Can you please help! I am getting no help from anyone...please.

Performance art was added. After you copy and paste save it. Print it out. Keep your definitions and links and names to each reference sited that could be viewed on the internet. Keep some of the main ideas for each form - discuss in a sentence or two how the definition involving art as a conceptual activity and how each form presents a concept using its form or medium. Please look at the art and read the summary to get a brief description of each. In some manner the forms build on and borrow from the other forms, especially the last three forms (read information please) Spell check!

Curious,

You will need to copy and paste it - edit it - put all the references at the bottom. I left them with each topic. Your instructor wanted you to go on a journey to understand some distictions about art and what it is. Use the first two definitions of art - but the paper - some I wrote out to explain to help - she wants you to connect each form of art to your chosen definition - my idea is to do that in considering art with respect to the concepts its produce! Does your instructor expect you to download pictures from the sites and attach them - or just the references so she knows you actually looked at the art? I suggest you visit the art I listed and the link in casr your instructor has any questions - especially about conceptual and installation art which are somewhat abstract to comprehend - read it over carefully. I am attaching this as the answer - but I have one more piece to add - the term performance art (note: that is different from the performing arts - did you realize that distinction?) Anyway - if you copy & paste this to your word processor - print it out - then go though it - add your own small summary of the art definition to the information about the example selected. I will leave a small conclusion for you to write - point out how the idea of art as a conceptual endevaour applies in various fashion to all of the forms of art discussed! Here is the paper: Please do a spell check. Please leave positive feedback when you click on the accept answer button and I will do like wise for you. Thank you. Shorten this as needed.

Submit the URL for each example, a description of the art and an explanation of why the example you provide exemplifies the definition(s) of the word "art." Painting, Sculpture, Architecture, Photography, Printmaking, Conceptual Art, Installation Art, Performance Art

Two definitions for Art:

A definition of art by the philosopher Kant.
So let's follow Kant in saying that art is a practice for its own sake and then ask what a practice for its own sake might be for. I believe that many of us who make and write about art have forgotten to ask such a question because we have not been patient enough to separate the two strands of the following formulation: at one level instances of art practice can be in themselves and for themselves; at another level the long historical development of art can have consequences that are not dependent upon the outcomes of particular works either in their creation or reception.

http://www.bampfa.berkeley.edu/bca/forms/stewart.pdf

Art can have many definitions - one person put forth 9 thesis for the definition of art or what art is. This is the first thesis - art has to defined as that which generates a concept of art.
(there are 8 more - put it in your own words for your paper)

1. Art is that which generates a concept of art.
"Art likewise is in no way simply equivalent with artworks, for artists are always also at work on art and not only on artworks."1
How can the interrelationship among these three concepts be defined: What is art? What are artworks? What is an artist? How do these concepts fit together? "Art stirs," Adorno says, "most energetically where it decomposes its subordinating concept."2 The concept of art cannot be reduced to that of the artwork because every (authentic or real) artwork cannot be reduced to any preceding concept of art, but rather inaugurates a concept appropriate to itself. The work is never exhausted in exemplifying an established, officially sanctioned concept of art. What the work achieves divides into a resisting and an affirmative element. The work embodies resistance against the existing order, against art as an already weakened cultural production with diminished capacity to resist. There is an irreconcilable difference between art and culture, for which reason art is compelled to defend itself against culture and its imperatives. An artist is someone who brings forth a concept of art that did not exist before. Only those artworks count that, instead of inscribing themselves into an instituted concept of art, generate a concept opposed to the instituted concept. It is always a matter of opening up in the dynamics of production to a still undefined concept of art; it is never a matter of a routine programme oriented toward fixed norms.
"In truth," Adorno says, artworks are "force fields in which the conflict is carried out between the commended norm and what is seeking expression in them. The higher they rank, the more energetically do they fight out this conflict, frequently renouncing affirmative success."3 The artwork articulates the conflict between what exists and the new so that the work enters as an arena for carrying out a differentiation (or difference) in which the established understanding of art meets an objection. At the same time it must remain clear that a distinct separation between the existing and new remains an unfulfillable challenge:
Even the category of the new, which in the artwork represents what has yet to exist and that whereby the work transcends the given, bears the scar of the very-same underneath the constant new. Consciousness, fettered to this day, has not gained mastery over the new, not even in the image: Consciousness dreams of the new but is not able to dream the new itself.4
The artwork draws its power from resistance against powers that reduce it to an effect of the existing order. The work's affirmative element lies in its opening to beyond what exists, whose positivity it first generates. The experience of art is the experience both of its conditions of possibility and of the affront to those that it represents. The concept of art condenses the paradox of an achievement that has to turn against its own possibilities in favor of the impossible as the impossibility that is possible for achievement.
Art is that which brings forth a concept of art in asserting works that, while resisting their assimilation into the existing order, articulate themselves as affirmations of contingency, as figures of an opening to that indeterminacy and incommensurability marking off the truth of the space of facts. I call the universe of facts the dimension of socially, politically, economically, historically, culturally, biologically, technically, and so on overdetermined reality. Here the artwork struggles for its autonomy - in the field of factical codification, real heteronomy into which it remains in jeopardy of relapsing:
Artworks are able to appropriate their heterogeneous element, their entwinement with society, because they are themselves always at the same time something social. Nevertheless, art's autonomy, wrested painfully from society as well as socially derived in itself, has the potential of reversing into heteronomy; everything new is weaker than the accumulated ever-same, and it is ready to regress back into it.5
No matter how much art "refuses definition,"6 it also demands one. Art is scarcely anything other than work on its own concept, the determination of what art is and ought to be. In the opening to where it has long since already been admitted, the dimension of constituted certainties and valencies, art is pushed to the limit not only of the space of facts but also of its concept and its form of appearance hitherto. Art contains a dynamic for bringing forth itself through works in a continual redefinition of what is to be understood by its concept. Art extends the concept of art by unbounding itself to its other that bounds it. Every artwork is a form of unbounding, an excess directed toward its implicit inconsistency.7 It is an excess marking its unbounding from its border, its openness to formlessness, whose bearer it remains. Art is an assertion of form generating itself in an opening to formlessness.8 No matter whether this formlessness be society as an overly complex, intracontradictory space of facts (the zone of sociohistorico-symbolic evidence), or whether it be the point of inconsistency within this domain, the incommensurability commensurable with formlessness.

http://www.artandresearch.org.uk/v3n1/steinweg.html

Bonus definition of Art (Leave out of paper, but use some of the ideas in crafting your paper)

Art is an application of human creativity that has some form of appreciative value, usually on the basis of aesthetic value or emotional impact. Much about art is controversial, including what specific cases can be considered such

http://www.xs4all.nl/~bertbon/hyperbody/student_papers/Mirka%20Tumova%20_ART_Architectu.pdf.

Intriquing definition because this one sounds like your assignment!!!

Several related concepts sail under the name of "art," but the one we are discussing here is the one Rand (1975) was aiming to nail down when she wrote that: "Art is a selective recreation of reality according to an artist's metaphysical value judgments" (19).(1) Here she was using a concept of art which crystallized during the Enlightenment, a concept that pulls together a strikingly diverse field of passionate disciplines (Kristeller 1990, 164-165). She lists the major branches of art as literature, painting, sculpture, music and architecture. This list follows an established view. Tolstoy, for example, presented the same basic list as the ordinary man's answer to the question "What is art?" ([1896] 1960, 16) (2) The distinguishing characteristics need to be re-thought. A well-designed building provide a compelling experience of the architect's sense of life. Art is a manmade work created to provide an experience of the creator's sense of life.(3)

(1) This sentence appears verbatim on 19, 33, 45, 99. Italicized on 19, which is chronologically first in the original publishing sequence of the chapters. Cited by Peikoff (1991) as "Rand's definition" (417).
(2) Tolstoy uses the term "poetry", in one of its older senses, for which Rand uses the term "literature." Kristeller (1990) presents the same list as Tolstoy, with the comment: "These five constitute the irreducible nucleus of the modern system of the arts, on which all writers and thinkers seem to agree" (164-165).
(3)A definition somewhat along these lines was suggested to me in conversation by conductor and composer Douglas Wagoner, in July 1999, in connection with issues having to do with music. His definition in turn was based on a revision proposed by Ronald Merrill (1990, 126). Fred Stitt, of the San Francisco Institute of Architecture, indicated in conversation in July 2000 that he usually modifies Rand's definition by substituting "expression" rather than "recreation of reality" in order to make the definition better fit architecture.

http://www.unholyquest.com/art.htm

Painting

Small Cowper Madonna
High Renaissance Painting
c. 1505 by Raphael Sanzio
Oil on wood, 59.5 x 44 cm
National Gallery of Art, Washington

The concept identified in this painting is that of the institution of marriage is to preserve or produce life - a child. The connection of generations is also reflected by the child clinging to its mother - the past gives life meaning and significance. It creates relationships that are significant. There are known to be 17 copies painted. Most were given as gifts for weddings. Although not commissioned, these gifts might help establish a future patron much as a portfolio is used today. In Raphael's painting, by contrast, both figures look out to the viewer, a unifying device he would have seen in terracotta reliefs by Luca Della Robbia. The figures' interlocked gestures reveal another and more important source of inspiration: Leonardo. The painting reveals to the viewer that the source of life is due to relationships. it also points out that we are not seperate.

http://www.nga.gov/collection/gallery/gg20/gg20-1199.0.html
http://www.finearttouch.com/High_Renaissance_Painting.html
http://www.finearttouch.com/shop/product_info.php?cPath=21&products_id=29

Sculpture

Wa (Harmony) - By susumu Ikegami

The number eight is portrayed - Eight is considered lucky by the Chinese and Japanese, because it sounds like the word for "prosper". In the tradition of Japanese superstition, this figure-8, a symbol of financial growth and success (prosperity), is displayed on the grounds of a tax office. Embodying order and balance in its careful geometric design, "Wa" may not help ease the mind of the financially troubled, but it nevertheless stands as a striking work of art.
Style
Abstract, Asian, Monumental, Outdoor
Dimensions
10 feet tall
5 feet long
3 feet wide
Materials
Granite

http://www.sculptor.org/ikegami_wa.html
http://www.sculptor.org/
http://www.new-age-spirituality.com/philos/numbers.html

Architecture

A well-designed building provide a compelling experience of the architect's sense of life. Art is a manmade work created to provide an experience of the creator's sense of life.(1)

The Turning Torso

Santiago Calatrava knows all about architecture and how to spice things up. The Turning Torso (image below) is a very good example of how a building should look like - sexy. Makes me wonder if the sex-ism concept exits.

"All art is erotic." - Adolph Loos. We humans are profoundly sexual creatures. But, are our buildings sexual, too? So, you thought your Victorian cottage has the feminine looks and the castle in your country has the Masculine touch.

Great architecture touches the soul and lifts the spirit. Does it also stir our physical beings? Just like a human being, a tall building is more pleasant towards the eye and mind compare with a short and fat building in term of dimension, and undeniably that a tall building with a good facade treatment and unique shape tend to be sexier than a building with four flat facades extruded from the plan till the roof. Take a look at the images below, which is sexiest among all? Definately not the second building from the left.

Skyscraper Sex Cult

Hugh Ferriss, High Priest of the New York Skyscraper Sex Cult.Hugh Ferris (1889 - 1962)

Hugh Ferris was an American delineator (one who creates perspective drawings of buildings) and architect. According to Daniel Okrent, Ferriss never designed a single noteworthy building. Huge Ferris design resemble the "phallus", and it is a symbol of power, a display of might. Reason being is that the soviet union and united states are at the height of the cold war and both tried to out do each other in sports, technology, science and not to mention architecture by building tall monument like structure that seems to exist only in fairytales.

Florida State's capital building

...Only in fairytales? I guess not. Take a look at Florida State's capital building (correct me if I am wrong). It has been voted as the most phallic building in the world.

http://blog.miragestudio7.com/2006/05/forbidden-architecture/
(1)A definition somewhat along these lines was suggested to me in conversation by conductor and composer Douglas Wagoner, in July 1999, in connection with issues having to do with music. His definition in turn was based on a revision proposed by Ronald Merrill (1990, 126). Fred Stitt, of the San Francisco Institute of Architecture, indicated in conversation in July 2000 that he usually modifies Rand's definition by substituting "expression" rather than "recreation of reality" in order to make the definition better fit architecture.
Photography

Little Happiness
by Sophie Beidzenishvili.

Her photographs in black & white portray vivid concepts. The stark contrast of birds in flight together and the contrite girl - seems almost uncertain, unsure of her self ....it screams "Why?" Besides publishing on deviant art's web site she has her own gallery ot her own home page. Other web sites use her photographs to convey powerful images, such as http://www.productsearchbytim.weebly.com. Sophie's black and white photograph she titled "Someone else" has the viewer ask; "Who is she?" Her photographs, although stark, haunting, chilling, provoke us to ask the most basic esoteric questions.

http://wondermilkygirl.deviantart.com/
http://wondermilkygirl.deviantart.com/gallery/
http://bodynobody.daportfolio.com/

Print Making

Autumn Flyers
by Maureen Booth

It seems that each country has a supreme printmaker. Maureen Booth of Spain is preiminent in Spain. Her etching captures insects that "buzz". Like the use of the slang term, 'buzz', her etching suggest that the noise of insects is telling us something - resonating within our nature

http://www.worldprintmakers.com/english/artists.htm
http://www.worldprintmakers.com/english/maureen/maureen.htm
http://www.maureenbooth.com/
http://www.saatchi-gallery.co.uk/saleroom/SendMessage.php/ast_id/23832/1/546286

Conceptual Art

Museum-Museum (1972)
by the Marcel Broodthaers (Belgian, 1924-1976), diptych screenprint, composition: 33 x 46 1/2 inches (83.9 x 118.2 cm); sheet (each): 33 x 23 1/4 inches (83 x 59.1 cm); publisher: Edition Staeck, Heidelberg, Germany; printer: Gerhard Steidl, Göttingen, Germany; edition: 100; Museumof Modern Art, NY. In general, Broodthaers's work focuses on the ways in which social, economic, and institutional constructs influence and affect art's meaning.

Conceptual Art - Art that is intended to convey an idea or a concept to the perceiver, rejecting the creation or appreciation of a traditional art object such as a painting or a scuplture as a precious commodity.
Conceptual Art emerged as an art movement in the 1960s. The expression "concept art" was used in 1961 by Henry Flynt in a Fluxus publication, but it was to take on a different meaning when it was used by Joseph Kosuth (American, 1945-) and the Art & Language group (Terry Atkinson, David Bainbridge, Michael Baldwin, Harold Hurrell, Ian Burn, Mel Ramsden, Philip Pilkington, and David Rushton) in England. For the Art & Language group, concept art resulted in an art object being replaced by an analysis of it. Exponents of Conceptual Art said that artistic production should serve artistic knowledge and that the art object is not an end in itself. The first exhibition specifically devoted to Conceptual Art took place in 1970 at the New York Cultural Center under the title "Conceptual Art and Conceptual Aspects."
Because Conceptual Art is so dependent upon the text (or discourse) surrounding it, it is strongly related to numerous other movements of the last century. Conceptualism scorns material works of art and and exalts the artist's mental labors instead. Execution of the concept is optional. Skills and aesthetic achievement, then, do not apply. What counts is the artist's shining brainwork and subsequent commentary by Those Who Know.
"Happenings" (1959)
"In an era of vandalisms great and small, conceptual art combined the malice of deconstruction with the antics of Alan Kaprow's"happenings." (2)
Allan Kaprow first coined the term" happening" in the Spring of 1957 at an art picnic at George Segal's farm to describe the art pieces that were going on. Happening first appeared in print in the Winter 1959 issue of the Rutgers University undergraduate literary magazine, Anthologist. The form was imitated and the term was adopted by artists across the U.S., Germany, and Japan. Jack Keroua referred to Kaprow as "The Happenings man," and an ad showing a woman floating in outer space declared, "I dreamt I was in a happening in my Maidenform brassiere." (3)
"Happenings" are very difficult to describe, in part because each one is unique and completely different from one another. One definition comes from Wardrip-Fruin and Montfort in The New Media Reader, "The term "Happening" has been used to describe many performances and events, organized by Allan Kaprow and others during the 1950s and 1960s, including a number of theatrical productions that were traditionally scripted and invited only limited audience interaction." A "Happening" of the same performance will have a different outcomes because each performance depends on the action of the audience. In New York especially, "Happenings" become quite popular even though many have not seen nor experienced it.
The aim is to demolish common understanding of the nature of art. A wrecking ball is better than a brush for effecting a Nietzchean upending of prevailing values. The Whitney retrospective of Mr. Weiner's pranksmanship solemnizes the ethos of rebellion and disguised nihilism that rode Jefferson Airplane from the Sixties into the "Me Decade" that followed. Those were the heydays of conceptual art.
"In conceptual art the idea or concept is the most important aspect of the work . . . all planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes the machine that makes the art."
Sol LeWitt (American, 1928-2007), in "Paragraphs on Conceptual Art," in Artforum, summer issue, 1967.

http://www.artlex.com/ArtLex/c/conceptualart.html
http://www.moma.org/collection/browse_results.php?object_id=65032
http://www.museumofconceptualart.com/
(2) http://www.maureenmullarkey.com/essays/weiner.html(2)
(3) http://groups.yahoo.com/group/fluxlist/message/4250?l=1

Installation Art

Ilya Kabakouthe -
The Man Who Flew into Space from His Apartment (1985)
Collection: Center Georges Pompidou, Paris, N.Y.

According to Claire Bishop (2005) Ilya kabakouthe in the 1980s contributed to Installation Art. She places his art in the style referred to as Dreams - borrowing from Sigmund Freud.
Based on the definition of art this form of art, and the proceeding form of art - conceptual Art this has naturally evolved into an art form where the concept is virtually the art. Because of that Bishop in her book, Installation Art (2005, pg1-2) has argued that as the term installation art was used by art magazines, including a photograph of installation art as an "installation shot" has been altered somewhat in the 1980s until there is a distortion about it. The problem with writing about this form of art bishop wrote is that it transcends itself. it is art that has to be experienced in a particular way to experience the particular arrangement of the art - and a photograph may not capture this essence fully. perhaps an artists has arranged a display of art (each piece of art is art by itself), but the arrangement effects how one reacts to it based on their body's position to the art. Perhaps one is expected to walk across a catwalk/hallway that seems to be in the air above the room where the beholder/spectator stops in the center than takes in the arrangement of the art from this "perched" position - and the the time of day could be significant - to allow the light on the art to be seen from this perch. Or one could experience the art very close up - passing by each piece as if they are people - closing in on the viewer - so that they lose themself in the crowd! this is an interesting challenge for art museums and persons who mange them. Unfortunately, Claire Bishop (2005: 2) believes that it has lost its meaning because it can be fairly applied to describe "any arrangement of objects in any given space". Bishop concluded; "it can be applied in theory to even a conventional display of paintings on a wall". (1)

Joseph Beuys: "'Creativity isn't the monopoly of artists. This is the crucial fact I've come to realise, and this broader concept of creativity is my concept of art. When I say everybody is an artist, I mean everybody can determine the content of life in his particular sphere, whether in painting, music, engineering, caring for the sick, the economy or whatever." (2) All around us the fundamentals of life are crying out to be shaped or created he explained. he claims that our idea of culture is severely restricted because we've always applied it to art. The dilemma of museums and other cultural institutions stems from the fact that culture is such an isolated field, here he starts to mesh with claire bishop's view. Because art is even more isolated: an ivory tower in the field of culture surrounded first by the whole complex of culture and education, and then by the media which are also part of culture- he expresses the obstacles in viewing art in this statement. We have a restricted idea of culture which debases everything; and it is the debased concept of art that has forced museums into their present weak and isolated position. Our concept of art must be universaland have the interdisciplinary nature of a university, Beuys argues. He believes there must be a university department with a new concept of art and science'. In otherwords museums that display art may be impacting how it is expressed and the concepts the artists wans the viwer to experience may be influenced. Museums have become like a shopping mall of young people dressing to draw attention to themselves - in a similar manner currators may display the art so that it is competing - "look at me" clamors for the viewers attention which disturbs the true experience. Artists do not create their art, generally, with it being arranged in mind, any more than the writers of the letters that make up the books of the New Testament of the Christian Bible expected them to be arranged together into a book centuries after their deaths. The art of installation belongs to the artist who holds the concept and that artist does not have to be the creator of the independent pieces of work in the arrangement, such as Kabakouthe's installments.

(1) Bishop, Claire (2005) Installation Art: Routledge, NY - Taylor & Francis Group - ISBN 0-415-97412-7 (pgs 1-2, Pgs 14-15)
http://www.amazon.com/Installation-Art-Claire-Bishop/dp/0415974127/ref=sr_1_1?ie=UTF8&s=books&qid=1272780244&sr=1-1#reader_0415974127 (book viewed on-line at Amazon.com)
(2) http://www.the-artists.org/artistsbymovement/Installation

Performance Art

Performance Art

Sleeper (2007)
by Mark Wallinger,

Mark Willinger's performance called "Sleeper" epitomized the art form. It was the winner of the Turner Prize in 2007. The 2-hour film records a performance in which, over a period of 10 nights, the artist dressed in a bear suit and wandered aimlessly around the brightly-lit
entrance hall of Mies van der Rohe's Neue Nationalgalerie in Berlin.

Go to this link:
www.youtube.com/watch?v=qQ8ZiqBJn58

"Performanceart is conceptual, usually visual art that involves bringing a concept to an audience." (1)

Just include some of the points below into your paper. The point is that performance art is concerned about its audience. this concern underlies the conceptual nature of this art form emphasized in our definition. We have progressed from indidual pieces of art to how it is arranged toward the concept being more more important than the actual piece of art work - the experience is more important in the latter three types of art than the medium. Of course you can preserve a video tape - not actually the same as experiencing it live because the video taper influences your experience where as when you are in the audience your experience of the art - its concept is part influenced by audience reaction and your own reactions to the medium - which isn't meant to be permanent, except that we have ways to record.(2) This new form of contemporary art, which emerged out of Happenings ( see above) and Installation,(See above) and became a major phenomenon during the late 1960s and 1970s, takes as its medium the artist himself, the actual artwork being the artist's actions. Performance art has always been more theatrical, at times ritualistic, and normally more scripted than its immediate forebears, often taking acting and movement to extremes of expression and endurance not permitted in the theatre. Words are rarely prominent, while music and noises of various kinds often are. (4)

(1) www.youtube.com/watch?v=qQ8ZiqBJn58

(2) http://www.slideshare.net/mtarrigo/performance-art

(3) http://www.belaxisbuil-performanceart.com/

(4) http://www.visual-arts-cork.com/performance-art.htm

performance art
performance art performance art is a type of artistic production that focuses upon actions, audiences and sites- specific activities done in a particular location for a particular time.
performance art it was an avant-garde movement that has its artistic roots in the futurist and dada gatherings, demonstrations, protests, and unconventional exhibitions & poetry readings of the teens and twenties. Their activities were meant to confront, shock & outrage conventional society (the bourgeoisie) in an artistic response to the to the atrocities of WW1. they saw their rejection of traditional culture as clearing the way for new thinking and new Institutions. first international dada fair
performance art some push the roots of performance art much further back to the very beginnings of human culture. they argue that all art has its origin in performative symbolic actions such as rituals and rites of passage. many performance artists, especially in the 1960's and 1970's consciously cultivated the idea of the artist as shaman. This is especially evident in the body works of artists such as chris burden, carolee schneemann vito acconchi chris burden tansfixed
performance art some push the roots of performance art much further back to the very beginnings of human culture. they argue that all art has its origin in performative symbolic actions such as rituals and rites of passage. Many performance artists, especially in the 1960's and 1970's consciously cultivated the idea of the artist as shaman. This is especially evident in the body works of artists such as chris burden, carolee schneemann vito acconchi schneeman interior scroll
performance art some push the roots of performance art much further back to the very beginnings of human culture. they argue that all art has its origin in performative symbolic actions such as rituals and rites of passage. Many performance artists, especially in the 1960's and 1970's consciously cultivated the idea of the artist as shaman. This is especially evident in the body works of artists such as chris burden, carolee schneemann vito acconchi vito acconci trademarks
performance art Often these early performance works dealt with taboo, social isolation and the transformative/cathartic role of artist as the hero/martyr/fool. vito acconci seedbed karen finley
performance art individual artist actions are still a common approach to performance, but as early as the 1950's a more social form of performance art emerged, focused not so much on the role of the shaman but more on the social character of ritual. allan Kaprow's Happening's and the activities of the artist collective fluxus focused on involving the audience as participants rather than as spectators and they were very interested in blurring or eliminating the distinctions between art and life. fluxus artist yoko ono cut piece
performance art individual artist actions are still a common approach to performance, but as early as the 1950's a more social form of performance art emerged, focused not so much on the role of the shaman but more on the social character of ritual. allan kaprow's happenings and the activities of the artist collective fluxus focused on involving the audience as participants rather than as spectators and in blurring or eliminating the distinctions between art and life. allan kaprow untitled happening (licking snow off a car)
performance art Much of performance art's lineage is derived from the visual arts, especially conceptual art, but it also has drawn from music, such as the work of john cage, and from theater, such as augusto boal's Theater of the Oppressed. a theater of the oppressed workshop In new york city
performance art much of performance art's lineage is derived from the visual arts, especially conceptual art, but it also has drawn from music, such as the work of john cage, and from theater, such as augusto boal's Theater of the Oppressed. a performance of cage's water walk
performance art some key concepts: significant gesture - a simple action or a body movement that takes on special significance through repetition, exaggeration, isolation, or context top from we are karen finley right from alfred hitchcock presents
performance art some key concepts: significant gesture- a simple action or a body movement that takes on special significance through repetition, exaggeration, isolation, or context maria abromovic balkan baroque
performance art some key concepts: reality vs. fiction: performance art is typically enacted (act out), not acted (act as) in the sense that most performance art is not heavily scripted. purfopuerto collaborative solas link to andy warhol eating a cheeseburger
performance art laurie anderson united states spalding gray swimming to cambodia some key concepts: reality vs. fiction: however performance art does often involve role play and some of the best known artists associated with this genre such as laurie XXXXX, XXXXX finley and spalding gray perform works that are highly scripted or theatrical.
performance art gary setzer keypunch operator some key concepts: serial, synchronous & asynchronous: serial - events in the performance happen one after another
performance art allan kaprow fluids some key concepts: serial, synchronous & asynchronous: serial - events in the performance happen one after another synchronous - events happen concurrently at the same time
performance art some key concepts: serial, synchronous & asynchronous: serial- events in the performance happen one after another synchronous - events happen concurrently at the same time asynchronous - events in the performance not occurring at the same time, usually at a geographic remove james buckhouse tap tap was a virtual dance school for animated pda characters that practiced and learned from each other and from the pda owners
performance art some key concepts: scope and duration: the size and length of the performance left alighero e boetti writing with both hands small scope and short duration right burning man large scope and long duration
performance art Some key concepts: intensity: emotional & visual impact, the degree of audience immersion or performer investment actions become intensified through repetition, duration, symbolism, context or difficulty gary setzer intensity through repetition & isolation ana mendieta intensity through symbolism & visual impact
performance art Some key concepts: character of site or setting: context of performance; public/private; formal/informal; institutional/ domestic; site specific/site neutral scale melanie bonajo site neutral janine antoni site specific
performance art some key concepts: audience interaction: relationship of the audience to the action; the size, location/proximity of audience participatory/interactive passive confrontational formal/informal; informed/uninformed joseph beuys i love america & america loves me audience: passive; formal; informed william pope l. the great white way audience: informal; uninformed; (mostly) passive; (somewhat) confrontational
performance art gary setzer photo documentation of roof transmitter
some key concepts:
documentation:
the manner in which a performance is preserved, recorded or presented after the fact
time-based documentation
audio, film & video
static documentation
any combination of photos, text, & artifacts
performance art gary setzer documentation installation of subject muffler
some key concepts:
documentation:
the manner in which a performance is preserved, recorded or presented after the fact
time-based documentation
audio, film & video
static documentation
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http://www.slideshare.net/mtarrigo/performance-art

Here is a conclusion that should help you decide what to keep and what to remove - some was just for reference. Please leave positive feedback when you click on the accept answer button. You should have all the content for your paper it needs your final touches and editing. good luck, Tim.

"Art is that which generates a concept of art" Each of the forms of art have been considered with this definition in mind. Each form has expressed a unique way of conveying a concept - some allow the beholder to determine the experience that may or may not be shared with the artist - such as painting. The actual art medium was more important than the experience of the art. The latter forms, especially conceptual art, installation art, and performance art are concerned with the concept as experienced more than just conveyed as with photography, printmaking, and sculpture. The shift away from the medium toward experience began with "Happenings" then moved toward Ilya Kabakouthe's manner of arranging the mediums and structuring the vantage point from which the arrangement is taken in. Finally the performing art is interested in the art taking place before the audience - the art can change thus altering the experience rather than the audience member observing timeless art. And the art performance called the Sleeper engaged audiences who experienced the presence of the Bear without an expectation that one has when staring at a piece of artwork in a book, in a museum, as an experience, or as a changing experience. The concept in the medium was conveyed without an expectation of experience by its audience! Or the performance involved the art in process and the audience in process in order to convey a concept. Imagine how someone pets their pet, which moves and responds so that both the pet and the master share the experience together is the next natural form or stage of art.

I will scroll up and look at what you are seeing - did you copy it into your word processor? - the papers get quashed together when posted. The very first quotation is an interest getter related to the definition of "Art" The first paragraph is right after that. The reference (1) goes also with reference (1) one under the first paragraph. I left the references right under each section so it is easy for you to go to the sites if you needed and adjust the information slightly into your own words per your instructor. Some are re-written somewhat by me - but you should do a quick check and also view the art depicted. Just inc ase your instructor is genuinely interested you want to direct them to the link where you viewed the art on line. - You can copy and paste all the references at the bottom and renumber them. With 8 forms of art and two definitions for art there was at least 18 references - two for each! I broke up the sections on each art form by adding its name before the beginning of the section as well as naming the art selected to represent the art form and its concepts. Because the last three are the hardest to understand as they use the second thread of the art definition more so than the commonly used thread I made sure that you had background information to work with -

I made some summarizations which will be apparent by going to the sites. Note: i did not have your instructors informations - suggested links, on-line museums. I tried to avoid commercial sites in the sense that selling is the main purpose. I had to do do that for the Spanish etcher - printmaker, because that is where she indicated one could view her prints/etchings! She is one the most famous printmakers in Europe/Spain!! her husband just started her site and I didn't see her work there! i covered three major representations of the three forms last in the list. If this has been helpful please leave feedback when you click on the accept answer button. Once it is accepted the information will only be visible to myself, yourself, and our moderator.