PERF07040 2019 Live Art and Performance
In this module learners investigate "Live Art" practices and create original works/happenings that integrate performance, installation, music, media arts and socially engaged practices. Performance history approached from non theatrical methods such as Surrealist, Dadist, Futurist, Fluxus, Situationist and resistant performance movements including Punk and postmodern performance. Module explores history and theory of the avant garde in visual and performance art and explores how performance and installation provoke and implicate the viewer, address the location specifically and perform a cultural/political intervention. Use of the photo/digital image from 1980s into the 21st century studied in reference to identity and cultural politics. Artists explored might include, Laurie Anderson, Pina Bausch, Joseph Beuys, Christo, Gilbert & George, Piero Manzoni, Andres Serrano, Cindy Sherman, Robert Wilson.
Learning Outcomes
On completion of this module the learner will/should be able to;
identify, delineate and operate in a contested space
record and document live art project
contextualise live art work in the historical, cultural and theoretical movements of the 20th and 21st centuries
create a work/performance that engages/implicates an audience
project manage event or "happening"
stage manage and organise supportive technology for a live art event
analyse and critique live art work
Module Assessment Strategies
Assessments designed to give students opportunity to stage a live art happening, performing or creating in a non-theatrical space. Project event, rationale and analysis and ability to document the process are the key strategies for realising learning outcomes
Indicative Syllabus
Performance Art: History and Aesthetic Movements
- surrealism, dada, futurism, fluxus, situationists, punk and postmdoernism
Performance & Contemporary theory
- performance and the postmodern, performance and feminism, performance and identity, ecology and politics
Performance and disruptive interventions
Installation Art
Intersection of performance and technology
The Space
The Body
Popular Culture
Coursework & Assessment Breakdown
Coursework Assessment
Title | Type | Form | Percent | Week | Learning Outcomes Assessed | |
---|---|---|---|---|---|---|
1 | Project Live Art Project | Coursework Assessment | UNKNOWN | 50 % | OnGoing | 1,2,3,4,5,6,7 |
2 | Essay documented essay on live art work | Coursework Assessment | UNKNOWN | 25 % | End of Term | 3,7 |
3 | Individual Project Document/record performance work | Coursework Assessment | UNKNOWN | 25 % | OnGoing | 2,4,5,6 |
Full Time Mode Workload
Type | Location | Description | Hours | Frequency | Avg Workload |
---|---|---|---|---|---|
Workshop / Seminar | Flat Classroom | interactive session | 2 | Weekly | 2.00 |
Lecture | Flat Classroom | Lecture led learning | 2 | Weekly | 2.00 |
Module Resources
Kwon, Miwon, One Place After Another: Site Specific Art and Locational Identity (MIT Press, 2004)
Heathfield, Adrian, Live: Art and Performance (Routledge 2006)
Schechner, Richard, Performance Studies: An Introduction (Routledge 2006)
Savage, Jon, England's Dreaming (Faber & Faber 2005)
Reynolds, Simon, Rip it Up and Start Again (Penguin, 2006)
Bial, Henry, The Performance Studies Reader (Routledge 2007)
Warr, Tracey, Body:Themes and Movements (Phaidon, 2006)
Shusterman, Richard, Performing Live: Aesthetic Alternatives for the Ends of Art (Cornell UP, 2000)
Jones, Amelia, Body Art: Performing the Subject (U Minnesota Press, 1998)
Carlson, Marvin, Performance: A Critical Intorduction (2004)
Goldberg, Rosalee, Performance Art: from Futurism to the Present (Thames & Hudson 2001)
Goldberg Rosalee and Laurie Anderson, Performance: Live Art Since the '60s (Thames & Hudson 2004)
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