In Brian O’Doherty’s Inside the White Cube, the ideology of the Gallery Space he discusses the laws of the white cube and their affectivity. Just by its very presence this exhibit reminds us the intrinsical link between art and theatre and reminds us of the place performance has in the gallery. [1] This consequently determines the sense of interaction between performer and spectator. Interestingly, at least in the languages I know, when one talks about alphabetization there is always the mention of reading and writing, in that order. O’Doherty’s book offers a critique of this distinction, and his essays have often been seen as a turning point in artistic-theoretical perception—from plane to space, and from work to context. This was all to “take audience out of the habitual, to close out their jumble of thoughts and to tune them into a new relation.”[37] She wanted our minds to become still for us to really concentrate on the “here and now”[38]. 1 He declared that he was not capable of accompanying them on these visits—he had experienced the destruction firsthand and saw no need to inspect the damage himself. Kathy O’Dell believes that the audience always enters into a contract with the artist in performance art especially with regards to masochistic work. With an emphasis on colour and light, artists from groups like De Stijl and the Bauhaus preferred to exhibit their works against white walls in order to minimise distraction. O’Doherty was the first author to diagnose a crisis in European and American art of the post-war era, related to particular developments in the functioning of museums and commercial galleries. F. Barber describes how she and her friend jumped up and down on Carl Andre’s 144 Magnesium Square at the Tate and how she likes to think their interaction “still endures, marked indelibly on its tiled surface”. ( Log Out / The timelessness of the white cube turns the gallery space into a limbo, which is no place for a living being, argues O’Doherty, but for the disembodied eye and pure intelligence. A follow up exhibition was created of the documentary information of the whole show. Lately, the concept of “knowledge production” has drawn new attention and prompted strong criticism within art discourse. We do not use all our senses to attach meanings in our minds of the emotional and physical display before us. Abramovic believes that in this work the “object removed between the viewer and performer, so there’s just a direct transmission of energy”[32]. According to Adrian Heathfield, the future of art is not with the object but with the public, concluding with relation to performance that “replaced or qualified the material object with a temporal act”[12]. O’Doherty thus reminds us that galleries are shops—spaces for producing surplus value, not use value—and as such, the modern gallery employs the formula of the white cube for an architectonics of transcendence in which the specificities of time and of place are replaced by the eternal. Since the 1960s he has worked as a critic and editor in various media, from The New York Times, Aspen and Art in America, to NBC. Whilst the photograph as document only exists in relation to a live event, that live event only continues to exist and embody meaning in relation to its documentation. It is only through the apparent neutrality of appearing outside of daily life and politics that the works within the white cube can appear to be self-contained—only by being freed from historical time can they attain their aura of timelessness. Naturally, O’Doherty was writing not only within the specific context of post-minimalism and conceptual art of the 1970s, but also from the point of view of artistic practice. [15] Wilson, Richard, Theatres and Staging, The Open University Press, 1977, p. 45. The document returns the performance to the object, which we interpret in a different way. * dale Coles. Ideologically speaking, this prioritized order not only reflects the division between production and consumption, but subliminally emphasizes the latter: ignorance is shown... → Continued from issue #2: Maybe it would be better if we worked in groups of three? This hour was necessary to turn upside down spectator’s usual viewing habits in the white cube gallery. However, this object gives performance art a continued home in the gallery walls preventing the various actions from being forgotten. Change ), You are commenting using your Twitter account. She believes it was easier for the performance work to function in this empty gallery space. The Live essentially holds no physical entity and its only remaining form is in the memory of the artist and audience. The ideal form of the white cube that modernism developed for the gallery space is inseparable from the artworks exhibited inside it. She even gave us portable chairs to recreate the relationship between seated spectator and the stage. The last essay in this collection, “The Gallery as Gesture” discusses various manipulations of the gallery space – gestures that take over the entire gallery to comment both on the art within the gallery and on the wider context – street, city, money, business – for which the gallery itself is the content. In spite of these changes, however, the text not only marks a beginning, an end, or a part of a history, but is equally relevant today as part of a continuous debate—an ongoing struggle, if you will. “Each of the individuals involved, therefore, agreed to facit of specified terms of ‘contract’ with the artist.”[35] The artist and audience both play out their prescribed roles in the exchange of performance and response. He was the director of the Overgaden Institute for Contemporary Art in Copenhagen from 1999 to 2002 and a curator at NIFCA, Helsinki, from 2003 to 2004. The exhibit also “sought to clarify performativity within art has lately been attended by a modulated definition of theatre – toward putting the viewer on stage.”[23] As the structures physically and mentally change when performance enters the realm of the gallery we will have to understand how the art functions as the viewer shares the space with the performer. Analyzing the function of the white cube, O’Doherty looks into the transformation of Western easel painting, which took place in the 19 th and early 20 th centuries, and the related problem of exhibiting art in a gallery. How to stop time and to put a frame around the dynamic effects of such a fragile material the traces of which will be erased the moment the artist goes home?”[46]. Like some kind of a sacred space, the white cube removes the artwork from any aesthetic or historical context. An investigation of a live performance is going to describe the enhanced sense of interaction between viewer and performer, as each being shares both the meaning of and the role of the performance itself. Performance art is not fully comfortable within the restraints of the gallery walls. 311-320, 10.1037/a0036847 [9] Brian O’Doherty discusses the viewer’s negotiation of the painting and of the object but to analyse the place of performance art in the gallery we need to explore how the viewer negotiates the physicality of the human form.
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