The Artist's Body As the Artwork

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Artist: adampadam
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In the article, "ritual space / sculptural time" by Nat Trotman he notes that Matthew Barney and Joseph Beuys are similar in their presentational qualities. They both like to use their bodies not only in their art, but as the artwork itself. For example, Beuys took fat and applied it to himself to create art that resembled an "initiation ceremony." He also created an instrument using the fat and an antenna. Barney used mythical experiences to create a narrative that he would implement himself in. He was more interested in the process of storytelling and wanted to develop symbolism. I like how the article "in potentia: Matthew Barney and Joseph Beuys" says that Beuys wanted to think about the portrayal of his art, "from the idea of a personal rebirth to that of worldwide political and social awakening." The body and how it functions when restricted of certain movements interested Barney. He set up an artwork that involved him being restrained by elastic cords where he would have to try and draw on his studio walls while trying to fight this restraining system. Beuys and Barney were both chronic storytellers and therefore shared in the same interests. Both of these men offered unique perspectives in the way that they made art, however after examining their practices more closely, we realize that they were not that different from each other after all.

The Theatre of Death

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Artist: TCM Hitchhiker
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The art that is created by means of an actors' displacing of themselves with a lifeless object is the result of a humans' fascination with death. As Kantor explains in, "The Theatre of Death" according to Gordon Craig the human figure, who is the actor, must be eliminated in order for the inanimate being, that holds the characteristics of a human, to become "alive." It is interesting to note also that when the connection between man and nature (the natural elements that are associated with man and its being) are severed, that this is when the object takes on a life of its own. Number six in Kantor's "The Theatre of Death" (which is, "THE REJECTION OF THE ORTHODOXY OF CONCEPTUALISM AND THE 'OFFICIAL AVANT-GARDE OF THE MASSES'") explains that "the concept of LIFE can be vindicated in art only through the ABSENCE OF LIFE..." Although it may seem counter-intuitive I believe this statement is declaring that the realism of life can only be manifest if the object possesses qualities of life in and of itself with no external assistance. This is significant because this view then points to both the psychological and spiritual realm where the mannequin takes on "life" possibly through itself or through the manipulation of the puppeteer.
Something that I was thinking about in the discussion that our class had last Tuesday but didn't have time to share was that the human can become an extension of the puppet. Many times we think about the human operating a puppet or mannequin and neglect to see the puppet as the actual actor. In addition, as discussed last Thursday, the mobility of the puppet or lack thereof determines the characteristics of the puppet that is being manipulated as well. To connect this to the reading of Kantor, it is mentioned in number seven of his observations that a mannequin is or can act as "a kind of ADDITIONAL ORGAN for the actor, who was their master." This means that at some point the mannequin must take on its own unique qualities and almost detach itself from any human connection in order to become its own entity. I am not sure that I completely understand this, but I know that it is what I'm trying to convey. In the article by John Bell entitled, "Death and Performing Objects" he states that those who perform with objects must, "turn directly to this dead world for their inspiration." He goes on to say that because these objects are connected to this "dead world" that they can offer better insight than a human is able. The similarities that a mannequin shares with the physical characteristics of a human are evident, yet it can never achieve that of a human relationship. The only way that it is able to establish any type of connection is through that of a spiritual and dematerialization process. This, in part, is what makes mannequins and other objects of similar nature so appealing.

Ubu

Image from a performance of "Ubu and the Truth Commission."
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William Kentridge, as portrayed in the written work, "Mundus Inversus, Mundus Perversus" by Lynne Cooke, was an artist who enjoyed exploring the theoretical and literal abnormalities of human interaction as well as placing factual and historic material into his art. As a young artist, Kentridge chose to expose things such as a governments' brutality using symbolism within puppetry and video. He also liked twisting the ideals and norms of society in order to engage with the audience so that they would have to pay close attention to what was happening. Kentridge said, "a spot where optimism is kept in check and nihilism is kept at bay. It is in this narrow gap that I see myself working." He wasn't going to be confined to a box and he wanted others to release themselves from their own confines as well. The Truth and Reconciliation Commission was developed in 1996 which was an agreement that took place between the old government and the new ANC which investigated human rights abuses in South Africa during the past thirty-five years. Kentridges' character Ubu was revived when he was asked to take part in an exhibition. Ubu seems to have a multiple personality disorder as the character is paranoid and on the defense one minute and in a state of confidence and song the next. The world that Ubu lives in is opposite that of what would be considered normal as everything evil, rational, or false dominates. However, in the film "Ubu Tells the Truth" things such as torture and killing are placed into view. These images are unsettling and, as they should, provoke a sense of respect for those affected and an acknowledgement that the things that were done in South Africa were inhumane. Overall, I believe that Kentridge wanted to create an environment through his art that would provoke people to think about the world around them. He used his characters to portray a definite sense of uneasiness which I believe allowed him to express truths with greater impact and reception.

Puppet History & Performace

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A common thread that seems to be shared in both readings ("Puppets, Masks, and Performing Objects at the End of the Century" by John Bell, and "A Puppet Tree" by Stephen Kaplin), is that both writers reinforce the history and documentation of puppetry as one of its main actuators as well as one of its inhibitors. To explain, Bell speaks of how individuals such as Claude Levi-Strauss wrote about how masks were used by the Northwest Coast Indians in order to describe, "tribal kinship patters" instead of the performance aspect of the masks, which points to the roots and theology behind why the masks were used. Similarly, Kaplin mentions that both Peter Schumann and Jim Hensons' puppet companies stay true to the historical roots from which puppetry came despite the companies and enterprises that would desire to lead them astray. The underlying theme that Bell and Kaplin share is that the roots of puppetry are important to understand in order to effectively implement new concepts and ideas. It is interesting to note that even though the history of puppetry is important, that studies and research regarding its origins have been minimally focused upon in America. According to Bell, it has only been recently that both education and resources have become available. In addition, it would seem as though information about mask and puppet performance would be available in America since people from many different countries currently inhabit this land... many of whom probably possess much knowledge about the significance of these things. A possible reason why America is illiterate might be that: The people of America come from a different culture and don't find much interest in puppetry because it doesn't have a ceremonial or direct connection to them. As Bell points out, many different countries such as Europe, Russia, Japan, Italy, Germany, and Africa all have roots with puppetry and masks and therefore consider them to be of higher regard. I have to admit that my own personal experience with puppets and masks have been referenced only as objects you play or pretend with, and that they hold minimal historical value within the culture in which I grew up. For instance, the television show "Sesame Street" involves puppets that tell stories and are used for educational purposes for young children. This is part of what I remember as a child and my exposure to puppetry, which doesn't include a significant spiritual or theoretical connection. I am not suggesting that this is good. I am merely pointing out that my connection with puppetry has not been stressed as much or in the same manner as other countries, which is why education materials are scarce.
One other topic that Bell and Kaplin share in discussing is automation. Where Bell touches briefly on the fact that "performing machines" have had a large impact in this century and will continue in the next, Kaplin agrees and disagrees at the same time. Kaplin states that puppets can be directly connected to a human by means of a mask or body suit which helps to convey a specific character or personality and body image. This enables the one who wears the mask or suit to become connected with it in a more personal way. As the puppet increases or decreases in size however, a more limited connection can be made. Namely, as the suit becomes larger, the performer becomes further detached from its confines as well as the fact that it takes more individuals to operate. In the same manner, the smaller the suit, (a hand puppet for example) the more attention has to be made in the operation of it. This ensures that it contains the desired traits and it can function without the total physical embodiment of the performer. Kaplin also says that as the distance between the performer and the "performing object" increases, that the object takes on a existence of its own. Therefore, the object no longer is connected by means of human physiology but by mechanisms which are controlled by many individuals. This also brings up the point that Kaplin makes when he states that the more technology that has to be used, whether mechanical or computer controlled, the more individuals are required for its function. This can displace the connection between a puppet and its maker/performer. However, with the advanced technology that is available today, a more personal connection to be made between a puppet and performer. This allows that "virtual world" which was seen as unrealistic in achieving many years ago to be the innovative medium and driving force behind new forms of puppetry.