Category Archives: Assignment Post

Week 12 Assignment Post

For class on Monday, you will need to have submitted your proposal for your final project; be ready to present your Simultaneous Group Action project; added four links to your del.icio.us site; and read The Institutionalization of an American Avant-Garde: Performance Art as Democratic Culture, 1970-2000 by Britta Wheeler (follow the link to JSTOR) and post two thoughtful comments on the reading to this assignment post. You can respond to any aspect of the article that you wish, but remember that your comments are to be thoughtful and should represent your reading, considering, and understanding of the central issues, even and especially if you take issue with the author.

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Week 10 Assignment Post Part B: 1440

Please post two thoughtful comments regarding Friday’s exhibition, 1440. One of your comments should address the installation at UCCS and one should address the installation at Colorado College. The shuttle could fall into either category. Here are some considerations:

  • How successful were the artists in engaging the concept of “social spaces?”
  • What ideas for concurrent performances in a shared space did you get from observing this event?
  • What elements engaged you in the works? To what degree did you participate, and to what do you attribute your decision to participate?

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Week 10 Assignment Post

Here is what you need to have done by class on Monday:

Write your proposal for the Performing the Process project and email it to me; add 4 links to your del.icio.us site; read section 5 in the Readings Binder on reserve in the library, In Defense of Performance by Guillermo Gomez-Pena and make two thoughtful comments on this blog post; attend 1440 at the Gallery of Contemporary Art, UCCS and the IDEA Space, Colorado College on Friday evening and make two comments on the upcoming assignment post about the exhibition. Please remember that we will meet in the dance studio for class on Monday, and please make sure that you have read the Schechner (section 8 in the library reserve binder) that has been assigned for the past couple weeks.

Here are some considerations:

  • As a performance artist (even if you only consider yourself such when performing in class), what claims/assertions does Gomez-Pena make that resonate with you and your experience?
  • What assumptions does he make that you find unhelpful? Why?
  • How does this article inform your investigation into the nature of performance art? Are there elements or approaches that you find limiting or inaccurate? Explain.

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Assignment Post Week 9 (Part 2)

Please also post at least 2 thoughtful comments about the Marshall McLuhan article we began in class, The Relation of Environment to Anti-Environment (originally published as an independent article in the Windsor University Review in 1966). FYI, some of his other influential writings include the books War and Peace in the Global Village and The Medium is the Massage.

Here are some considerations:

  • Explain and discuss the claim on page 87: “When an environment becomes an object of attention it assumes the character of an anti-environment or an art object.” How does this inform your decisions about art making, esp. performance work?
  • What is McLuhan’s essential argument? How has he developed and explicated his thesis?
  • Discuss an art work, perhaps one of your own, in the context of this reading, particularly the function of anti-environment. What elements are qualifying the work as such and what purpose does this serve?

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Assignment Post Week 9 (Part 1)

Here is what you need to have done by class on Monday:

Read pages 266-286 in the Fusco book; read section 8 in the library reserve binder (the Schechner article from last week); add four links to your del.icio.us site; post at least two thoughtful comments on the readings for this week to this post and at least two comments on the McLuhan essay from class on the forthcoming assignment post; and have your Being Audience project ready to perform.

Here are some considerations:

  • Concerning Schechner’s use of the term “actuals:” what are the implications for performance art specifically? What examples can you think of that fit within/outside of his parameters?
  • What examples can you cite relevant to artistic practice that bear out his categories of contemporary (or modern) movements: “wholeness,” “process and organic growth,” “concreteness,” and “religious transcendental experience”?
  • Concerning ritual, are you aware of rituals that are examinable and explainable following his model? Elaborate.

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Week 8 Assignment Post

Here is what you need to have done by class on March 31:

Email me your proposal for the Being Audience project; read pages 97-113, 177-194, and 203-224 in the Fusco book and section 8 in the library reserve binder: Actuals: A Look into Performance Theory by Richard Schechner; add four links to your del.icio.us site; and post at least two thoughtful comments on the readings for this week (if you choose to post more than 2 comments and if they are well-reasoned, I will give you extra credit.)

Here are some considerations:

  • Comment on the usefulness and functionality of some of the alternate labels for work (other than “performance art”) mentioned in the Ramos essay. How might some of these terms better describe your own work? How are they useful in the context of Venezuelan work, or do you find similar problems with all terms?
  • Discuss the claim from the 1981 CADA work that “the work of improving the accepted standard of living is the only valid art form/the only exhibition/the only worthwhile works of art.” Pay attention to specific implications of words and how they translate for you and your experience, i.e., if this statement is assumed to be valid, what is really meant by “form” and “exhibition”?
  • Are you persuaded by Lotty Rosenfeld’s discussion of her work? Why or why not?
  • What are the implications of Felipe Ehrenberg’s designation of the street happenings between the two galleries as art? If these are pieces, is he the artist of the piece because he identified them as such? Or do the pieces have unwitting artists, or no creating artist at all?
  • Concerning Schechner’s use of the term “actuals:” what are the implications for performance art specifically? What examples can you think of that fit within/outside of his parameters?
  • What examples can you cite relevant to artistic practice that bear out his categories of contemporary (or modern) movements: “wholeness,” “process and organic growth,” “concreteness,” and “religious transcendental experience”?
  • Concerning ritual, are you aware of rituals that are examinable and explainable following his model? Elaborate.

For those of you especially concerned with issues of documentation, consider this JSTOR essay: “Presence” in Absentia: Experiencing Performance as Documentation” by Amelia Jones.

Enjoy your Spring Break!

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Week 7 Assignment Post

Here is what you need to do by class on Monday:

Read pages 59-96 in the Fusco book; read the Nick Zangwill article, Art and Audience (follow the link to JSTOR); post four links on your del.icio.us page; REMEMBER THAT CLASS MEETS IN THE DANCE STUDIO ON MONDAY; post at least two thoughtful comments on the readings; and if you are feeling sassy, peruse some of the other audience-relevant articles with links below.

Here are some considerations:

  • What is your response to Jesusa Rodriguez’s theories of humor, and do you see these claims translated into her work?
  • How do you think Tito Vasconcelos’ characters, especially Tatiana Illhuicamina, translate differently to an American audience than to his community?
  • Distill Zangwill’s main thesis and detail your reaction to it, i.e., are you persuaded by his argument, do you accept his grounding claims, and so forth. Why or why not?

Other writings on audience:

Shaping Belief: The Role of Audience in Visual Communication, by Ann C. Tyler

Casting the Audience, by Natalie Crohn Schmitt

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