“This is not a work that offers answers, but rather provides an opportunity to consider one’s own concerns about the passage of time. ”- Marilyn Arsem
Excerpt From: Liz Munsell & Edward Saywell. “The Performance Art of Marilyn Arsem.” MFA Publications, 2015. iBooks. https://itun.es/us/lskU-.n
WELCOME TO A RESOURCE GUIDE on Marilyn Arsem’s 100 WAYS to CONSIDER TIME
I consider all materials I provide as a collaborative document that is in flux, please contact me about any missing elements, additional keywords, suggestions, or for further discussion of sources.
Claudia M. Friedel
Lead Archivist
cfriedel@institutionmail.org
Below are sources to support your knowledge of performance art and to help discover Arsem’s approach to performance. Sources were aggregated using:
The Guggenheim OPAC:
Google Books:
The Museum of Fine Arts, Boston Exhibition Page:
Artist Website:
The sources have been broken up into 3 categories with sub-themes, to enable you to find a fitting access point into these sources:
BASE
Text in the BASE are compiled of documents that make up the foundation of performance. The first sources being an overview of performance art in history, transitioning to Arsem’s relationship to the historical canon of performance and performative pedagogy.
PERIMETER
Designed to give researchers an in depth look at key concepts, theory and themes in performance, moreover, documentation, identity, body in art, mediums, and recurring themes etc. The sources then move deeper into Arsem’s purview with text that seek to define/analyze the intersection of time and art.
CORE
This is really the meat, sources found here are on Arsem as an artist (historical and current), the development of 100 Ways to Consider Time and reviews.
Resources
BASE
Khan and wikipedia are great ready reference sources for those who have more intimate knowledge in other art forms. They both provide a quick and easy rundown of the history of performance art.
From Arsem herself this is a framework on how to teach Performance art.
“I have been teaching performance art at the School of the Museum of Fine Arts, Boston, a visual arts college, for more than 20 years. The longer I teach performance art, the more I feel compelled to create an environment that allows the broadest exploration of human actions as art. In my teaching I attempt to honor the radical roots of the medium, with its history of expanding notions of how we make art, how we witness art, and what we understand to be the function of art.”
Written by Arsem this text is an intimate look at her relationship with performance, moreover a multitude of definitions, understandings and relationships that speak to what the take-aways of performative experience.
https://www.youtube.com/watch?v=IhbiVceuR0o
Body of Art: Meet performance artist Marina Ambromovic
An interview conducted by CBS Sunday Morning, this is a 6 minute breakdown of Ambromvic’s practice. From a mainstream perspective this direct and succinct segment is unique in that it is packaged and presented to general public.
PERIMETER
“Performance Research is a specialist journal that aims to promote a dynamic interchange between scholarship and practice in the expanding field of performance. Interdisciplinary in vision and international in scope, its emphasis is on contemporary performance arts within changing cultures.”
Perform, repeat, record : live art in history
by Jones, Amelia; Heathfield, Adrian.
Description: 652 p. : ill. (some col.) ; 23 cm.ISBN: 9781841504896 (pbk.); 1841504890 (pbk.).Subject(s): Performance art -- History
Investigating the relationship of the performative in history Jones and Heathfield have aggregated interviews and writings with and on artists, theorists, and historians of various disciplines that are working with the ephemeral, in various mediums. Perform, repeat, record explores many questions and themes related to performance.
Performance ritual document
by Marsh, Anne [author.].
Publisher: South Yarra, Vic. : Macmillan Art Publishing, 2014.Description: 27 pages : chiefly color photographs ; 25 cm.ISBN: 9781921394973 (Cloth); 1921394978 (Cloth).Subject(s): Visual perception | Performance art -- Australia | Body art -- Australia | Documentation in art
Contemplating the omnipresent struggle of documentation of performance and body art. Described by google books as “...divided into six key chapters together with introduction and conclusion, incorporates references to the local and international debates currently surrounding the art form and its place in the 21st century.”
Not Now! Now! : Chronopolitics, Art & Research /
by Lorenz, Renate [editor.].
Series: Schriften der Akademie der Bildenden Künste Wien: 15.©2014.Description: 187 pages : illustrations (some color) ; 22cm.ISBN: 9783956791086.Subject(s): Time in art | Time -- Social aspects
A survey of the politics of time in art, Not Now! Now! a publication series from the Academy of Fine Arts, Vienna discusses the narrative of durational memory, history and the visualization of time as concept.
Zwischenzonen : über die Repräsentation des Performativen und die Notation von Bewegung = Between zones : on the representation of the performative and the notation of movement /
by Gygax, Raphael; Munder, Heike; Migros Museum für Gegenwartskunst.
Publisher: Zurich : Manchester : JRP/Ringier ; Cornerhouse [distributor], 2010 Description: 351 p. : ill. (some col.) ; 24 cm.ISBN: 9783037641255 (hbk.); 3037641258 (hbk.).Other title: Between zones : on the representation of the performative and the notation of movement.Subject(s): Ackerman, Rita | Art, Modern -- 21st century -- Exhibitions | Time in art
An aggregate of essays on the intersection of time-based artworks in various mediums.” This book arose from the exhibitions While Interwoven Echoes Drip into A Hybrid Body -- An Exhibition about Sound, Performance and Sculpture...2006 and While Bodies Get Mirrored -- An Exhibition about Movement, Formalism and Space...2010 at the migros museum für gegenwartskunst Zurich”--p. 347.
CORE
Written by Liz Munsell (MFA) and Edward Saywell (MFA) this ebook focuses on Arsem’s development as an artist and milestones in her career, her connection to institutions in Boston and how 100 WAYS came to fruition.
Globe article 100 WAYS
A review of the exhibition, that explores the witness’s experience of the piece.
This issue of Performance Research includes a piece written by Natalie Loveless entitled The Materiality of Duration: Between ice, time and water featuring Arsem’s Evaporation.
Arsem’s website. Here you find the artist’s bio, artist statement and resume. I have attached Arsem’s resume below, it is an invaluable source as it contains every performance she has done and publications etc.
KEYWORDS
Body art
Feminism
Performance
Performance art
Time and art
Marilyn Arsem
Mortality
Violence and art
TOOLS
These are tools that I use every day that help me take a step back from my work.
Word Cloud:
After your research is complete and you have designed your dialogue, you can use a Word Cloud as a tool to define what the general takeaway of the information you provide to patrons.
Hemingway Editor:
This app runs analytics on your text and helps you strip it of complexities and hone in on your message.
OUTSIDE
Arsem:
Anderson, John Dennis. “Cauldron, Spinning Wheel, Broom: The Spinning Tales Series of Marilyn Arsem.” Text and Performance Quarterly 15, no. 3
(July 1995): 244–54.
Arsem, Marilyn. “Performed Research: Audience
as Investigator.” In Mapping Landscapes for
Performance as Research: Scholarly Acts and Creative Cartographies, edited by Shannon Rose Riley and Lynette Hunter. London: Palgrave MacMillan, 2009.
Arsem, Marilyn. “Some Thoughts on Teaching Performance Art in Five Parts,” Total Art Journal 1, no. 1 (Spring 2011), http://totalartjournal.com/archives/638/some-thoughts-on-teaching-performance-art-in-five-parts/.
Johnston, Sandra. “In Conversation with Marilyn Arsem.” In PANI: Performance Art Northern Ireland, issues 1 and 2, 86–95. Belfast: Bbeyond, 2014.
Klein, Jennie. “Spinning, Writing and Channeling: The Work of Marilyn Arsem.” N.Paradoxa International Feminist Art Journal 22 (July 2008): 21–28.
Loveless, Natalie S. “The Materiality of Duration: Between Ice Time and Water Time.” Performance Research 18, no. 6 (December 2013): 129–36.
Mobius, Inc., records, Tufts University, Digital Collections and Archives, Medford, MA.
Rosenblatt, Mia. “Spinning Her Story.” PAJ: A Journal of Performance and Art 23, no. 1 (January 2001): 86–92.
Speare, Jed. “Video/Performance: Talking with Marilyn Arsem.” Art New England 22[…]”
"Society of American Archivists." http://www2.archivists.org/glossary/terms/e/evidence.
Performance:
Auslander, Phillip. "The Performativity of Performance Documentation." PAJ: A Journal of
Performance and Art 28, no. 3 (2006): 1.
Bastian, Jeannette A. "'Play Mas': Carnival in the Archivesand the Archives in Carnival:
Records and Community Identity in the US Virgin Islands." Archival Science (2009).
Clarke, Paul and Julian Warren. "Ephemera: Between Archival Objects and Events." Journal of
the Society of Archivists 30, no. 1 (2009).
Johnston, Hank. "Protest Cultures: Performance, Artifacts, and Ideations." In Culture, Social
Movements, and Protest, edited by Hank Johnston, 1. Farnham, England: Ashgate
Publishing Limited, 2009.
Phelan, Peggy. "The Ontology of Performance: Representation without Reproduction." In
Unmarked, 146: Routledge29 West 35th Street, New York, NY 10001, 1993.
Schneider, Rebecca. "Archives Performance Remains." Performance Research 6, no. 2 (2001):
100-108.
Taylor, Diane. "Acts of Transfer." In The Archive and the Repertoire: Performing Cultural
Memory in the Americas, 1. Durham, NC: Duke University Press, 2003.
