LAURA ANDERSON BARBATA, INTERVENTION: WALL STREET, 2011
Intervention: Wall Street was conceived as a response to the dire economic crisis that became most evident in 2008 which today afflicts not only Americans but has impacted 99% of the global population…
CARLOS MARTIEL, SEDIMENTO, 2024
I lay on the floor of the gallery with my body near a mound of fertile soil. My mother grabs small handfuls of soil and places them on my body until I am buried. Then she leaves…
LATOYA RUBY FRAZIER, PIER 54: A HUMAN RIGHT TO PASSAGE, 2014
In Pier 54: A Human Right to Passage, Frazier pays homage to her predecessors, documentary photographers of the late 19th century in which she shares the desire to comment on social, political, and economic conditions…
ASIA STEWART, LA NÉGRESSE BLANCHE
La Négresse blanche is a six hour performance that marks the beginning of Stewart's Graft series. The piece is titled after Mayotte Capecia’s book of the same name and draws off of selections from Frantz Fanon’s Black Skin, White Masks…
FINA MIRALLES, RELACIONS, RELACIÓ DEL COS AMB ELEMENTS NATURALS. EL COS COBERT DE PALLA, 1975
Her practice reconfigures the concept of the artistic, within the multiplicity of attitudes that blur what traditional historiography had encompassed under the heading of Conceptual art. The history of art has ascribed Miralles’ production to the Conceptual, Land art or even feminism, without attending to the breadth and complexity of her ideas, which challenge the limits of those labels…
LAURIE ANDERSON, HABEAS CORPUS, 2015
Iconic performance artist Laurie Anderson expands upon her work fusing storytelling and technology, creating an installation and performance piece that examines lost identity, memory, and the resiliency of the human body and spirit...
JUDY CHICAGO, SUZANNE LACY, SANDRA ORGEL, AND AVIVA RAHMANI, ABLUTIONS, 1972
This performance began with Lacy and Rahmani’s earlier explorations of rape in their different practices—Rahmani in performance and Lacy in an artist’s book, Rape Is. The project was a true collaboration between all four women, teacher and students, with each contributing images and ideas for the final production...
JOAN JONAS, LEFT SIDE RIGHT SIDE, 1972
In this early work, Jonas translates her performance strategies to video, applying the inherent properties of the medium to her investigations of the self and the body…
MARINA ABRAMOVIC, RHYTHM 0, 1974
In Rhythm 0 (1974), she invited audience members to do whatever they wanted to her using any of the 72 items she provided: pen, scissors, chains, axe, loaded pistol, and others…
RAGNAR KJARTANSSON, THE VISITORS, 2012
Icelandic artist Ragnar Kjartansson’s nine-screen installation The Visitors was filmed at the historic Rokeby farm in upstate New York. Kjartansson invited a group of friends to stay with him for a week at the ethereal, yet decrepit estate, culminating in the ambitious performance…
JULIANA HUXTABLE, THERE ARE CERTAIN FACTS THAT CANNOT BE DISPUTED, 2015
Artist, writer, and nightlife impresario Juliana Huxtable presents her new performance There Are Certain Facts that Cannot Be Disputed, co-commissioned by The Museum of Modern Art and Performa, which highlights her evocative use of language and written text…
JEN DENIKE, FLAG GIRLS, 2007
Jen DeNike's video Flag Girls features six women wrapped in hand-sewn flags. As the video loop plays, the women unwrap themselves to reveal their nude bodies…
TINA TAKEMOTO, LOOKING FOR JIRO, 2011
Looking for Jiro is a queer meditation on the incarceration of Japanese Americans during World War II…
TOURMALINE, ATLANTIC IS A SEA OF BONES, 2017
Atlantic is a Sea of Bones is a short film drawing from the Lucille Clifton poem of the same name that follows Egyptt LaBejia, an NYC based performer through the 80s, 90s, and 2000's in NYC…
XANDRA IBARRA, SPICTACLE II: LA TORTILLERA, 2014
La Tortillera was developed as a live performance in 2004. The performance was later archived for camera in 2014. In Spictacle II: La Tortillera takes on her own racial bondage to hot sauce, tacos, and demographic panic in “Tortillera”…
ANA MENDIETA, SILUETA SERIES, 1973-1978
Her Silueta (Silhouette) series (begun in 1973) used a typology of abstracted feminine forms, through which she hoped to access an omnipresent female force…
MARINA ABRAMOVIC AND ULAY, AAA-AAA, 1978
Abramovic and Ulay kneel in front of each other, gazing into each other's eyes. Initially, they produce the same monotonous sound, but gradually a contest develops: who can yell, scream and yowl the loudest and longest…
YOKO ONO, CUT PIECE, 1964
Ono gave her first performance of Cut Piece (1964) in Kyotoin July 1964. She sat motionless on stage in a traditional Japanese feminine position, and invited members of the audience to cut a piece of her clothing away…
ANNIE SPRINKLE, POST PORN MODERNIST, 1993
Post Porn Modernist chronicles Annie Sprinkle's careers as a sex worker, pro-sex activist, and artist. Sprinkle begins with her transformation from Ellen Steinberg to Annie Sprinkle, an act that prompted her sexual revolution…
CAROLEE SCHNEEMAN, INTERIOR SCROLL, 1975/77
The message I read for Interior Scroll is from the feminist texts in Kitch's Last Meal. The image occurred as a drawing; this image seemed to have to do with the power and possession of naming-the movement from interior thought to external signification, and the reference to an uncoiling serpent, to actual information (like ticker tape, rainbow, Torah in the Ark, chalice, choir loft, plumb line, bell tower, the umbilicus, and tongue)…