Performing Arts: Diving into the Post Modern (Article Sample)

Diving into the Post Modern
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Geography and Art
Zelevansky points out the importance of geography in her piece by highlighting the fact that by the 1960’s Los Angeles had already been singled out for the unique trends of art that had originated from the region. Notably this was described as Finish Fetish or simply the L.A. look and it was identifiable by its use of light and space, which was inspired by the Southern California climate and landscape (Stephanie Barron, et al, 294). As such I am of the opinion that geography should be considered in understanding all art and the California art in particular. As if to affirm this point, Stephanie mentions Peter Alexander’s work the “Clouds float within the pure outlines of a ten-inch resin cube” and affirms that its focus is not on a seascape but on an actual part of California (Stephanie Barron, et al, 295).
Noah Purifoy’s art and the California Assemblage Artworks
Noah Purifoy’s assemblage art works was very similar to the California assemblage of the 1960’s and 70’s in the sense that they both used found objects that could easily be bend as inspirations behind their sculptures. Indeed Noah’s first pieces were standalone shiny metal sculptures that encompassed simple materials such as duct tubing (Cándida, 175). The assemblage works in the “Joshua Tree” are also similar to California assemblages because they both conveyed certain messages to the viewers. For instance, “Pressure” and “Untitled” were two of Noah’s pieces that elaborated on the marginalized lifestyle experienced by black people which eventually led to civil rights movements in the 1960’s. The main difference between these two art forms is that assemblages in the “Joshua Tree” were environmental sculptures, as is evident in the fact that they were exhibited in the desert and not in art galleries as was the case with some California assemblages. In the early 1970’s Noah presented a model of a shotgun house inhabited by ten black mannequins, which is visually similar to Lorraine Reynolds sculpture where a figurine inhabits a shoe. However, while Reynolds sculpture alludes to family ties that different art may have, Joshua’s alludes to the civil right movements that black people were organising at the time.
Video Black
In his philosophical considerations of the video camera, Viola elaborates on how the unblinking eye of a video camera somewhere has tirelessly been overlooking a parking space in some neighbourhood for the last twenty years. In the process the camera has been able to silently witness the change in the seasons, the growth of trees and the activities of the same man who has been parking his car every morning at the same parking lot (Kristine and Peter Selz 446). It has documented as his body has gradually succumbed to the test of time and sagged as it has become less resistant to gravity. However, after two decades of service its world is about to be brought to an arbitrary end as it is replaced by a newer version. I can relate Viola’s ideas to our modern understanding of video and photography where we are amused by a gadget immediately we acquire it but after a period of time we want to replace it for a better one, the same way in which Viola’s essay highlights how the Brunelleschi’s camera excited people in the 15th century but has been updated countless times to the modern camera.
James Luna’s Approach to Performance Art
Luna approaches performance art as a medium in which he can express his inner thoughts that would otherwise not be possible through paintings (Kristine and Peter Selz 800). It relates to some of the pieces we have discussed in the past week in the sense that his art evokes the imagination and suspense of the audience. Luna’s use of personal narrative is unique to other forms of art because it transformed everyday objects such as gymnasiums into Indian objects. Luna’s “Drinking Piece” which basical...