Exhibition

Live Art on Camera

15 Mar 2008 – 18 Apr 2008

Regular opening hours

Monday
Closed
Tuesday
Closed
Wednesday
12:00 – 20:00
Thursday
12:00 – 17:00
Friday
12:00 – 17:00
Saturday
12:00 – 17:00
Sunday
Closed

Cost of entry

free

SPACE

London
England, United Kingdom

Address

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About

Live Art on Camera
15 March ' 19 April 2008

Opening evening: Friday 14 March 6-8.30pm
Artists and photographers in Live Art on Camera:
Marina Abramovic and Ulay, Dona Ann McAdams, Hans Breder, Stuart Brisley and Leslie Haslam, Hollis Frampton, Hugo Glendinning, Gutai Group, Lisa Kahane, Ute Klophaus, Jennifer Kotter, Kurt Kren, Antonio Lauer, Babette Mangolte, Rosemary Mayer, Fred W. McDarrah, Robert R. McElroy, Ana Mendieta, Peter Moore, Ohtsuji Kiyoji, Leda Papaconstantinou, Adrian Piper, Tony Ray-Jones, Carolee Schneeman (from the Schneemann archive photographs by Arman, Manfred Schroeder, Harvey Zucker, Al Giese, Massal, Cheney, Sally Dixon and Anthony McCall) and Manuel Vason.

Live Art on Camera reveals the work of photographers who documented seminal performance art events from the 1950s to the present in Europe, the United States and Japan. These events (often experienced live by only a small audience) are primarily received through still images: arguably subjective records, translated through the ideas and aesthetics of the photographer.
The exhibition contextualises performance photography within the photographers' wider practices. Many are well known in very different contexts (from reportage to cinematography and architectural photography) as well as being acknowledged as artists in their own right.
Works featured include Japanese photographer Ohtsuji Kiyoji's photographs of the 1950s Gutai group, shown alongside his surrealist photography, and writings. Peter Moore's architectural photographs of Penn Station, documenting the station's gradual destruction from 1962 to 1966, are seen in relation to examples from his extensive archive of USA performance photographs, including Allan Kaprow's and Wolf Vostell's Happenings. The relationship between the 'photographed', the camera and the viewer was addressed in early works by Babette Mangolte, such as her film The Camera: Je, 1977 and A Photo Installation, 1978. In a parallel practice Mangolte also extensively photographed performance works by Yvonne Rainer, Robert Whitman, Joan Jonas, Richard Foreman and Trisha Brown.
In the case of Carolee Schneemann's work many different photographers documented single performances. The exhibition reveals the diverse photographic styles of these individuals, compared and contextualised in relation to their ongoing practices
The exhibition is accompanied by a catalogue containing essays by Kathy O'Dell, Carrie Lambert-Beatty, Barbara Clausen, Alice Maude-Roxby and Babette Mangolte, and interviews with the photographers.

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