Renowned curator, international art expert, and writer Catherine Wood has recently made her mark in the literary world with her groundbreaking book, “Performance in Contemporary Art“. The publication is a vital exploration of the subject, embodying her wealth of experience as a Senior Curator at Tate Modern, where she programmed performances by leading artists like Mark Leckey and Joan Jonas, and as a member of the boards of various art awards and non-profit art spaces. With her well-versed insight into the world of art, Wood’s exploration of performance art is extensive and incisive.
Wood’s intriguing proposition is that performance is not merely a distinct genre within the art world. Instead, she posits it as an attitude – a pervasive presence that has reshaped the landscape of contemporary art as we know it. This narrative reframing invites us to view performance not as an outlier, but as an integrated medium within the entire artistic spectrum, from sculpture and painting to spectacle and protest.
The book delves into the myriad forms and expressions performance art can take, from the deeply intimate work of Marina Abramović, to the socially active practices of Tania Bruguera, and the process-focused painting processions of Ei Arakawa. Each artist and practice has contributed in its unique way to the vast and diverse expanse of performance art over the past three decades.
Wood’s innovative approach breaks down the concept of performance into three distinct perspectives: “I”, “We”, and “It”. This division encapsulates the dimensions of the individual, the social, and the object, providing readers with a structured means to comprehend this complex art form. Her acute lens also looks back at the histories of performance art, examining influential movements like Japanese Gutai group, Brazilian neo-concretism, and the feminist performance at Womanhouse in the United States. She analyzes these significant movements and their impact on contemporary artists of the 21st century, who in turn either revisit, reform, or reject these historical precedents.
“Performance in Contemporary Art“” is not just an art book. It’s a poignant discourse on how performance has shifted the perception of art from the objective to the embodied, transforming the way we engage with and understand art. It can evoke an extensive palette of human emotions – it can be stunningly beautiful or deeply puzzling, powerfully moving or intensely unsettling, but always intriguing and often transformative.
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