Letter from the Editor

BY ADRIANNE RAMSEY

GIRLS 12: The Power of Performnace speaks with artists and curators who are focusing on the intersections of performance art and media art in their practices. There is a rich history of performance art in the art history canon, particularly in California and New York, that this issue will further investigate. Performance and media are a huge part of contemporary art, but haven’t been as well represented in art institutions. In recent years, museums have been making a larger, concerted effort to advocate for these mediums through exhibitions, programming, and events.

Performance art isn’t simply performed, it’s a durational medium that involves real people. Audience engagement can be essential to specific performances, such as Yoko Ono’s “Cut Piece” (1964), Andrea Fraser’s “Museum Highlights” (1989), or “Anthology (Kara Walker)” (2011), performed by Clifford Owens. It’s hard to understand the contemporary art world without performance, as it crosses over through so many mediums. The evolution of technology (video, television, computers, cell phones, music players) and the Internet (the World Wide Web and social media apps and websites) have not only led to an increased connectivity within society, but higher modes of visibility for artists. Artists can make work that is influenced by the internet, such as Cory Arcangel’s “Super Mario Clouds” (2002), or use the internet to their advantage – let’s say that an artist wants to stage a performance on Instagram live. They can do that with or without informing their followers, which is the beauty in spontaneity. Whoever gets to be a part of the audience is now a participant in this performance and can engage with the artist. There is a new generation of curators, artists, and scholars who have lived their lives on and off the Internet who understand the

importance of promoting performance art and media art in museums. While performance and media art can benefit from being more of an underground thing, there are benefits to including these hybrid mediums in the institution.

Thank you to Anna, E. Jane, Ceci, Margot, and Alex for participating in this issue and speaking so passionately about your individual practices and the importance of highlighting performance art and media art in exhibitions and programming!