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This book is the first and only comprehensive monograph of the revolutionary performance artist Marina Abramovic, and thus is an invaluable contribution to our understanding of the art of the last three decades. All of Abramovic's performance works from 1969 to the present time are documented in this volume by means of numerous photographs, illustrations, descriptions, and transcriptions. Comments by audience members during performances have been recorded, discussions with the artist are included, and a substantial text by a host of critics has been assembled. The artist's chronological trajectory from formal art studies in Yugoslavia to work in sound environments, video installation, and performance based around the body is followed with scrutiny. The book is a major event for this provocative performer-artist, and features essays from such notables as the curators Hans Ulrich Obrist and Chrissie lles, the critics Thomas McEvilley and Bojana Pejic, and many others.

Text: German, English (translation)

For 12 days in November 2002, Marina Abramovic lived on three open platforms in the Sean Kelly Gallery in New York. She did not eat or speak, nor did have any privacy: the rooms were open and spectators were even invited to observe the artist through a high-powered telescope. She had no escape: the ladders leaning against bedroom, sitting room and bathroom had rungs made of large butcher knives. Throughout her 30-year career, Abramovic has used her body as her primary material, pushing it to extremes of altered consciousness, often putting herself in great physical peril. Her concern with creating works that ritualize the simple actions of everyday life like lying, sitting, dreaming and thinking focuses, in effect, on the manifestation of a unique mental state. In one early solo performances, the artist announced that she would be a passive object for six hours and laid out 72 items spectators could use on her, including a loaded gun. A fight broke out when someone tried to use it. Beginning in the late 70s, she and her then partner Ulay collaborated on now classic performances in which they crawled on their stomachs with a python that hadn't eaten in two weeks; collided with each other, naked, at top speed; sat motionless for seven hours at either end of a long table, trying not even to blink; and, most famously and difficultly, crossed the Great Wall of China, starting at opposite ends and walking until they met in the middle. Abramovic thought The House With the Ocean View would be most like walking this last piece, so she mounted the platforms at Sean Kelly Gallery clad in the old hiking boots she wore in China.This volume presents documentation of The House With the Ocean View, Abramovic's most important performance work to date, alongside essays by the artist, her gallerist Sean Kelly, art historian Thomas McEvilley, curator Chrissie Iles, and others. Published in conjunction with the Sean Kelly Gallery

For 12 days in November 2002, Marina Abramovic lived on three open platforms in the Sean Kelly Gallery in New York. She did not eat or speak, nor did have any privacy: the rooms were open and spectators were even invited to observe the artist through a high-powered telescope. She had no escape: the ladders leaning against bedroom, sitting room and bathroom had rungs made of large butcher knives. Throughout her 30-year career, Abramovic has used her body as her primary material, pushing it to extremes of altered consciousness, often putting herself in great physical peril. Her concern with creating works that ritualize the simple actions of everyday life like lying, sitting, dreaming and thinking focuses, in effect, on the manifestation of a unique mental state. In one early solo performances, the artist announced that she would be a passive object for six hours and laid out 72 items spectators could use on her, including a loaded gun. A fight broke out when someone tried to use it. Beginning in the late 70s, she and her then partner Ulay collaborated on now classic performances in which they crawled on their stomachs with a python that hadn't eaten in two weeks; collided with each other, naked, at top speed; sat motionless for seven hours at either end of a long table, trying not even to blink; and, most famously and difficultly, crossed the Great Wall of China, starting at opposite ends and walking until they met in the middle. Abramovic thought The House With the Ocean View would be most like walking this last piece, so she mounted the platforms at Sean Kelly Gallery clad in the old hiking boots she wore in China.This volume presents documentation of The House With the Ocean View, Abramovic's most important performance work to date, alongside essays by the artist, her gallerist Sean Kelly, art historian Thomas McEvilley, curator Chrissie Iles, and others. Published in conjunction with the Sean Kelly Gallery

Marina Abramovic was a pioneer in the use of performance art as a visual art form. The body has always been both her subject and medium. Exploring the physical and mental limits of her being, she has withstood pain, exhaustion, and danger in the quest for emotional and spiritual transformation. This volume documents Abramovic's Balkan series of video installations and performances created in the period from 1997 to 2005. The works confront us with the gaps between hope and total destruction, with heroism, idealistic passion, human warmth, and almost unbearable static situations. In her latest work, Balkan Erotic Epic, Abramovic creates new, surprising perspectives on archaic rituals that used erotic powers to influence fate and fortune. These powerful images talk to us about the disavowal of ancient practices, and about something buried deep in our consciousness.

The performances of Marina Abramovic (born 1946) have pushed the boundaries of self-discovery for both artist and audience, marking radical engagements with time, stillness, energy and pain―from Rhythm 0 (1974), in which the artist offered herself up as an object of violent experimentation for the audience, to The Artist Is Present (2010), a performance with a three-month duration.These groundbreaking performances often began their life as drawings and notes, an aspect of the artist's work that has previously been overlooked. Marina Abramovic: Drawings 1963–2017 presents more than 50 years of drawings, sketches, thoughts, dreams and ideas produced in the artist's hand, offering intimate insights into Abramovic's methods, processes and ideas.

Since the early 1970s, Marina Abramovic (b. 1946) has pioneered the use of performance as a visual art form, exploring her physical and emotional limits in some of the most iconic works in contemporary art. Her body is her primary subject and medium, and she has withstood pain, exhaustion, and danger in her ongoing quest for emotional and spiritual transformation. As a vital member of the generation of pioneering performance artists that includes Bruce Nauman, Vito Acconci, and Chris Burden, Abramovic created some of the most historic early performance pieces. Of these artists, she is the only one still making important durational works.Abramovic features prominently in virtually every survey published on performance art, and her works are held in the permanent collections of many of the world's top museums, including the Musee Nationale d'Art Moderne, Centre Pompidou, Paris; the Stedelijk Museum, Amsterdam; and the Museum of Modern Art, New York. In November 2005 at New York's Guggenheim Museum, Abramovic staged a landmark weeklong series of performances entitled Seven Easy Pieces. Her twelve-day 'living installation', The House with the Ocean View was on numerous critics' lists as the best exhibition of 2002, and she was awarded the Golden Lion at the 1997 Venice Biennale for her video installation/performance Balkan Baroque.

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This book is the first and only comprehensive monograph of the revolutionary performance artist Marina Abramovic, and thus is an invaluable contribution to our understanding of the art of the last three decades. All of Abramovic's performance works from 1969 to the present time are documented in this volume by means of numerous photographs, illustrations, descriptions, and transcriptions. Comments by audience members during performances have been recorded, discussions with the artist are included, and a substantial text by a host of critics has been assembled. The artist's chronological trajectory from formal art studies in Yugoslavia to work in sound environments, video installation, and performance based around the body is followed with scrutiny. The book is a major event for this provocative performer-artist, and features essays from such notables as the curators Hans Ulrich Obrist and Chrissie lles, the critics Thomas McEvilley and Bojana Pejic, and many others.

Since the beginning of her career, in Belgrade in the late 1960s, Marina Abramovic has been a pioneer of performance art, creating some of the most important works in the field. Marina Abramovic: The Artist Is Present accompanies an exhibition at The Museum of Modern Art that documents approximately 50 of the artist's ephemeral time- and media-based works from throughout her career. The book also discusses a unique element of the Museum's retrospective, live performance: a new work created for the occasion, and performed by Abramovic herself; and re-creations of the artist's works by other performers―the first such to be undertaken in a museum setting. The book spans over four decades of Abramovic's early interventions and sound pieces, video works, installations, photographs, solo performances and collaborative performances made with the Dutch artist Ulay (Uwe Laysiepen). Essays by Klaus Biesenbach, Chief Curator of Media and performance art at MoMA, and four distinguished scholars examine Abramovic's ideas of time, duration and the reperformance of performance art as a way to extend it into posterity. The Artist Is Present also includes a CD with audio commentary by the artist that guides the reader through the publication. The artist is present not only in the exhibition but also in the experience of the book.Born in Belgrade just after the end of the Second World War, Marina Abramovic was raised in the Serbian Orthodox Church (her great uncle was a Patriarch and a canonized saint in the Church) and left Yugoslavia in 1976, having already established herself as a performance artist, living in Amsterdam and eventually New York, where she presently lives.

Marina Abramovic: Writings 1960–2014 compiles the artist's colossal archive of handwritten and typed notes, diary entries, poems, accounts of dreams, travel descriptions, letters, performance instructions, stories, concepts and various collections of documents―all of these disparate materials have been collated, catalogued and contextualized for the first time in this publication. Known primarily for her radical performances and for reaching a broad public with her immaterial art during her more than 50-year career, Abramovic (born 1946) offers a vast contextual backdrop for these works in this collection of writings.

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Since the beginning of her career, in Belgrade in the late 1960s, Marina Abramovic has been a pioneer of performance art, creating some of the most important works in the field. Marina Abramovic: The Artist Is Present accompanies an exhibition at The Museum of Modern Art that documents approximately 50 of the artist's ephemeral time- and media-based works from throughout her career. The book also discusses a unique element of the Museum's retrospective, live performance: a new work created for the occasion, and performed by Abramovic herself; and re-creations of the artist's works by other performers―the first such to be undertaken in a museum setting. The book spans over four decades of Abramovic's early interventions and sound pieces, video works, installations, photographs, solo performances and collaborative performances made with the Dutch artist Ulay (Uwe Laysiepen). Essays by Klaus Biesenbach, Chief Curator of Media and performance art at MoMA, and four distinguished scholars examine Abramovic's ideas of time, duration and the reperformance of performance art as a way to extend it into posterity. The Artist Is Present also includes a CD with audio commentary by the artist that guides the reader through the publication. The artist is present not only in the exhibition but also in the experience of the book.Born in Belgrade just after the end of the Second World War, Marina Abramovic was raised in the Serbian Orthodox Church (her great uncle was a Patriarch and a canonized saint in the Church) and left Yugoslavia in 1976, having already established herself as a performance artist, living in Amsterdam and eventually New York, where she presently lives.

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At once radical, controversial and revered, Marina Abramovic is the progenitor of contemporary performance artAt once radical, controversial and revered, Marina Abramovic is one of the most discussed artists today. Famous for her groundbreaking performance works, she continues to expand the boundaries of art. This publication, accompanying her first major retrospective in Europe, gives an extensive overview of her work from the earliest years until today: film, photography, paintings and objects, installations and archival material.Since the early 1970s Abramovic has explored the intersection between performing and visual art in her work and, though rarely overtly political, posed questions of power and hierarchy. In addressing fundamental issues of our existence and seeking the core of such notions as loss, memory, pain endurance and trust, she both provokes and moves.

Cards. A unique, boxed set of 30 instruction cards by Marina Abramovic to teach you this legend of performance art's method for reaching a higher consciousness and confronting life's challenges. Using exercises Marina Abramovic has developed for herself to prepare for her incredible performance works, the Method will help you focus, reconnect with the present, and locate your highest creative potential. The Abramovic Method will surmount any creative barrier and refocus your life. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

The Kitchen: Homage to Saint Therese is a set of portrait photographs and videos of the “grandmother of performance art,” Marina Abramovic (born 1946). Shot in the abandoned space of a kitchen where Carthusian nuns had once fed more than 8,000 orphans, Abramovic is here seen cooking and meditating. Referencing Renaissance painting and the writings of Saint Therese of Ávila, in which the sixteenth-century nun describes her experiences of mystical levitation in church and kitchen, The Kitchen is equally an autobiographical work. “In my childhood,” Abramovic explains, “the kitchen of my grandmother was the center of my world [...] all my best memories come from there.” Accompanying this book’s images is a series of the artist’s own spiritual recipes: a series of haikus, prayers and mantras to liberate the mind from the confused flow of thinking.

240 pages. 8.27x5.83x0.79 inches. In Stock.

Item in very good condition! Textbooks may not include supplemental items i.e. CDs, access codes etc.