Index
Note: Page numbers in italics refer to illustrations
Actuality, theatrical, 55–56
Adamson, Greg, 326
Aesthetics, 50, 57, 73, 187, 238, 278, 321; ethics and, 116; minimalist, 52; performance and, 283–84; twilight, 308
Alfaro, Luis, xxviii, 136, 198, 205–7, [378–79n60]; Chicanismo and, 199; Downtown and, 205–7; on gay/Latino/art culture, [378n59]; on major schools, 25
Alice Doesn't (De Lauretis), 254
Angelo, Nancy, 118
Anpo spirit, 321
Anti-Art, 320
Anti-essentialism, 98, 271, [367n3], [369n28]; critique of, 104, 114, 115
Antifeminism, 80
Apocrypha, feminist, 161
Arce, Elia, 135–73, 161; on Carmen, 167; ethnic/national identity of, 136, 137, 138, 147–48; feminism/individualism and, 136, 137, 146, 147, 152, 153–54, 159, 168–69; gendered identity and, 136; homebound journey of, 165–66; iconography of, 157; memories of, 167, 170–71; monologue of, 168–70; multiculturalism and, 138–40; nonparticipation and, 156; oral history of, 143; performances by, 136, 137, 150, 168, 169, 170, 171,[372n1]; relationships by, 166; selfexposure and, 157; SNNG and, 236; vignettes of, 162–63
Archdale, Trudy: Monkhood and, [380n76]
Arguedas, José María, 165–66
Art: activism and, 120; bad, 52, 53, 56; community, 129–30; conceptual, xxii, 154; contemporary, 282; dematerialization/ rematerialization of, 98; erotic, 249, 259–60, 261; experimental, 59; feminist, 133; impact of, 132; kinetic, 277, 287, 303, 341, 342, 343; life and, xiv, xxiii, 34–35, 96, 142, 154, 193; live, xxiii, xxiv, 297, 282, [357n34]; masculocentric conceptions of, 37; multicultural, xxii, 91, 99, 139, 237; as pedagogy, 46; public, 25, 130; quality of, 51, 54; reproduction
― 394 ―of, 282; regional, 72; service, 121; social work and, 192; survival, xxii; theater, 48, 277; therapy and, 193; valuable, 89; visual, xxiii, 17, 49, 52, 61, 91, [357n38]Artaud, Antonin, xxvi, 286, [387n28]; on body without organs, 340, [391n93]; on culturein-action, 29; on double, 52; on gesture, 287; manifesto of, 288; on sempiternal self, 267; on theater of cruelty, 283; on totemism, 288
Artist(s): action and, 54; feminist, xxii, 44, 45, 82; other, xxv; promiscuous, 251; self and, xxv, 130, 195; spectator/reactants and, xxv; women, 29, 37, 77, 252. See also Performers
ASCO, 78
“Asian Traditions/Modern Expressions” (exhibition), [381n89]
Assimilation, 141, 146, 228, 229, 230, [380n85]; cultural, 121, 231
Audience, xxv, 54, 319, 341; artist/self and, 130; consumption, xxix, 288; media, 131; multiple, 131; participation, 34; performance and, 301, 315–16; performer and, 255, 278, 293; public art and, 130; virtual, 132; voluntary/involuntary, 176, 183, 194
Auslander, Philip, 238, [367n48]; on critical art, [354n4]; on entertainment, 50–51
Austin, J. L., 20
Autobodys (Oldenburg), 23
Autonomy, 131
Avant-garde movements, xxii
Backlash (Faludi), 80
Bakhtin, Mikhail, 107, 301; on corporeal art, 117; heteroglossia of, 9, [355n13]
Ballets Russes, 41
Banes, Sally, 107–8
Barish, Jonas, 50
Barrozo, Don, [380n76]
BAW/TAF. See Border Arts Workshop/El Taller de Arte Fronterizo
Beauvoir, Simone de, 100, 103, 105; gender construction and, 101–2; on One/Other, 102; on patriarchy, 102; self/other paradigm and, 104
Beckett, Samuel, 19
Bed Piece (Burton), 54
Behind Eyeball (Renzoku), 318
Benglis, Lynda, 77
Berger, John, 258
Bernhard, Jusak, [380n76]
Beyond Eyeball (Oguri), 324
Big Wheel, The (Burden), 83
Biltmore Hotel, Inevitable Associations at, 110–11
Birthing, 133, 235, 234; blind, 92; pain of, 158; self-, 158, 160
Birth Trilogy (Chicago), 38
Black Madonna, The (Lacy), 123, 124. See also Dark Madonna, The
Boal, Augusto, 173
Body: body weather and, 322; damaged, 193; doubling of, 161–62; -flesh, 103–4; grotesque, 107–8; hidden, 165; inner, 165; Japanese, 321; language and, 86, 87, 338; naked, 242; without organs, 340; performing, 87, 322; posturing of, 201, 310; secular, 283; -as-subject, 197; technology of, 342; vulnerability/uncertainty of, 87. See also Female body
Body art, xxii, 52, 55, 56, 269; alien, 336; feminist, 104–5, 107–13; individual/collective dimensions of, 117; real, 54
Body/self, 97, 109, 112, 153, 161, 197, [367n2]; other-infused, 116; self/other and, 110
Body Weather Laboratory (BWL), 28, 286, 320, 323, 324; Butoh and, 319, 321–22
Bolton, Richard, [378n53]
Border Arts Workshop/El Taller de Arte Fron terizo (BAW/TAF), 176, 187
Border Brujo (Gómez-Peña), 187
Boyd, Tim, [355–56n23]
Bray, Anne, 128
Brazell, Danielle, 198, 212–16, 254, 256, 264, 269; cage and, 262; Exorcising and, 212–16; Highways and, 199, [375n10], [376n27]; identification and, 213; Mythologies and, [379n72]; SNNG and, xxviii, 236, 259; stereotype by, 263; woman as victim and, 262
Brecht, Bertolt, 41, [355n10]; gestus and, 127, [371n75]; on Los Angeles, 8
Bricoleur, 294
Brodsky, Illya, [392n97]
Brooks, Harold F., [389n55]
Burden, Chris, xxvii, 24, 52–56, 58, 78, 84, 154, 277; action artists and, 49; Bed Piece and, 54; Big Wheel and, 83; bodyworks of, 52, 54, 55, 56; f/actual performance by, 53–54, 56
Burnham, Linda Frye, 33; colonization and, [364n13]; High Performance and, 25; Highways and, 185, 186; multiculturalism and, 186, 187; on performance art, 48–49, 58, 59, [356n33], [364n10]; on site-specificity, 187
Burris, Jamie, 318, 319, 324, 328, 328,330, [386n13]; in Oguri and Renzoku pieces, 325, [379n72], [389n59], [389n62]
Bushnell, Bill, 27
Butoh, 286, 316, 319–22, 329, 336–37; animism in, 336; Ankoku, 320–21, 324, 327, [386–87n16]
BWL. See Body Weather Laboratory
Caged (Hsieh), 154
California Institute of the Arts (CalArts), 32, 71, 78, 158; Disney and, 24; Feminist Art Program at, 37; Gómez-Peña at, 175; Kaprow at, 33, 95; Lacy at, 93
Capra, Fritjof, 270
Carr, C., 292
Center, xvii, 4; blank, 6, 8, 65; conceptual, 147; edge and, 20; ideological, 147; marginal and, 3, 103; multiple, xix, xxvii, 9; original, 131; subjective perception of, 5–6
Centricity, xxvi, 7, 14, 69, 128; accent on, 13; class/other and, 5; decentered, 68, 69, 196; deficiency of, 62; enactment of, 20; marginality and, 5; model of, 4, 6, 12; multicentricity and, 15–16; perceptual/ conceptual, 19, 68; perpetual, 85; provisional, 69; right to, 12; subjectivity and, 131
Chen, Sherwood, 319, 324, [385n3]; in thestream ofconsciousness, 325,[386n13], [389n62]
Chicago, Judy, xxvii, 38, 82, 83, 99, [361n92]; Ablutions and, 41, 78; Feminist Art Program and, 95
Chickens Coming Home to Roost, for Rose Mountain and Paulene (Lacy), 105
Choreography, 321, 323–24, 327, 330–31, 341; symmetrical, 339
Christian Scripture, God/man and, 241–42
City of Quartz: Excavating the Future in Los Angeles (Davis), 12
CIVIL warS: a tree is best measured when it's down, the (Wilson), 71
Clark, Petula, 206
Clausius, Rudolf, 305
Clinton, Michélle T., 143
Cock and Cunt (Chicago), 38
Community, 46; affective, 183; Chicano, 205; imaginary, 182; spectatorial, 197
“Company History” (SNNG), 237
Conrad-Da'oud, Emilie, [379n64]
Contract with the Skin (O'Dell), 53
Corpus Hermeticum,4
Cox, Renée, 84
Culture, 20, 24, 76, 122; -in-action, 29; alternative theater, 25, 46, 59; assimilation of, 229; high, 7, 68; mainstream, 7–8, 13, 51, 108; masculocentric, 79, 103, 108; mother-, 167; nature and, 271; patriarchal, 96, 163, 208; performance, 133; politics of, 60; regional, 275
Cyborgs, 331–48
Damon, Betsy, 270
Danse, La (Matisse), 256
Dark Madonna, The (Lacy), 122–24, 131; multicultural/interracial tensions of, 133; performance of, 125–27, 126,128–29
“Dark Madonna: Women, Culture and Community Rituals” (symposium), 123
Davy, Kate, [377n44]
De Bretteville, Sheila, [361n92]
De Lille, Alain, 4
Demoiselles d'Avignon, Les (Picasso), 256–58, 257,259, 260–61
Demoiselles d/L.A., Les,260–61
Diaghilev, Sergei, 41
DiCaprio, Peggy Farrar, 291
Discursive formation, theory of, 64
Diversity, 74, 102, 124, 173; cultural, 236; SNNG and, 238, 266; unity and, 237
Doorway to Heaven (Burden), 54
Dresser, Marianne, 267
Durland, Steven, [364n10]; Butoh and, 320, 321; on Los Angeles/art center, 71, 72
Dymski, Gary A., 8
Earth Goddess, 270
Eddington, Sir Arthur, 304
Edelson, Mary Beth, 270
Edge Painting. See Untitled (Edge Painting) (Francis)
Edna, May Victor, Mary and Me: An All Night Benediction (Lacy), 111, 112
Eggs to Breasts (Womanhouse), 38
Happenings in 6
Parts (Kaprow), 34 18th Street Art Complex, 185, [375n10], [376n15]
Eisenstein, Sergei, [386n9]
Elgart, Sarah, 285
Engendering, en-gendering and, 103
Essentialism, 37, 101, 113–16, 197, 244; feminism and, 114; Lacy and, 97, 98, 113; phallocentrism and, 113
Ethnicity, 9, 10, 11, 75, 123; Arce and, 162; Lacy and, 123, 125
Evans, Mary, 101
Export, Valie, 77
Faludi, Susan, 80
Farrar, Peggy, [387n25]
Feed Me (Smith), [373–74n29]
Female body, 105, 248, 249, [373n25]; exposure, anti-essentialism of, [369n28]; gestation and, 107; naked, 242, 252; promiscuous, 251; sacred, 270
Femininity, 104, 152, 249; Buddhist images of, 124; understanding, 109, 113
Feminism, 37, 38, 46, 80, 91, 94, 96, 108, 153; Brazell and, 216; Catholicism and, 159, 160;
― 397 ―cultural, 252; essentialism and, 114; individualism and, 146, 151; maintaining, 244; masculocentric culture and, 79; multiculturalism and, 81, 82, 84, 92, 121–29, 245; proactive, 236; transcultured, 154; understanding, 113Feminist performances, 29, 32, 33, 36–39, 41, 43–44, 77, 78, 108, 214
Feminists, 117, 146–47, 265; of color, 136, 137; Latina, 149–54; multiculturalism and, 191; redressive performance and, 43; Third World, 166
Feminist Spectator as Critic (Dolan), 194
Féral, Josette, 32
Ferus Gallery, 22
Flame in the Distance, A (Oguri and Renzoku), 319, 322, 323,325, 326
Flesh/consciousness, 270
Foucault, Michel, 63; 183, [363n131], [375n8]; on “Chinese” taxonomy, xix; on discourse/ language, 64, 68, 69; heterotopias and, 184, 264; sexuality and, 114, 115
Four Saints in Three Acts (Stein), 232–33
Franklin D. Murphy Sculpture Garden, Dark Madonna at, 125
Freud, Sigmund, [374n34]
Fried, Michael, [385n6]
Frohnmayer, John, [378n53]
F Space, 24Fu Ru I (sift) #2…Behind Eyeball (Renzoku), 316, 318, [389n59]
Gadamer, Hans-Georg, [364n8]
Galileo, 183
Gaulke, Cheri, [361n92]
Geffen Contemporary, xxvii, 28, 89; art-making at, 66–67; “Out of Actions” at, 77, 78
Gehry, Frank, 66
Gender, 82, 116, 121, 123, 172, 221; biology and, 44; construction, 44, 96, 101–2; sexuality and, 146, 248; socialization and, 153; specificity, 79–80, 105
Gender identity, 109, 114; female subjects and, 97; reconstructing, 115Gender Trouble (Butler), 92
Goddess tradition, 270–72
Gómez-Peña, Guillermo, xxii, xxviii, 155, 174–83, [375n3], [376n20]; aesthetic standards and, 187; Amerindians and, 154; body/ subject of, 179; border art and, 176, 189; loneliness and, 178, 179; Loneliness of the Immigrant and, 175, 176; on multiculturalism, 99, 187–90, 191
Gordian(not) (osseus labyrint), 334
Gordon, Avery F., 138
Gould, Stephen Jay, 336
Grand Orgy to Awaken the Dead at MoMA (Otherwise Known as the Museum of Modern Art)—Feature Their Usual Display of Nudes (Kusama), 79
Griffith Park, 351
Guerrilla Girls, 82
Gutai Group, 78
Habitat, performers and, 333–34
Hawkins, Stephen, 303–4
Hawthorne, Nathaniel, 242
Hay, Alex, 23
Headless Turtleneck Relatives (Uyehara), 199, 221–22, 223,224–26
Hegemony, 70, 88, 104, 109, 321; androcentric, 80; Anglo American, 122, 189; cultural, xviii, 46, 267, 270; current, 15, 16, 64, 89
Hegshe, Carol, 128
“Helter Skelter: L.A. Art in the 90s” (exhibition), 84, [365n29]
Hendrix, Kathleen, 124
Heredia, Daniela, 143
Hetero-corpus, 201
Hetero-locus, xxviii, 183–85, 200, 203, 206, 224, 232; artists/critics/ spectators in, 192–98; lost dream from, 233; multicultural experiments in, 190–91
Heteronography, 231
Higgins, Dick, 17
High Performance,25, 185; Apple in, 60; Arce in, [374n39]; Gómez-Peña in, 187
Highways Performance Space, xxviii, 25, 28, 147, 196, 334, 347; Arce at, 149, [374n39]; audience at, 194; Brazell at, 213, [379n72]; described, 185–87; Gómez-Peña at, 187; as heterolocus, 185, 192, 200; Hotchkis at, 208, [379n64]; Kwong at, 199, [379–80n76], [380n77]; osseus labyrint at 342, 343, [392n97]; performances at, 190–91, 197, 198–201, 203–9, 211–15, 217–18, 220–22, 224–31; SNNG at, 236, [382n5]; Uyehara at, [380n79]
Hijikata, Tatsumi, 327, [386n16], [389n63]; Butoh and, 286, 320–21, 324, 329
History, 21–22, 67, 89, 90, 241; alternative, 68, 218–19; Asian American artists and, 218, 220; performance and, 67, 70, 71, [367n50]
Hoffman, Melissa, 118
Hollywood, 22, 71, 111, 117, 197, 230, 275, 284, 290; cultural expressions and, xxiv; hegemony of, 73; performance art and, 28
Hollywood Athletic Club, Alchemy of Monsters and, [387n25]
Home. The Last Place I Ran to Just about Killed Me (SNNG), 236
Homler, Anna, 25
Hoover, John P., 326
Hoptman, Laura, 79
Horton, Stephen, 100
Hotchkis, Joan, xxviii, 192, 198, 207–12; analogy by, 211; Legacy and, 199; matrilineage of, 208; Tearsheets and, 207–12
House Un-American Activities Committee, 11
Hyperdance, 339
Hypochondriacs, 192
Identity, 45, 121, 195, 203, 285; autobiography and, 44; counter, 81; cultural, 92, 192, 243; female, 97, 147; fixed/framed, 156; formation, 249; gendered, 136; group, selfdefinition and, 130; Indian, 228; individual, 192; multiple, 196; naming, 235, 236–39; oppressed and, 69; performance and, 136; politics and, 197; radicalized/sexualized, 136, 157, 245; transcontinental, 174
Ideology of the visible, critique against, 245
I Have So Many Stitches That Sometimes I Dream That I'm Sick (Arce), 134,145, 152, 158; described, 135, 136
Ikite-iteyokata (The Shadow on the Stone) (Kamei), 322
Imagination, 266, [354n10]; tertiary, 131Immigrants and Survivors (Lacy), 121, 122
Immigration, 11, 15, 73, 140–46, 176; Chinese, 220–21; Latino artist and, 181
In Between the Heartbeat (Oguri and Renzoku), 319, 327, 328, 328,330, 331, 331
Individualism, 19, 58, 59, 63, 86, 145, 159, 164, 195, 268; deconstructing, 137; feminist, 136, 146, 147, 151, 152, 158, 163, 168–69; liberal, [372n4]
Infinity Mirror Room (Kusama), 81
In Mourning and in Rage (Lacy and Labowitz), 78, 120, [370n57]
Inner City Cultural Center, 27
Instant Theater, 22
Interculturalism, 76, 176; multiculturalism and, 74, 75, 82; transculturation and, 140
Interview with Monkey Woman (Went), 295
Invisibility Blues (Wallace), 246
Ippirati (O'Brien, O'Brien, and Roden), 315
Irigaray, Luce, 260
Isaiah, Book of, 112
Isozaki, Arata, 323
Jarrell, Randall, 8
Jarry, Alfred, 293, [387n21]; monsters and, 290, 292, 295, 296; Ubu Roi and, 289
Johnson, Betsy, 213
Jones, Amelia, 82, 243; on autonomous human subject, [366n43]; on Beauvoir, 100; on corporeal/identificational particularities, [382n10]; disembodiment and, 104; feminist struggles and, 81; on performance art, [360nn72], [75]; on postfeminist rhetoric, 81; on primitivism, [383n32]; on self/identity, 197
Kamei, Fumio, 322
Kaprow, Allan, xxvii, 32, 41, 48, 58, 60; action artists and, 49; on Arce, 141; art/life and, 35, 95, 96, 99, 142, 193; CalArts and, 33; on Happenings, 23, 297, 299; live art and, 297, 300; on performance, 300; redressive performance and, 34, 35; theory/ practice of, 33, 34–35, 36, 44, 50, [360–61n88]; unarting and, 109; Womanhouse and, 37
Katharsis,173
Kauffman, Linda S., [379n73]
Kelly, Mary, 156
Kent, Steven, [379n64]
Kincaid, Gregg, [380n76]
King, Rodney, 27, 91, 166Kinjiki (Forbidden Color) (Hijikata), Butoh and, 320Kiss, The (Rodin), 244
Klein, Yves, [390n76]
Knight, Christopher, 84
Kruks, Sonia, 100
Kurup, Shishir Ravindran, xxviii, 198, 199, 226–31; Assimilation and, 226–31, [380nn82], [85]; Indian identity and, 228; LATC and, [359n65]
Kusama, Yayoi, 81,83; feminism and, 80; gender specificity/race consciousness of, 80; Grand Orgy by, 79; “Out of Action” and, 67; theorization of, 79
Kusama's Self-Obliteration (Yalkut), 79
Kwong, Dan, xxviii, 198, 199, 200, 216–21, [377n47]; acculturated supremacy of, 218; alternative history by, 218–19; “Artist's Statement” by, 218, [380n77]; Highways and, [375n10], [376n27]; Monkhood in Three Easy Lessons and, 216–18, 219,220–21, [379–80n76]
Kyudo, 329
Laband Art Gallery, 308–9
La Boca, 28, 285, 324, [389n62]; Burris at, 318; Fu Ru I at, 316; Oguri and Renzoku at, 319
LACE. See Los Angeles Contemporary Exhibitions
LACMA. See Los Angeles County Museum of Art
Lacy, Suzanne, 77, 93–133, 142, 153, 175, 269; Ablutions and, 41, 78; aesthetics of, 116; animal imagery of, 112; art/cultural practice and, 96; on audience, 130, 131; bodyworks of, 115; Car Renovation and, 93–94, 95, 96, [367n1]; on community art projects, 129–30; conceptual totality and, 115, 116–17; corporeal existence and, 133; feminism of, xxviii, 95, 97, 113, 115, 117, 121–29; feminist art of, 98–99, 104–5, 107–13; on gender identity, 109; media technologies and, 120; methodology of,
― 400 ―127; other/self motif and, 103, 104; performances by, 94–95, 98, 112, 121; public art of, 99–100; rape incidents and, 117, 118; Second Sex and, 100; self and, 103, 104, 116, 129; self-aging trilogy of, 113LAICA. See Los Angeles Institute of Contemporary Art
Lamb Construction (Lacy), 112
La Moreneta,124
Language, 69; materiality of, 86–87, 88; multiculturalism and, 77; performativity of, 88; symbolic value of, 287
LAPD. See Los Angeles Police Department; Los Angeles Poverty Department
LATC. See Los Angeles Theater Center
Laysiepen, Uwe (Ulay), [391n89]
Leong, Page, [380n82]
Lester, Janice, 38
Lévi-Strauss, Claude, 294
Life: art and, xxiii, xxiv, 34–35, 96, 142, 154, 193; self performance and, 193
Linderman, Deborah, 53Linen Closet (Orgel), 38Linglot (O'Brien, O'Brien, and Roden), 308, 314, [389n55]; described, 309–10, 312, 313; terrace version,308–9, 311; terrace version to,310, 312
Locality, time-animated, 184
Loneliness of the Immigrant, The (Gómez Peña), 175–83, 175,187, 195; audience of, 194; cultural impact of, 178, 179–80; exclusion in, 181; immigration and, 177; meaningfulness of, 178–79
Long Beach Museum of Art, 28
Los Angeles, 9, 14, 58; center of, 9; multicen tric, 13, 16, 18–20, 59, 62; as multicultural paradise, [361–62n103]; performance art and, 21, 47, 276; postmodern, 15; rape in, 117; self-naming saga of, 82; speculative excesses in, 8–9; transformation of, 75–76; as void/ ideal, 8. See also Los Angeleses Los Angeles Contemporary Exhibitions (LACE), 25, 27, 41, 170, 171
Los Angeles County Museum of Art (LACMA), xxvii, 28, 67, 71, 79
Los Angeles Festival, xxvii, 71, 82, 136, [365n22]; civic unrest and, 74–75; cultural maturation and, 73, 75; deregionalization policy and, 73; Malpede and, 142; multiculturalism and, 73–74; Peeps and, [365n19]
Los Angeles Poverty Department (LAPD), xxi, xxiv, 186–87; Arce and, 136, 142–43, 145, 146–47; challenges for, xxii; Malpede and, 143; Oliver and, 236, 266
Los Angeles River: osseus labyrint at, 285, 332, 333, 340; performance at, 331; THEM at, 338, 339
“Love Forever” (Kusama), xxvii, 67, 79, 80; “Out of Actions” and, 76, 83; periodization of, 76–77
Lowe, Lisa, 15, 220–21, [356n27]; on Los Angeles Festival, 73, 74
Lyotard, Jean-Francois, 70
Mac Beth (osseus labyrint), 342–47
Malpede, John, xxi, 27, 142, 143, 186; Arce and, 145; SNNG and, 236
Marginality, 277, [366n45]; centricity and, 3, 5; marketability and, 51; politics of, xxviii, 100–101, 103, 104, 243
Martin, Timothy, 49
Matisse, Henri, 256
Matriarchal myths, 271
Matrilineage, 268–69
Maurois, André, 4
McIntosh, Scott, 326
Mellow, James R., 258
Memory, xxix; collective, 213; counter, 68; cultural, 266; family, 224, 225; flesh, 243, 266, 267, 270; genetic, 266; myth and, 131
Mendieta, Ana, 270
Menstruation Bathroom (Chicago), 38
Merchant of Venice (Shakespeare), 230
Merda d'artista (Manzoni), 83
Merleau-Ponty, Maurice, 34–35
Methodology, performance and, 278
Metzger, Deena, 118
Meyers, Laura, 264, 271, [381n4]; Oguri and Renzoku and, [386n13]; Oliver and, 261; on responsibility, 261; SNNG and, xxviii, 259,236; Untitled Flesh and, 255, 272
Michelangelo, 251
Midsummer Night's Dream, A (Shakespeare), 305
Milelzcik, Mary, [375n10]
Miller, David, 190
Miller, Tim, xxviii, 25, 191, 192, 198, 200–205; Highways and, 185, 186, 199, 208, [375n10], [376n27]; multiculturalism and, 186, 187; on multimedia performance, 186; NEA and, 203, [359n66], [378n53]; My Queer Body and, 200–201, 202,203–5; on performance artists, 193; on site-specificity, 187
Milton, John, 307
Mishima, Yukiod, 320
MOCA. See Museum of Contemporary Art
Mom (Arce), 171
Monkhood in Three Easy Lessons (Kwong), 199, 216–18, 219,[379–80n76]; immigration and, 220–21
Monsters, 290–91, 294, 295, 296, 302, 304; parade of, 291–92; perception of, 293; power of, 292; prostheses of, 303
Moon, Eric, [380n76]
Morrison, Toni, 124
Mother Courage and Her Children (Brecht), 41
Multicentricity, xv, xxvi, 18, 21, 30, 74, 92, 183, 191, 200, 286; analytical power of, 63–64; awareness of, 62; centricity and, 15–16; concept of, xvii–xviii, xix, 19; efficacy of, 14; holons and, xvi; limit of, 62–65, 276; Los Angeleses and, 13; multiculturalism and, 13–14, 45; one/many in, xix–xxi; paradigm of, 12–14; performance and, xxvii, 20, 64, 65; polarity and, 14–16; presupposition of, 70; subjectivity and, 62; unicentricity and, xvii
Multiculturalism, 60, 75, 91, 103, 121; aesthetic representation of, 73; criticism of, 139, 188–89, 190; degeneration of, 186; experiencing, 138–39; feminism and, 81, 82, 84, 92, 191, 245; at intellectual commodity, 199; interculturalism and, 74, 75, 82; in Los Angeles, 138, 139, 271; multicentricity and, 13–14, 45; performance and, 44–46, 77, 99; racism and, 139; rage of, 45; rhetoric of, 73–74, 122; rise of, 45, 138, 245; SNNG and, 244; social problems and, 45; strong version of, 46
Museum of Contemporary Art (MOCA), 28, 66, 71, 323; “Helter Skelter” at, 78; “Out of Actions” at, 89; Schimmel and, 78–79
Mutation, 274; affinity for, 336; cyborgs in, 331–48; evolution and, 337; tone of, 273–77
Nakedness, 242, 243, 271; historicized, 255–59, 256; internalized, 262, 263; layers of, 251, 252, 253–54, 256; recollected, 266–68
National Council of the Arts, [378n53]
Nemacheck, Lisa Mene, [380n76]
Nengudi, Senga, [371n77]
Newfield, Christopher, 138
Nightmare Bathroom (Schiff), 158
Nittve, Lars, 8
Noh actors, 324
No No Boys, 220
Oberon, 305
O'Brien, John, xxviii, 28, 274, 284, 285, 287, 305–16; ambiguity and, 314; on elective affinity, 314; Husk and, 313, 317; Ippirati and, 315; on language-imbedded structure, 312; Linglot and, 308, 310, 311; live art and, 286; “Pink House” and, 27; symbiotic permutations and, 305–10, 312–16
O'Brien, Toti Mercadante, xxviii, 274, 284, 285, 287, 305–16; Husk and, 313, 317; Ippirati and, 315; Linglot and, 308, 310, 311; symbiotic permutations and, 305–10, 312–16; third theater and, 286
O'Dell, Kathy, 53
Oguri, Naoyuki, 28, 236, 286, 325, 329, [386n13]; aesthetics of, 321; art of, 274, 326–27, [389n63]; Behind Eyeball and, [389n59]; Butoh and, 319, 320, [389n63]; BWL and, 321; choreography of, 321, 323–24, 327, 330–31; In Between the Heartbeat and, 327, 328,331; Mai-Juku and, 320; Obon holidays and, [390n79]; Steinberg and, 285; thermokinetic theater of, 327; the stream of consciousness and, [386n13], [389n62]
Oguri and Renzoku, xxviii, 274, 285, 316–31; animistic transmutation and, 324; BWL and, 322; formation of, [386n13]; at La Boca, 319
Ohno, Yoshito, 320
Oldenburg, Claes, 23
Oliver, Akilah, 256, 266, [381n4]; on flesh, 266; on sacred/profane, 271; sadomasochistic ritual of, 264, 265; SNNG and, xxviii, 236, 259,261; universal appropriation and, 267
Ono, Yoko, 77
On the Grotesque (Harpham), 295
osseus labyrint, xxviii, 285, 287, 331–48, [391n85]; biology/ecology and, 334; Mac Beth and, 344; migration and, 339; mutation and, 337, 338; Liquor Cotunnii and, 348; THEM and, 332–33, 340
Other, 99, 103, 228, 288; alien, 176; communal, 116–18, 120–21; cultural, 187; dominant cultures and, 13; empowerment of, 33; hegemonic, 188; marginal, 13, 103; material, 297; multiple, 19, 133; One and, 102; self and, 97, 103, 104, 105, 129, 130, 133, 159, 182, 189; Time and, 112; visual artists and, 49
Otherness, 44, 75, 103–4, 112–13, 184; color of, 231; corporeal, 105, 107; his/her, 183; internalized, 160; landscape of, 297; quadruple, 145; savage, 155
“Out of Actions: Between Performance and the Object, 1949–1979” (exhibition), xxvii, 66, 67, 79, 80, 82, 83; Knight on, 84; “Love Forever” and, 76; MOCA and, 89; performance and, 90, 91; periodization of, 76–77
Out There: Marginalization and Contemporary Culture (Ferguson), 3
Palacios, Monica, 136
Palazzo Ducale, Somnia at, 316
Pane, Gina, 77
Papanek, Yvonne Toni, [389n59]
Pape, Lydia, 77
Party, The (SNNG), 236
Passion Container (Went), 297, 302; script of, 298–99 (illus.)
Patriarchy, 43–44, 100, 147, 254, [356n27]; Judeo-Christian, 240; maintaining, 102; revision of, 108
Penis, 258; queer empowerment and, 204, 205; stereotypes about, 218
Performance, xxviii, xxix, 16, 87, 88, 289; aesthetics/metaphysics of, 283–84; antitheatrical, 54; art of, 23, 48, 137, 314; as belief system, 55–56; conceptual, xxv, 132, 197; creation of, 48, 274–75, 279–80; cultural history of, 20–21, 64; cult value of, 282; dual status of, 29–30; extreme, 52; f/actual, 53–54, 55, 56; feminist, 108, 132, 133, 137; function of, 46, 47–48, 56, 60, 280; gay/lesbian, 190; genealogy, 62, 63, 90, 91, 276; history, xxvii, xxviii, 22–23, 77, 90; improvised, 288, 312; individual, 19, 20, 59,
― 403 ―61, 131, 283; insurgent, 69; language-based, 77; live, xxv–xxvi, 33–36, 52, 280; limittexts for, 54–55; as microscopic refractor, 60; mixed-medium, 278; motivation/ validation of, 279; movement-based, 286–87; multicentric, 65, 275; multicultural, 99, 133, 173; new wave, 274–77; nude, 248–49, 251, 253; political, xxvi, 117, 275; power of, 245, 273, 279, 283; prosthetic, xxvi, 348; self-critical, 212; strategy, 149, 180, 263; symbiotic coexistence in, 315; text-based, 286–87; theorization of, 279; virtual, 132, 289. See also Performance art; Redressive performance; Self performancePerformance/theater fringe, making of, 56–59
Performance art, 153, 297, 306; anatomy of, xxviii, 129–33; changes within, 29, 58, 60–61; as cultural expression, 16, 20–21; defining, xvi, xxiii, xxiv, 16–20, 48, 49; distribution pattern for, 22; feminist, 36–39, 41, 43–44; individual agency and, 58; in Los Angeles, xv, 16–20, 21, 28–29, 59, 274, 275, 276; misappropriation of, 60–61; multicentricity and, xxvii, 16–20; nationhood of, 62, 63; opponents of, 60; public ownership of, 18; reductionism of, 61; theater and, 57, 59, 60; visual artists and, xxiii, 49
Performance Theory (Schechner), 50
Performers/performance artists, xxv, 49, 61, 253, 285, [357n34]; audience and, 255, 278, 293; differences of, 127; freelance, 45; habitat and, 333; heterogeneity of, 127; style of, 280–81; tools of, 84–89. See also Artists
Performing the Body/Performing the Text (Jones and Stephenson), 243
Phallocentrism, 113
Phantom limb syndrome, 324
Phelan, Peggy, 156, 204, 246, 251; on Cornered,250; excess meaning and, 157; on identity, 249; invisibility and, 249; on racial designation, 250; visibility and, 243, 245, 254, [361n96]
Picasso, Pablo, 79, 260; Les Demoiselles and, 256–58, 259; nudes and, 258, 259
“Pink House, The,” 27
Pipeline, Inc., 25
Place, performance and, 46–48
Plato, 52
Polan, Dana, [356n24]
Politics, 95, 115, 245; cultural, 194; gender, 237; identity, 77, 97, 137, 155, 189, 197; individual, 97; of location, [355–56n23]; visibility and, 247
Pornography, erotica and, 261Portrait of Johanna Went (Versel), 294
Presentation, theatricality and, 278
Prynne, Hester, 242
Rachel Rosenthal Company, 28
Racism, 11, 44, 124, 125, 133, 218, 224, 250; exoticized/eroticized, 172; internalization of, 230–31; intra-, 144–45; multiculturalism and, 139
Rainer, Yvonne, 23
Rangel, Bill: Mythologies and, [379n72]
Rape, 117–18, 120–21, 209, 211, 263, 269rat piece (Jones), 148, [373n20]
Raven, Arlene, [361n92]
Reality, notion of, 62–63
Redressive performance, 21, 30–46, 47, 48, 64, 95, 100, 132, 127, 137, 216, 238, 275, 348; antecedents of, 33; art performance and, 276, 277, 279; bona fide, 277; cultural hegemony and, 46; early strains of, 32–33; as emergency aid, 45; evaluation for, 31–32; feminists and, 37, 43, 61; focus of, 278–79; formalism and, 279; multiculturalism and, 33, 44–46; multiple forms of, 31; obsolescence of, 276; practitioners of, 50; recent strains of, 46; strategies, 38–39, 44
Reference, aesthetic of, 238
Ren-ai Butoh-Ha Teiso: Foundation of the Dance of Love (Hijikata), 320
Representation, 156; aesthetic, 73; cultural, 122; self-, 108, 147, 157; visual, 252
Reyes, Dagoberto, 143
Rilke, Rainer Maria, 349
Rimbaud, Arthur, 232
Ritual Meal (Smith), 39
Rocco, Raymond A., 13
Roden, Steve, xxviii, 274, 284, 287, 305–16, [385n2]; Husk and, 313, 317; Ippirati and, 315; Linglot and, 308, 309, 310, 311; live art and, 286; music by, 312, 313
Román, David, 190, 191, 203, [376n27]; on critics, 194; on theater studies/ performance, [357n35]
Rooney, Ellen, 113
Rosenthal, Rachel, xxvii, 22, 191; DbD work shops and, 25, 58; Death Show and, 39, [361n97]
Roth, Moira, 23, 33, 110; on amazing decade, 77; on feminist art movement, 79; Lacy and, 108; performance art and, [358n48]
Rowe, Karen, 124
Ruben Gallery, Kaprow at, 34
Sacred Naked Nature Girls (SNNG), 234,235–72, 244, 255; culture and, 271; ethnic/ artistic backgrounds of, 236, 265, 271; fantasies/fantasizers and, 254; feminist legends and, 270–71; flesh memory and, 270; memories of, 236, 240; nakedness and, 243, 252; nature and, 261, 271; optimism of, 269–70; phallic scenario and, 254; philosophy of, 237–38, 261; publicity photo of, 256, 258–59, 259,260; sacredness and, 241, 267, 268; sadomasochistic ritual and, 265; social vision of, 271; victimization and, 269; workshops by, 236
Sa-I-Gu,12
Saiki, Arnie, [389n62]
Salmon, André, 257
San Francisco Museum of Conceptual Art, Smith at, [373–74n29]
Säng, Christine, [380n76]
Santacangelo dei Teatri, 310
Santarromana, Joseph, [380n76]
Sartre, Jean-Paul, 34
Schiff, Gert, 258
Schiff, Robbin, 158
Schimmel, Paul, 84, [390n76]; on Burden, 54, [362n119]; feminism/ performance history and, 77; MOCA and, 78–79
Schneemann, Carolee, 77, 270, [373n25]; Dolan and, 252; flesh jubilation and, 258; Interior Scroll and, 268
Schneider, Rebecca, 201
Schor, Naomi, 113
Schumann, Peter, 142
Second Manifesto for the Theater of Cruelty (Artaud), 288–89
Second Sex, The (Beauvoir), 100
Self, 297; -critique, xx, 18–20, 46, 63, 109; determination, 46, 59, 69, 137, 146, 247, 252; embodied, 104; expanding, 116–18, 120–21; exposure of, 108, 151, 157–58; formation of, 116, 153; -identity, 109, 136, 145, 153, 195, 197, 198, 227, 250; knowledge of, 136, 137; multiple, 129; -naming, 92, 136–37; other and, 97, 105, 133, 182, 189; otherless, 116; repairing, 193; representation of, xxiv; sempiternal, 267; surrogate, 129
Self-definition, 70; cultural, 71, 75; group identification and, 130; master narratives of, 84
Selfhood, 99, 159, 230, [367n2]; his/her, 183; mutability and, 199
Self/other, 99, 100, 102, 104, 109, 129; assessing, 116–17; body/self and, 110
Self performance, 137, 157, 180, 190–91, 192, 200, 233; as activist event, 198; Arce and, 159; autobiographical, 145; conceptual performance and, 197; counterstrategies in, 182; as healing/community-building tool, 193–94; identity politics in, 45; life and, 193; locus of, 197; multicentric, 181–83, 191, 198–201, 203–9, 211–15,; 217–18, 220–22, 224–31; sheltered arena of, 195; as
― 405 ―temporary sanctuary, 197–98; witnessing, 194–95, 232. See also PerformanceSexuality, 213, 237, 249, 254; female, 163; gender and, 146, 248; masking, 342; reclaiming, 203, 204; theory of, 114
Shakespeare, William, 198, 230, 305, 306, 345; Mac Beth and, 342
Shapiro, Joel, [389n59]
Shapiro, Leo, 236
Shelton, Ron, 326
Signature, artistic, 282–83
Sim, Hannah, xxviii–xxix, 345, 347; alien body art and, 336; body's obsolescence and, [392n95]; Butoh and, 336–37; contortions by, 340, 342; evolution of, 341; experimental dance/theater and, 286; formal language of, 334–35; kinetic style of, 287, 336; Mac Beth and, 342, 344, 346, 347,[392n97]; mutations and, 274; osseus labyrint and, 285, 331, 335, 336, [391nn85], [89] (see also osseus labyrint); performance persona of, 341–42; THEM and, 332, 333, 334, 344; transformation by, 340
Singerman, Howard, 54
Skid Row, xxi, 11, 27, 66Skin (Arce), 153, 158, 159, 163, 164, 166, 167
Smith, Douglas D., 208
SNNG. See Sacred Naked Nature Girls
Something Wicked This Way Comes (osseus labyrint), 342
Song, Maggie, [387n25]
Song of Solomon, 124
Sonic Capsules: a concert of alphabets marking time (Cheng), [381n89]
South Central, 7, 11, 27, 285, 324; civil unrest in, 74–75 South of the Clouds, LAPD and, 142
Space, 278, 303; performance and, 54; time and, 54, 63, 183, 303, 304, 305
Spampinato, Denise, 67
Spirit Collector (Kelley), [366n39]
Starification Object Series (S.O.S.) (Wilke), 268
Steger, Mark, xxix, 334,347; alien body art and, 336; biological essays of, [353n1]; body's obsolescence and, [392n95]; Butoh and, 336–37; contortions by, 340; evolution of, 341; experimental dance theater and, 286; formal language of, 334–35; kinetic style of, 287, 336; Mac Beth and, 342, 344, 345, [392n97]; mutations and, 274; as organic machine, 342; osseus labyrint and, 285, 331, 335, 336 (see also osseus labyrint); performance persona of, 341–42; THEM and, 332, 333, 334; transformation by, 340
Steinberg, Roxanne, 28, 285, 328, 330, [385n3], [390n80]; Behind Eyeball and, [389n59]; Butoh and, 319; BWL and, 321; Oguri and Renzoku and, 328,[386n13]; study of, 286
Stephenson, Andrew, 243
Stereotypes, 125, 229, 254; counter, 217; gender, 262; juxtaposing, 262–64; Oriental, 217, 221; racial, 155, 218, 224; television and, 217; totalizing force of, 264
Stewart, Lindsay, [379n64]
Stiles, Kristine: on feminism/performance history, 77–78; Happenings and, 34; on performance, 17, 77, [357n38], [360n72]; on visual artists, 49
Stitches (Arce), 153, 154, 158, 159, 171; symbolism of, 160, 163, 164
Stretching My Skin Until It Rips Whole (Arce), 145, 152, 164, 168, 169, 170
Subject: marginalized/anomalous, 240; -inprogress, 196, [377n42]; -in-performance, 197; self-referential, 20
Subjectivity, 5, 30, 63, 86, 103, 254; artistic, 37, 53, 108, 109, [367n2]; centricity and, 131; deficiency of, 62; enactment of, 20; female, 146; fragments of, 249; multicentricity and, 62; particular/exemplary, 95; subaltern, 70; tactical, 196, [377n42]
Suffrage movement, 124
Suicide (Klick), 39
“Sunshine and Noir: Art in L.A. 1960–1977” (exhibition), 12
Sunshine Mission/Casa de Rosas, 285
Swimming (Lacy), 108
Tanaka, Min, 320, 321, [389n63], [390nn66], [76]; body weather and, 322; BWL and, 286; the stream of consciousness and, [386n13]
Tayer, Alfaro and, 199
Taylor, Diana, 165, 194, [372n3]; on transcultur ation, 140, 141Tearsheets (Hotchkis), 207–8, 210,[379n64]
Technology, 120, 342; anthropocentric, 212; body, performance, and, xxix, 287, 302; cyber-, 29; mechanical reproduction, 281
Temporary Contemporary, 66
Theater: as art, 50; entertainment and, 50–51; performance and, 48, 51, 55, 57, 58, 60, 277–84; simulation and, 51–52; Third, 286; as time-serving form, 52
Theater of cruelty, 283
“Theater or Performance, What's the Difference?” (symposium), 48
Theatricality, 53, 89, 277–84, 300; aesthetic possibilities for, 278; art performance and, 280, 284; avoiding, 50; circulation of, 280; global body of, 279, 280; ontology of, xxviii–xxix; presentation and, 278; suspicion about, 48–50, 58
THEM (osseus labyrint), 332–33, 334–35, 340,343, [391n85]; circumstantial drama of, 338–39; exit of, 341; mutation and, 339; performance site for, 332; pre-text for, 338
the stream of consciousness (Oguri and Renzoku), 319, 324, 325,[386n13], [389n62]
Third World, [372n3]; culture, First World culture and, 140; feminists, 166
Three Weeks in May: A Political Art Perfor mance (Lacy), 117–18, 120, 269
Time, 278; action and, 54; misplacement, 312; Other and, 112; space and, 54, 63, 91, 193, 303, 304, 305
Tom, Lauren, [380n76]
Tonelli, Edith, 123
Topel, Natalie, [380n76]
Tourism, 172
Tragedy of Macbeth, The (osseus labyrint), 342, 343, 347,[392nn97], [99]; Transculturation, xxviii, 146, 159–60; Arce and, 145, 147, 163; interculturalism and, 140; mandatory process of, 141
Transformation, 75–76, 203, 303, 340; cultural, xxvii, 176, 177
Tsunoda, Asako: the stream of consciousness and, [389n62]
Tu-2, [379n64]
Turner, Victor, 52
Two Undiscovered Amerindians Visit (Fusco and Gómez-Peña), 154, 155, 157
Ulay. See Laysiepen, Uwe
Under My Skin: A True-Life Story (Lacy), 106
Uniqueness, permanence and, 282
Unmarked: The Politics of Performance (Phelan), 156, 245, 246
Unsex Me Here (osseus labyrint), 342
Unstoppable Force vs. Immovable Object (Kelley), 83
Untitled (Edge Painting) (Francis), 1, 2,249–51, [354n1]; centricity and, 5, 7, 12, 15–16, 19; composition of, 3; multicentricity and, 15–16; paradox of, 6; re-scanning, 6–8; as structural model, 3–4; structural nonequivalence of, 8; subjectivity of, 5
Untitled Flesh (SNGG), xxviii, 244,251, 255,266, 272; common place of, 264; described, 247–48, 261; nakedness in, 243; Nature and, 271; performance of, 236, 269, [382n5]; sacredness and, 268; stage of, 255; victimization in, 265
Uyehara, Denise, 198, 199, 221–26, 262, [377n47], [381n4], [380n79]; character portrayals by, 224; Headless Turtleneck Relatives and, 221–22, 223,224–26; internalized nakedness and, 263; sadomasochistic ritual of, 264, 265; SNNG and, xxviii, 236, 259; TWERPS and, 195; Untitled Flesh and, 255, 261
Veitch, John M., 8
Versel, Lauren, 294
Viennese Aktionists, 78
Visibility, 246, 247, 254, [361n96]; archaeology of, 251–52; representational, 245
Visual art, 91; other and, 49; performance and, xxiii, 17, 49, 52, 61, [357n38]
Walker, Alice, 124
Wallensboyd, 25
Watts Tower Art Center, 27
Weigel, Helene, 41
We Keep Our Victims Ready (Finley), 243
Went, Johanna, xxviii, 285, 289–305, 293, 302; on affection for objects, 294; Alchemy of Monsters and, 291,[387n25]; art of, 289–97, 299–305; body gestures of, 287; costumes of, 294, 303; on dreamscape, 297; entropy and, 305; grotesque of, 296, 300, 302–3; monsters and, 292, 303, 304; naive freedom for, 293
White, Diana, 27
Wiener Aktionismus, 78
Wilde, Oscar, 251
Wilding, Faith, 38
Williams, Cheryl, 118
Williams, Kevin, 143
Williams, Linda, 254
Williams, Raymond, [356n24]
Wilson, Robert, 71
Womanhouse, 24, 78, [359n54], [361n91]; re-created rooms at, 37–38; Schiff and, 158
Woman's Building, 24, 32, 41, 78, 117; “Eye on Art” series at, 294; Lacy at, 112; as redressive institution, 38
Women: artists and, 252; as artists, 29, 37, 77; bonding among, 249; of color, 137; culture of, 117, 270; naked, 253; symbolic redemption of, 96; victimization and, 263
Woods, James, 121
Woof (osseus labyrint), 338
Wrate, Jeanette, [380n76]
Wright, Alex, 25