Beschreibung:

Marina Abramovic (b. 1946)
Marina Abramovic (b. 1946) The Complete Performances 1973-1975 Art Must Be Beautiful, Artist Must Be Beautiful (i) framed resin coated matte black and white photograph (ii) framed inset letterpress panel (i) 29 ¾ x 39 ½ in. (75.5 x 100.3 cm.) (ii) 10 ¼ x 7 ¼ in. (26 x 18.4 cm.) Performed in 1975 and published in 1994. This work is number three from an edition of sixteen plus three artist’s proofs. Exhibited: Oxford, Museum of Modern Art; Edinburgh, Fruitmarket Gallery; Dublin, Irish Museum of Modern Art; Odense, Kunsthallen Brandts Klaedefabrik; Munich, Villa Stuck; Ghent, Museum van Hedendaagse Kunst and Lyon, Musée d’Art Contemporain, Marina Abramovic: objects, performance, video, sound , April 1995-February 1997, p. 15 (another example exhibited and performance illustrated). New York, Pat Hearn Gallery, Pat Hearn Gallery: Part 2 (1988-1994) , February-March 2001 (another example exhibited). Long Island City, Dorsky Gallery Curatorial Programs, Witness: Theories of Seduction , February-April 2003 (another example exhibited). Vienna, Secession, Belgrade Art Inc , July-September 2004 (another example exhibited). New York, Cheim and Read, The Female Gaze: Women Look at Women , June-September 2009 (another example exhibited). New York, The Museum of Modern Art, Marina Abramovic: The Artist Is Present , March-May 2010, pp. 80-81 (another example exhibited and performance illustrated). Atlanta, SCAD Atlanta, Marina Abramovic , October-November 2011 (another example exhibited). Auckland, Trish Clark Gallery, Re:Vision , April-June 2014 (another example exhibited). Literature: F. Meschede, Marina Abramovic , Berlin, 1993, pp. 98-101 (performance illustrated). M. Dawes, “Performance Art: Spectacle of the Body,” Circa , 1996, pp. 26-29 (performance illustrated). K. Henderson and A. Woods, “Marina Abramovic: Objects Performance Video Sound,” Transcript 3, 1997, pp. 6-26 (performance illustrated). M. Abramovic, et al., Marina Abramovic, Artist Body , Milan, 1998, pp. 106-111 (performance illustrated). M. Abramovic, Marina Abramovic : The Bridge = El Puente , Valencia, 1998, pp. 152-153 (performance illustrated). K. Biesenbach, Video Acts: Single Channel Works from the Collections of Pamela and Richard Kramlich and New Art Trust , New York: PS.1 Contemporary Art Center, 2002, p. 32-35 (performance illustrated on the cover). R. Smith “Video, in Its Infancy, Had to Crawl Before It Could Walk,” The New York Times , 24 January 2003, p. E39 (performance illustrated). L. Anderson, “Marina Abramovic,” Bomb , summer 2003, pp. 24-31 (performance illustrated). D. Djuric and M. Suvakovic, eds., Impossible Histories: Historical Avant-Gardes, Neoavant-gardes, and Post-avant-gardes in Yugoslavia, 1918-1991 , Cambridge, 2003, p. 286 (performance illustrated). K. Larson, “Reviews: Take Two. Worlds and Views: Contemporary Art from the Collection,” ARTnews 104, no. 10, November 2005, pp. 176-177 (performance illustrated). S. López, A Short History of Dutch Video Art , Amsterdam, 2005, p. 26 (performance illustrated). C. Butler, WACK! Art and the Feminist Revolution , Los Angeles: The Museum of Contemporary Art, 2007, pp. 23-73 (performance illustrated). Freeing the Body (i) framed resin coated matte black and white photograph (ii) framed inset letterpress panel (i) 29 ¾ x 39 ½ in. (75.5 x 100.3 cm.) (ii) 10 ¼ x 7 ¼ in. (26 x 18.4 cm.) Performed in 1975 and published in 1994. This work is number three from an edition of sixteen plus three artist’s proofs. Exhibited: Oxford, Museum of Modern Art; Edinburgh, Fruitmarket Gallery; Dublin, Irish Museum of Modern Art; Odense, Kunsthallen Brandts Klaedefabrik; Munich, Villa Stuck; Ghent, Museum van Hedendaagse Kunst and Lyon, Musée d’Art Contemporain, Marina Abramovic: objects, performance, video, sound , April 1995-February 1997, p. 53 (another example exhibited and performance illustrated). Oslo, The National Museum of Contemporary Art, Marina Abramovic: Cleaning the Mirror: Art in Context , March-June 20