This thesis examines the performance art of Serbian artist Marina Abramović from 2010 to today following her emergence into mainstream media with the success of her performance The Artist Is Present (2010). This thesis investigates Abramović’s approach to performance and how the roles of artist and viewer change in face of increased fame, documentation, and age. The thesis argues that as Abramović ages, she is becoming increasingly preoccupied with her fame and with securing her legacy and that this concern is reflected by her increased documentation and self-promotion, as well as her interest in transitioning into the role of teacher rather than artist. This thesis ends with an optimistic look at the opening of The Marina Abramović Institute in late 2015 as a new type of institute in which Abramović's presence and legacy will be mediated not through the static and limited representation of photographs and relics but by the experiences and actions of the visitors themselves.
| Identifer | oai:union.ndltd.org:uoregon.edu/oai:scholarsbank.uoregon.edu:1794/19296 |
| Date | 18 August 2015 |
| Creators | Parry, Caroline |
| Contributors | Mondloch, Kate |
| Publisher | University of Oregon |
| Source Sets | University of Oregon |
| Language | en_US |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Rights | Creative Commons BY 4.0-US |
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