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Marina Abramović’s Rhythm O: Reimagining the Roles of Artist and Observer

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  • As art has dramatically morphed, altered, and reinvented itself throughout history, newfound conversations regarding artistic boundaries have begun being highlighted in contemporary debate. Analyzing artist Marina Abramović and her 1974 performance piece Rhythm O—along with additional performance artists in history, including Yoko Ono, Valie Export, and Chris Burden—this paper explores the new, daring, artistic approaches introduced during the rise of performance art in the 1960s/70s. During this time artists had begun to not only reimagine how they could effectively communicate their bold thoughts, emotions, and concepts through their works, but many of them also reevaluated the viewer/public’s role within the execution of such pieces. In her piece Rhythm O, Abramović stood motionless in a space, while the audience members performed a number of minimal and harm-inflicting acts towards the artist herself, while Yoko Ono’s performance Cut Piece (1964) allowed audience members to come forward and cut pieces of clothing off the artist’s body. Focusing on such performances created by artists Abramović, Ono, Export, and Burden, this discussion addresses how art had begun seeing dramatic change in the viewer/artist collaborative dynamic during this time of bold experimentation. Directing attention towards the roles of bystanders, photographers, and other individuals, rather than the artist and their intentions alone, this paper analyzes these environments of complex action and reaction within the performance art scene when artist and observer collide.
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file details Pearse_MarinaAbramovic.pdf 2021-05-31 Öffentlich Herunterladen