Sometimes the veiwer is a part of the art. You need people to participate
sometimes.
Imani: Felix Gonzales torres? His art is more about him trying to interpert trauma.
Also, francis bacon. They are trying to figure out what is happenning in their
mental state.

61. What is the role a viewer plays in a piece of art?

62. What is the role a viewer plays in a piece of art?
Eric: For performance art, it’s different from a “completed” piece like a painting...the
viewer is there to see what’s happening AS it is occurring. It would almost be like
watching a painter paint in a room.
Lauren: The viewer is supposed to FEEL something. The artist cannot control how the
viewer will react, but you can intend for them to reach a certain feeling or emotion.
JOV! Abramovic’s work is really extreme, and maybe I’m not having the reaction she’s
wanting me to have. Sometimes i have a negative reaction to it.
Miles: I think she wants people to feel CHALLENGED, forced to think something or have
a strong reaction. That’s what her whole art is about.
Wicka: By her challenging her own mental and physical limits she makes US think about
our limits too.

63. Marina Now - https://mai.art/
Abramovic now runs a school, called the Marina
Abramovic Institute. This is how the institute
describes itself:
MAI explores, supports, and presents performance.
MAI is dedicated to long durational work. Time is a necessary dimension for the
participants to experience art fully.
MAI creates public and participatory experiences and it is home to The
Abramovic Method, a continuous project joining people in a communal
experience to connect with oneself and with each other.
MAI is committed to an inclusive artistic process for all, through its projects and
workshops. The Cleaning the House workshops are open to everybody.
They are the first Performance Art school in this
vein.

64. Marina Now - https://mai.art/
I developed these workshops over 40 years of
teaching, in order for my students to prepare for
long durational performance. They provide a
reset for the body and give a set of tools to
manage the challenges of the mind.
These skills are universal. The workshops are
now open to anyone, in any discipline.
- Marina Abramovic

65. Marina Now - https://mai.art/
Would you sign up for her workshops?? What
kinda people SHOULD go to these workshops?
→ Sara: The work is all about LIMITS...so her workshops are
meant to test peoples’ mental capacity.
→ Miles: it forces you to be alone with your thoughts in nature.
Not a lot of people have taken the time to be comfortable in
their own head.
→ Wicka: I would do this. O cou,d get through it.
→ NK: It reminds me of the show naked and afraid.

66. Collab
with
Jay-Z??

67. On July 10, 2013, Jay-Z performed his song Picasso
Baby for six hours in New York. Taking place at the
Pace Gallery, the rapper's music video shoot was
inspired by the work of performance artist Marina
Abramović, who was also in attendance for the show.
Wearing a crisp shirt and gold chain, Jay-Z spent the
whole day prancing around Pace's white-box gallery,
performing the Magna Carta Holy Grail track to a crowd
of delighted onlookers. The shoot was inspired by
Abramović's 2010 installation, The Artist Is Present,
where she spent 736 hours in one-on-one encounters
with MoMA visitors.
Here too, Jay-Z faced off with strangers – as well as
some well-known faces such as artist Fred Wilson,
director Judd Apatow, the rapper Wale, Lena Dunham's
mom, and the artist Laurie Simmons as well as a
number of other local New York celebrities.

68. Jay Z
Later in her career, she would also collaborate with Jay Z for a video for his song
Picasso baby. But, after the collaboration she claimed that he did not make a
donation to her school, and that he had promised to give money to the school.
Jay Z had given the money, and showed the tax documents to prove it.

69. Imani: I don’t think shes a scammer… I dont know her.
Kozak: Should an artist be payed for their work?
Imani: That she wanted to get payed again is the issue.
Any money that goes toards the school directly benefits her.
Dom: There is still a diffrence between that money, and paying her for doing it. He
is helping her school, with everything.
Dom: Its a diffrent purpose for the money.

70. Conclusion
Dom: its just the way the person feels about it. You can understand what they are going for, but it doesnt
change the way you feel about it.
Dom: We saw it, so we have experienced it.
Dom: We are getting a larger interpertation of the peice, like what we would
Imani: You arent experiencing it. You cant say your immediet reaction is your experience with the art.
Its better to look at art with an open mind.
Kozak: But it is hard to experience, its quite violent.
Imani: But people should try to find out more, and understand more. They should get the full existence.

71. Conclusion
Nate: If you write off a work, and you dont try to see it in a diffrent way, it is just gonna stay stupid to you.
Dom: People have a right to feel that way. If you feel uncomfortable, thats your right.
Nate: If you can’t even interpert it, you cant write it off. You have to understand where the artist is coming
from.
Kozak: Can you say youve experienced the work of art, if you are just going with a quick gut reaction?
Imani disagrees
Nate: If in non art things you just dived in without further thinking, it would be a bad decision.
Dom: My first reaction of andres sorriano was that he was just disgusting.

72. Conclusion
Nate: Saying his work is just putting pee on objects is lame.
Imani: You cant invalidate someones reaction beacause they dont like it.
Eli: Agrees with dom. SEEING IT THE FIRST TIME IS YOUR INTERPERTATION IN THE MOMENT. IT
CAN CHANGE OVER TIME.
Nate: A lot of art is deeper than what you see. When you see the background, it changes your
appreciation of it.
Dom: A first reaction can lead to an interpertation. The first reaction can lead to a deeper thought process.
Basically, a first reaction can lead to a deeper interpertation.
Dom: If you dont feel comfortable with it, you should stop looking at it. It depends on the person.
Freddie: Its important, if you dont like a peice when you dont see it, to try to interpert it forward.

73. Conclusion
Freddie: Artists, equally should know that most people might not look that deeply
into the peice.
Imani: We shouldnt make anybody do anything. If you look at something, and you
like it you should be able to just enjoy it.
Dom: I saw piss christ for the first time, and I liked it, but now that I know more
about it its kind of disgusting.
Imani: I showed my mom, a conservative christian, piss christ she would have a
negative reaction.
Nate: I rather that, than just leave her with that surface reaction.

74. Conclusion
Kozak: Quoting freddie: The first reaction is the first step of interpertation. Serrano
knows what hes doing.
Imani Disagrees: Art should be open to interperation,
whatever that interpertation is.

75. Conclusion - Are first reactions actual interpretations??
Jov: I really like Abramovic. She pushes the extreme like no other artist. I didn’t even know what
performance art was...but the other day i caught myself watching her videos.
Lauren: She strikes me as a lonely person,I kinda feel bad for her...but then she did JayZ so dirty….her
loneliness has impacted the way she’s made artwork her whole life.
Wicka: I felt really disturbed at first...but after spending a week with it, i can see her intentions a bit more.
I see the point(s) of what she’s doing. Even if I don’t completely agree with it.
Eric: It takes a bit more time and patience to have a real interpretation.
Daniel: I agree, you can’t interpret any artwork on a first glance...even if it’s simple, it may have a deeper
meaning. You always have to spend time with it...You find out more feelings that the artist is trying to
convey with their work.
Gayathri: I’m not a big fan….it still seems like she’s just abusing herself.
Corina: I find her intentions interesting, but I don’t like how she hurts herself doing it.