O trabalho da Abramović explora a relação entre o performer e o público, os limites do corpo, e as possibilidades da mente.
Trabalhos:
- Artist Body: Performances 1969-1998, (Charta, 1998).
- Public Body: Installations and Objects 1965-2001, (Charta, 2001)
- The House with the Ocean View, (Charta, 2004).
- The Biography of Biographies, (Charta, 2004).
- Balkan Epic, (Skira, 2006).
- Seven Easy Pieces, (Charta, 2007)
- A Daneri, et al, (eds.), Marina Abramović, (Charta, 2002)
- Laurie Anderson, “Marina Abramović,” Bomb Summer 2003: 25-31.
- Jennifer Fisher, “Interperformance: The Live Tableaux of Suzanne Lacy, Janine Antoni, and Marina Abramović,” Art Journal 56 (1997): 28-33.
- Charles Green, “Doppelgangers and the Third Force: The Artistic Collaborations of Gilbert & George and Marina Abramović/Ulay,” Art Journal 59.2: 36-45.
- Shogo Hagiwara, “Art Hurts: Blood and Pain are Abramović’s Media,” The Daily Yomiuri 1 April 2004 p18.
- Janet Kaplan, “Deeper and Deeper: Interview with Marina Abramović,” Art Journal 58:2 (1999):6-19.
- Zoe Kosmidou, “A Conversation with Marina Abramović,” Sculpture Nov. 2001: 27-31.
- Tom Lubbock, “Visual Arts: Caught In the Act; It’s Video But Not As We Know It,” The Independent 2 September 2003.
- Thomas McEvilley, “Performing the Present Tense,” Art in America April 2003: 114-117; 153.
- Asami Nagai, “Art in Harmony with Nature,” The Daily Yomiuri 24 July 2003, p. 13.
- Anna Novakov, “Point of Access: Marina Abramović’s 1975 Performance Role Exchange,” Woman’s Art Journal Fall 2003/Winter 2004: 31-35.
- Jennifer Phipps, “Marina Abramović/Ulay/Ulay/Marina Abramović,” Art & Text 3 (1981).
- Theresa Smalec, “Not What It Seems: The Politics of Re-Performing Vito Acconci's Seedbed,” PMC: Postmodern Culture 17 2006 [1]
- “Writing Art,” Art Monthly 1999 230:13-17.
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