Marina Abramovic's seven easy pieces: Critical documentation strategies for preserving art's history

Leonardo

Volumn 41, Issue 2, 2008, Pages 147-152

  Santone, Jessica ^a  

^a MCGILL UNIVERSITY   (Canada)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 51249129250     PISSN: 0024094X     EISSN: None     Source Type: Journal    
DOI: 10.1162/leon.2008.41.2.147     Document Type: Review

References (21)

1. Hal Foster, "An. Archival Impulse," October 110 (Fall 2004) pp. 3-22; p. 5
2. See Peggy Phelan, Unmarked: The Politics of Performance (London: Routledge, 1993), especially pp. 146 - 166
3. Philip Auslander, Liveness: Performance in a Mediatized Culture (London, New York: Routledge, 1999)
4. See, for example, Carrie Lambert, "Documentary Dialectics: Performance Lost and Found," Visual Resources 16, No. 3,275-285 (Summer 2000)
5. Henry M. Sayre, The Object of Performance: The American Avant-Garde Since 1970 (Chicago: Chicago Univ. Press, 1989)
6. Anne Wagner, "Performance, Video, and the Rhetoric of Presence," October 91 (Winter 2000) pp. 59-80
7. Amelia Jones, "'Presence' in Absentia: Experiencing Performance as Documentation," Art Journal 56 (Winter 1997) pp. 11-17; p. 12
8. See also NancyPrincethal et al., "Back for One Night Only!" Art in America 94, No. 2, 90-93 (February 2006)
9. See also Charles T. Cullen et al., Authenticity in a Digital Environment (Washington, D.C.: Council on Library and Information Resources, 2000)
10. T. Nikki Cesare andjennjoy write that Seven Easy Pieces was "as much a means of remembering these pieces through an embodied documentation (a remembering, if you will) as it was a new work in itself." T. Nikki Cesare and Jenn Joy, "Performa/(Re)Performa," TDR/The Drama Review 50, No. 1, 170-177 (2006) p. 170
11. Johanna Burton, "Repeat Performance," Artforum 44, No. 5, 55-56 (January 2006) p. 55
12. Jacques Derrida, Archive Fever: A Freudian Impression, Eric Prenowitz, trans. (Chicago: University of Chicago Press, 1996) pp. 11-12
13. Such a reading of Nauman's work points to Abramović's role as archivist of these historical performances and is confirmed by contemporary scholarship on Nauman. See, for example, Janet Kraynak, "Dependent Participation: Bruce Nauman's Environments," Grey Room 10 (Winter 2003) pp. 22-45
14. Jacques Derrida, Paper Machine, Rachel Bowlby, trans. (Stanford, CA: Stanford Univ. Press, 2005) p. 7
15. Marina Abramović, lecture (New York: Solomon R. Guggenheim Museum, 18 November 2005) (video recording)
16. Luciana Duranti, "La conservation à long terme des documents dynamiques et interactifs: InterPARES 2," Document numériques, 8 No. 2, 73-86 (2004)
17. InterPARES: International Research on Permanent Authentic Records in Electronic Systems (Vancouver: InterPARES, School of Library, Archival and Information Studies, University of British Columbia), , (21 November 2007)
18. Pip Laurenson, "The Management of Display Equipment in Time-Based Media Installations," in Ashok Roy and Perry Smith, eds., Modern Art, New Museums: Contributions to the Bilbao Congress (London: The International Institute for Conservation of Historic and Artistic Works, 2004) pp. 49-53
19. See Carrie Lambert, "Moving Still: Mediating Yvonne Rainer's "Trio A,' " October 89 (Summer 1999) 87-112
20. Rebecca Schneider, "Archives Performance Remains," Performance Research 6, No. 2, 100-108 (2001) p. 103
21. Marina Abramović, "Pure Raw: Performance, Pedagogy, and (Re)presentation," interview by Chris Thompson and Katarina Weslien, PAJ82 (2006) pp. 29-50