Performance Art

Both readings this week emphasize the importance of the relationship between the viewer and the artist, especially in performance art.  Increasingly, the audience is encouraged (or even required) to analyze the piece or even participate in it.  Many times the goal is for the viewer to see himself in or create an understanding with the piece and relate it to the real world.  Performance artists go to extremes to make these scenarios and try to challenge the audience to engage and test their ideas of perception.

An interesting discussion from the New York Times asks the question, "Did YouTube Kill Performance Art?"  I find this correlates to Hershman's piece because performance art through video causes distance and disconnect for the audience.  However, it's an accessible way to view art, and can allow artists to gain recognition.  An important question asked by the NY Times is whether this is beneficial for performance art, or whether it allows artists to simply perform publicity stunts that lack purpose in order to get views?  This intermedia disrupts the natural medium, and the space between the artist and viewer leads to less interaction even in thought and overall time spent in perceiving it, opposed to seeing something live.

Though there is a clip on YouTube that explains this act, it still pushes the boundaries of closeness with the audience.  Artist Taras Polataiko takes her performance down a path similar to that of Marina Abramovic by creating a situation that could greatly impact her life.  Polataiko is "on exhibit" as a real life sleeping beauty, eyes closed, awaiting Prince Charming.  Contractually, she allows anyone who also signs a contract and is aware of the possible outcome to kiss her, and if she feels a strong enough connection and opens her eyes, she must marry that person.  While signing up, potential suitors may seem excited to participate in such a revolutionary project, but as they approach her, usually take a few steps back and awkwardly ponder what they've gotten themselves into.  I obviously don't know her intentions, but I can infer that she wants the audience to participate and feel discomfort, because an emotional reaction will allow them to take more depth from the piece.