// you’re reading...

Asides

Marina Abramovic

Marina Abramović’s recent exhibition at MoMA, The Artist is Present, received a great deal of attention, and certainly constituted a landmark for the reception of performance art within the museum and the media. On The Artist is Present, see for example:

 Reviews in the press began appearing in March and continued through the final days of the show in May, including:

Although not always discussed in reviews of the recent show, Abramović’s performance at the Guggenheim in 2005 provoked wide discussion of issues related to “re-performance,” or re-enactment of earlier performance pieces. (See the catalog, the website, and Seven Easy Pieces, film by Babette Mangolte, 2007.) Reviews included Jessica Santone in Leonardo; Johanna Burton in Artforum; report by Shinya Watanabe at spikyart.org; Marla Carlson, “Marina Abramovic Repeats: Pain, Art and Theater”; and as scholarship, Francesco Giuseppe Gagliardi, “Performance documents: Marina Abramovic’s ‘Seven Easy Pieces,’ and the photographic documentation of performance art,” (MFA thesis, SUNY Buffalo, 2009).

Three years previously, the artist had presented “Marina Abramovic: The House With the Ocean View,” at the Sean Kelly Gallery in New York (see catalog, and interview with Laurie Anderson, Bomb 54). It was reviewed by RoseLee Goldberg, ArtforumC. Carr, Village Voice; and James Westcott, TDR.

Aside from exhibitions and exhibition reviews, a remarkably large number of publications have been devoted to Abramovic in recent years, including several books published in 2010 alone. Samples include:

Much other scholarship including dissertations and articles has also appeared, some within departments of art history, but much in other disciplines and interdisciplinary programs concerned with the body and performance. See for example:

Discussion

Comments are disallowed for this post.