The Artist is Present
Performing the Icon
Bibliographic Data
| ID | 3127380 |
|---|---|
| Authors | Lydia Brawner (New York University, corresponding author) |
| Year | 2013 |
| Volume | 23 |
| Issue | 2 |
| Pages | 212-225 |
| Publication date | 2013-06-17 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Women & Performance a journal of feminist theory (JOURNAL) |
| Journal identifiers | ISSN: 0740-770X • E-ISSN: 1748-5819 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/0740770x.2013.815522 |
| OpenAlex | W2028712645 |
| Language | EN |
| References cited | 2 |
This article considers the work of performance artist Marina Abramović, focusing on the use of reperformance, the practice of hiring others to recreate historical performance works, in her 2010 retrospective at New York's Museum of Modern Art, The Artist is Present. Brawner utilizes Abramović's artistic work with iconography and icon making and draws on her own experience as one of the retrospective's reperformers to highlight both the affective work that went into the creation of the show as well as its function as a religiously inflected meditation of celebrity and art stardom. The artist's work is explored through sources including New York Times art critic Holland Carter's turn of phrase “diva hokum,” a pejorative here reclaimed to mean the process of one's own icon making, a control of image and message that becomes integral to the structure of the work, and a balancing act between the performance and its afterlife
Aesthetics · Afterlife · Apotheosis · Art · Art history · Icon · Iconography · Literature · Meditation · Parade · Pejorative · Visual arts · Art, Politics, and Modernism · Computer Science · Diversity and Impact of Dance · History · Philosophy · Theatre and Performance Studies
| Citation velocity | historical |
|---|---|
| Highly cited | No |