The internet can be a crucible for both cruelty and the complexities of trying to counter it. What if we let the heroes stay dead?
Attendants first thought the snooze was part of the performance, until they heard the artist audibly snore.
Abramović is auctioning two opportunities to restage “The Artist Is Present,” with all funds going to a nonprofit assisting in aid efforts.
Abramović’s interests lie more with perpetuating herself as a product than with what she actually expresses through her art.
The emergence of spiritual circles online in the face of COVID-19 strikes me as the opposite of viral — a place to be still in the face of viral turbulence on the streets and in the air, and viral turbulence on social media and the broader internet.
Artistic allusions to rising waters can be found across the Venice Biennale this year, and they strike home with a particular power given the ongoing destruction of the natural world.
An unholy alliance has formed between Catholics protesting debunked conspiracy theories linking Abramović to Satanism, and the Polish dance community, who have been complaining of mistreatment and unfair wages leading up to her career retrospective The Cleaner.
Tonight’s episode, “Waiting for the Artist,” is the perfect introduction to this odd and wonderful show.
Heather Rose’s novel The Museum of Modern Love takes the events of Abramović’s The Artist Is Present to show how art influences our lives, but in many ways, the writing leaves the reader with a sense of dissatisfaction.
Abramović was leaving a book-signing event when her assailant approached with a self-made portrait of the performance artist, suddenly smashing it over her head.
The Serbian performance artist reimagines The Ugly Duckling, the classic children’s book by Hans Christian Andersen.
Marina Abramović responds to a New York Post story questioning what she has done with the $2.2M she raised to build her institute.