This book focuses on the performance art of Marilyn Arsem, an internationally acclaimed performance artist known for her innovative and experimental work. Arsem’s work addresses women’s history and myth-making capacities, the potency of site and geography, the idea of the audience as witnesses, and the intimacy of one-to-one works. One of the most prolific performance artists working in the United States today, Arsem performs carefully choreographed durational actions that are developed site-responsively and range from deceptively simple interventions to elaborately orchestrated actions. This edited volume seeks to extend Arsem’s legacy beyond the audiences of her live performances and enter her work into the lexicon of the art world. Accompanied by two hundred images, Responding to Site will be of interest to scholars and students of performance studies, feminist performance, feminist art history, and performance history. It will also contribute to the history of alternative spaces and galleries that is only now being written.
Edited by:
Jennie Klein,
Natalie Loveless (University of Alberta,
Canada)
Imprint: Intellect Books
Country of Publication: United Kingdom
Dimensions:
Height: 210mm,
Width: 240mm,
ISBN: 9781789380972
ISBN 10: 1789380979
Pages: 316
Publication Date: 09 October 2020
Audience:
Professional and scholarly
,
Undergraduate
Format: Paperback
Publisher's Status: Active
Acknowledgments Introduction: Responding to Site – Jennie Klein Performance Photographs 1987-1999 SECTION ONE: DURATION AND ACTION On Time at the Museum – Lucian O’Connor Salt, Stones, and Stars – Jeffery Byrd With the Others – Sandrine Schaefer The Lightness and Darkness of Becoming-Marilyn – Paul Couillard Performance Photographs 2003-2009 SECTION TWO: SITE AND HISTORY “Lux Balcanica est umbra Orientis” Marilyn Arsem’s Balkan Performances – Kristine Stiles Impossible Totalities: Political Performance as Palimpsest – El Putnam Dropping the Frame: Orpheus to Red in Woods – David P. Miller Performance as/of Shamanism and Mediumship: Writing Ada – John Dennis Anderson Performance Photographs 2010-2013 SECTION THREE: PERFORMANCE AND PEDAGOGY Some Thoughts on Teaching Performance Art, in Five Parts – Marilyn Arsem Dialogues with Absence: Reflections on Time and If to Drift – Sandra Johnston Documenting Arsem – Michael Woolley “Reminding Me Always that Nothing Remains”—Marilyn Arsem’s Performance and Pedagogy – Kathy O’Dell Performance Photographs 2013-2015 Afterword: Durational Forms and Pedagogical Encounters – Natalie Loveless Performance Photographs 2015-2019 Appendix: Arsem’s Performances 1967-2019 Author Biographies Further Reading Index
Jennie Klein is professor of art history at Ohio University and writes about performance, feminism and gender. Natalie Loveless is associate professor of the history of art, design and visual culture at the University of Alberta in Edmonton, Canada.
Reviews for Responding to Site: The Performance Work of Marilyn Arsem
I have had the privilege of knowing Marilyn for over 30 years. Her work has given me so many epiphanies about live art, time-based art practice and durational performance practice. How and why do you choose a single action and enact it over an extended period of time? How do you respond to site and create a sacred meditational zone; a reflexive space about the human condition? And most importantly, how do you teach future generations about the importance of living while making art as a spiritual and philosophical practice? This book is yet another example of Arsem's legacy. Fundamental, I'd say. - Guillermo Gomez-Pena Watching Marilyn Arsem perform can be a slow, careful, vulnerable and heart-stoppingly profound experience. To see her is to know better the complex, intermingling particularities of body, space, time, being and action. Reading this comprehensive, lucidly written and deeply insightful book - the first significant publication on Arsem's practice as a performance artist - will enable new perspectives on a major artist's work. It also sheds vivid light upon enduring themes for the critical encounter with art: duration and doing, materiality and nothingness, truth and representation, commitment and experiment, togetherness and solitude, experience and endurance. - Dominic Johnson, Queen Mary University of London The performance work of Marilyn Arsem is always generous, stubborn, anxious, smarty-pants and beautiful as hell. Finally we have a book that equals this amazing and affective career that even now continues to grow, influence and surprise! - Pope.L
