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Performance Piece by artist Ken Becker from Dorothy Santos on Vimeo. One of your brilliant classmates hacks open a sculptural work during a performance piece. I will be posting more pictures this weekend but one of the graduate wide electives I took this past semester was Sound, Music, and Technology. Ken was in my class and when he proposed his project, it was difficult for me to envision it other than him destroying something he built. Then, the night of…
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Free Money Sticky Fingers from Hypermodern – Pete Ippel on Vimeo. Artist Pete Ippel created Free Money, Sticky Fingers specifically for “100 Performances for the Hole – Take Two” an art show curated by Justin Hoover at SOMArts Cultural Center in San Francisco, California, March 6th, 2010. ~ Text Source: Artist’s Vimeo Profile
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What: Third Strike: 100 Performances for The Hole When: December 10, 2011, 5:58PM–midnight Where: 934 Brannan St. (between 8th & 9th) How Much: $10 suggested donation Each performance lasts just two minutes and takes place in, around, in contradiction of, or is inspired by “The Hole,” a 100-year-old mechanics pit in the floor of the SOMArts Main Gallery. Past performances have included the unorthodox usage of bodily orifices, a set from a heavy metal band, and ritualistic offerings. Who knows what may transpire this…
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One of the most intriguing things about the world-wide web is its virtual tumbleweed of randomness (aka Spam messaging). In the past couple of days, I received about 20+ spam messages in my WordPress Comment Inbox BUT this one in particular intrigued me. First, I have a strange fascination with its length. Quite frankly, I can’t help but look at it. I don’t dare read it word for word but what would happen if I did? Or, reading parts versus the whole? It’s not the humdrum message…
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Artist: Chris Burden | Title: Through the Night Softly After seeing the performance pieces this past Sunday at the Ever After exhibition, I started thinking about how performance art has changed over the years. OFFSpace Founder, Kathrine Worel and I were talking about how there’s a fixation to document and showcase (as much as we possibly can). Being present (truly in the moment) without documentation is so difficult these days. I started thinking about Chris Burden’s work. Specifically, his work Through the Night Softly.…
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In early October, I wrote a Shotgun Review for Art Practical on the opening of the Ever After exhibition at the Chapel of the Chimes in Oakland. Over the weekend, I attended the closing exhibition, which included some wonderful performance pieces. Admittedly, I’m not the biggest fan of performance art but when it’s done well, it’s quite the experience. Below, I’ve posted a few photos of my favorite pieces at the closing. Reflection to follow. Please click on the images…
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In Imponderabilia (1977, reenacted in 2010) two performers, both completely nude, stand in a doorway. The public must squeeze between them in order to pass, and in doing so choose which one of them to face. ~ Source: Wikipedia page for Marina Abramovic Walking through the William and Fulton Street Stop in the NYC metro reminded me of Marina Abramovic’s work (minus the nudity, of course). The daily grind, hustle, and bustle of the Metro alone made me think of this wonderfully complex piece…
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The days of happenings and Fluxus signaled a pivotal transition and a prophetic glimpse into Post (Post) Modern art. Such progression into participant based art within art history entailed the coining of Relational Aesthetics. The times when artists sat around and drank beer ushered its way into the cannon of conceptual fine art. Also known as relational art, relational aesthetics encompasses an art practice within a social context and the creation of the art dependent on the exhibition visitors and participants within a specific environment.…
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writer | artist | scholar
Dorothy R. Santos, Ph.D. 