Anne Marsh 'Body and Self: performance art in Australia 1969-1992', 1993
“Body and Self: Performance Art in Australia 1969-1992 was initially written to fill a gap in Australian art history. Art practices that extended the boundaries of the art museum in the late 1960s and 1970s appeared to have been forgotten in the era of the ‘post’ (post-conceptualism, post-pop, postfeminism etc.). In the introduction to the 1993 edition of this book, I said that I wanted to reconstruct the development of performance art from circa 1969 to 1992 in an attempt to redress this cultural amnesia.” – Anne Marsh writing in “Body and Self: performance art in australia 1969-1992” revised edition 2011 published by Australian Video Art Archive, Monash University.
This review by Katy Deepwell was first published in Oxford Art Journal 1995 Vol 18 No. 2 p.119-122 --- A more familiar theoretical overview to exploring performance art through a critique of the subject (both feminist and Lacanian psychoanalytic perspectives) informs Anne Marsh's very interesting account of developments and sites for performance art in Australia, 1969-1982. Here, a sharp distinction is drawn between women practitioner's use of their own bodies in performance work outlining its relationship to the development of body art and those performances which are informed by feminist critique and response. Marsh also provides very important and interesting documentation of performance work over this period, although I often wished for more information to illuminate what was visible in the photographs. Her discussion of women performance artists like Jill Orr, Jane Kent, Lyndal Jones, Ann Fogarty, Karen Finley to mention a few, provides a very interesting counterpoint to the performance work of Carolee Schneemann, Adrian Piper, Hannah Wilkes amongst others discussed by Jo Withers and Suzanne Lacy or the discussion of Ana Mendieta and Mary Beth Edelson by Gloria Feman Orenstein in The Power of Feminist Art . The former analysis (Withers,Lacy) references Moira Roth's research on Californian performance art (The Amazing Decade: Women and Performance Art in America,1970-1980 , Astro Artz, Los Angeles,1983) and the use made of Allan Kaprow's approach transformed by an engaged feminist politics introduced by Judy Chicago , while the latter, (Feman Orenstein) discusses artists in the context of Jungian as opposed to archeologically-inspired feminist interest in the archetype of the Great Goddess. Hopefully, the possibility of more accessible material from these books will also enable greater international comparisons in feminist art and encourage more courses and seminars on contemporary feminist art practice in art and art history
Title: Body and Self: performance art in australia 1969-1992
Author(s): Anne Marsh
Date of Publication: 1993. First edition.
Format: Softcover
Publisher: Oxford University Press
Condition: Very Good. Some signs of shelf wear. Corners slightly bumped. The pages are crisp and clean. A very good example of this scarce volume.
“Body and Self: Performance Art in Australia 1969-1992 was initially written to fill a gap in Australian art history. Art practices that extended the boundaries of the art museum in the late 1960s and 1970s appeared to have been forgotten in the era of the ‘post’ (post-conceptualism, post-pop, postfeminism etc.). In the introduction to the 1993 edition of this book, I said that I wanted to reconstruct the development of performance art from circa 1969 to 1992 in an attempt to redress this cultural amnesia.” – Anne Marsh writing in “Body and Self: performance art in australia 1969-1992” revised edition 2011 published by Australian Video Art Archive, Monash University.
This review by Katy Deepwell was first published in Oxford Art Journal 1995 Vol 18 No. 2 p.119-122 --- A more familiar theoretical overview to exploring performance art through a critique of the subject (both feminist and Lacanian psychoanalytic perspectives) informs Anne Marsh's very interesting account of developments and sites for performance art in Australia, 1969-1982. Here, a sharp distinction is drawn between women practitioner's use of their own bodies in performance work outlining its relationship to the development of body art and those performances which are informed by feminist critique and response. Marsh also provides very important and interesting documentation of performance work over this period, although I often wished for more information to illuminate what was visible in the photographs. Her discussion of women performance artists like Jill Orr, Jane Kent, Lyndal Jones, Ann Fogarty, Karen Finley to mention a few, provides a very interesting counterpoint to the performance work of Carolee Schneemann, Adrian Piper, Hannah Wilkes amongst others discussed by Jo Withers and Suzanne Lacy or the discussion of Ana Mendieta and Mary Beth Edelson by Gloria Feman Orenstein in The Power of Feminist Art . The former analysis (Withers,Lacy) references Moira Roth's research on Californian performance art (The Amazing Decade: Women and Performance Art in America,1970-1980 , Astro Artz, Los Angeles,1983) and the use made of Allan Kaprow's approach transformed by an engaged feminist politics introduced by Judy Chicago , while the latter, (Feman Orenstein) discusses artists in the context of Jungian as opposed to archeologically-inspired feminist interest in the archetype of the Great Goddess. Hopefully, the possibility of more accessible material from these books will also enable greater international comparisons in feminist art and encourage more courses and seminars on contemporary feminist art practice in art and art history
Title: Body and Self: performance art in australia 1969-1992
Author(s): Anne Marsh
Date of Publication: 1993. First edition.
Format: Softcover
Publisher: Oxford University Press
Condition: Very Good. Some signs of shelf wear. Corners slightly bumped. The pages are crisp and clean. A very good example of this scarce volume.
“Body and Self: Performance Art in Australia 1969-1992 was initially written to fill a gap in Australian art history. Art practices that extended the boundaries of the art museum in the late 1960s and 1970s appeared to have been forgotten in the era of the ‘post’ (post-conceptualism, post-pop, postfeminism etc.). In the introduction to the 1993 edition of this book, I said that I wanted to reconstruct the development of performance art from circa 1969 to 1992 in an attempt to redress this cultural amnesia.” – Anne Marsh writing in “Body and Self: performance art in australia 1969-1992” revised edition 2011 published by Australian Video Art Archive, Monash University.
This review by Katy Deepwell was first published in Oxford Art Journal 1995 Vol 18 No. 2 p.119-122 --- A more familiar theoretical overview to exploring performance art through a critique of the subject (both feminist and Lacanian psychoanalytic perspectives) informs Anne Marsh's very interesting account of developments and sites for performance art in Australia, 1969-1982. Here, a sharp distinction is drawn between women practitioner's use of their own bodies in performance work outlining its relationship to the development of body art and those performances which are informed by feminist critique and response. Marsh also provides very important and interesting documentation of performance work over this period, although I often wished for more information to illuminate what was visible in the photographs. Her discussion of women performance artists like Jill Orr, Jane Kent, Lyndal Jones, Ann Fogarty, Karen Finley to mention a few, provides a very interesting counterpoint to the performance work of Carolee Schneemann, Adrian Piper, Hannah Wilkes amongst others discussed by Jo Withers and Suzanne Lacy or the discussion of Ana Mendieta and Mary Beth Edelson by Gloria Feman Orenstein in The Power of Feminist Art . The former analysis (Withers,Lacy) references Moira Roth's research on Californian performance art (The Amazing Decade: Women and Performance Art in America,1970-1980 , Astro Artz, Los Angeles,1983) and the use made of Allan Kaprow's approach transformed by an engaged feminist politics introduced by Judy Chicago , while the latter, (Feman Orenstein) discusses artists in the context of Jungian as opposed to archeologically-inspired feminist interest in the archetype of the Great Goddess. Hopefully, the possibility of more accessible material from these books will also enable greater international comparisons in feminist art and encourage more courses and seminars on contemporary feminist art practice in art and art history
Title: Body and Self: performance art in australia 1969-1992
Author(s): Anne Marsh
Date of Publication: 1993. First edition.
Format: Softcover
Publisher: Oxford University Press
Condition: Very Good. Some signs of shelf wear. Corners slightly bumped. The pages are crisp and clean. A very good example of this scarce volume.
