performance art

Posted in Art

What Happens When Stem Cell Science and Performance Art Collide?

Ear on Arm, 2006, Stelarc. London, LOs Angeles, and Melbourne. Image by Nina Sellars, courtesy of Stelarc.
Ear on Arm, 2006, Stelarc. London, LOs Angeles, and Melbourne. Image by Nina Sellars, courtesy of Stelarc.

“Artsci”: How Avant-Garde Experimenters Are Deploying the Tools of Science More»

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Posted in Art, Photographs, Film, and Video

Does Art Belong on a City Bus?

Out the Window / Ann Kameko
Photo courtesy of Ann Kameko

An artist creates an urban opera set inside a bus, with joyful movement as the plot. More»

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Posted in Art, Getty Research Institute, Prints and Drawings

Treasures from the Vault: The Unexplored Archive of Otto Muehl

Otto Muehl 7
Otto Muehl after Joseph Beuys’s Fat Chair, 1979. The Getty Research Institute, Otto Mühl papers, circa 1918-circa 1997

A peek into the sketchbooks of the controversial founder of Viennese Actionism. More»

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Posted in Behind the Scenes, Gardens and Architecture, Getty Center, J. Paul Getty Museum

Ladybugs on the Lam!

Grounds and Gardens supervisor Michael DeHart with ladybugs

Artist Hirokazu Kosaka’s much anticipated presentation of “Kalpa” on January 20 at the Getty Center was an experimental performance spectacular, featuring hundreds of spools of thread being pulled in the mouths of Butoh dancers, and a shining spotlight that illuminated… More»

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Posted in Behind the Scenes, Getty Research Institute

I Was There: Lita Albuquerque’s “Spine of the Earth 2012”

Rani Singh, Lucy Bradnock, and Amy Hood participating in Spine of the Earth 2012 by Lita Albuquerque

At 8:15 Sunday morning I found myself scurrying through a parking lot in Culver City to get on an old-fashioned-looking red and white bus. I took one of the last empty seats alongside dozens of other chipper volunteers as we… More»

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Posted in Behind the Scenes, Getty Center

Kalpa: No Strings Attached

string_people

Dancers, a World War II searchlight, and 400 spools of thread combined to turn the Getty Center’s Arrival Plaza into a performative installation last Friday night. Hirokazu Kosaka’s Kalpa was part of the Pacific Standard Time Public Art Festival, an… More»

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Posted in Behind the Scenes

Join Suzanne Lacy to Demand that #RapeEndsHere

Suzanne Lacy with the Rape Map at LAPD headquarters, January 2012

January 19 is the official launch of the Pacific Standard Time Performance and Public Art Festival. But it’s already unofficially begun, not only with pre-festival events last night at LAXART and tonight at the Getty Center, but also with what… More»

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Posted in Behind the Scenes, Getty Research Institute

Fire and Ice: Artists Get Ready for the Pacific Standard Time Festival

A visitor admires one of the original Disappearing Environments structures in 1968. Photo: Lloyd Hamrol

From January 19 to 29, the Pacific Standard Time Performance and Public Art Festival will present more than 30 new public art commissions and re-invented works of performance art inspired by the amazing history of art in Southern California. As… More»

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Posted in Art, J. Paul Getty Museum, Paintings

James Ensor 2.0: “Christ’s Entry into Brussels” Becomes Performance Art

Two bottle stoppers from Vive L.A Social, Mathis Collins, 2011
Vive L.A Social (details), Mathis Collins, 2011. Images courtesy of Mathis Collins

The unruly figures in James Ensor’s massive painting Christ’s Entry into Brussels in 1889 have sneaked off the canvas and into bottles across Los Angeles. They’re the cast of characters in a new performance work by French artist Mathis Collins…. More»

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Posted in Getty Foundation, Getty Research Institute

T-Minus 30 Days to Citywide Performance Art Festival

Three Weeks in May / Suzanne Lacy

The Pacific Standard Time Performance and Public Art Festival opens on January 19. For 11 days, artists will be activating public spaces across the city with a variety of performances and public art. From Pomona to Santa Monica beach, these… More»

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      Corita said that ads and billboards were the carriers of man’s loves, hopes, and beliefs, and that she was restoring life to words by taking them back from advertising. For Corita, “the big G” wasn’t General Mills, it was God; the dots on the Wonder Bread wrapper weren’t a decorative element, they were hosts. But her work was not a commentary or criticism of mass-market commercialism, as some may read it today. Her work was about joy and, she said, giving people an idea of what harmony might look like.

      If she were alive today, I’m sure Corita would still be an advocate for social justice and creating work with a message. I’m sure she would be delighted to communicate with people all over the world through social media. For Corita, looking was a spiritual act and she would invite you to do that: just look.

      Corita Kent, An Artist Who Sees Holiness in Wonder Bread

      All images: Corita Art Center, Immaculate Heart Community, Los Angeles, CA. Photographs by Arthur Evans, courtesy of the Tang Museum at Skidmore College

      08/28/15

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