Meant to coincide with the inclusion of performance art into the Royal Academy Summer Exhibition earlier this year, How can performance art be collected, preserved, displayed and sold? is an hour long plus podcast that explores the issue in a fair-handed way without providing a definite answer. It is also a part of their Provocation in Art series.
It's a fascinating discussion involving Brian Catling, Pablo Bronstein, Tate Senior Curator Catherine Wood, and Dr Jen Harvie.
Two interesting points, the first one being the Chrissie Iles quote, about there being no such thing as performance art, only artists making a performance. The second one was the contrast between Catling's and Bronstein's respective approach to their work (or art, if you like), and how that ends up informing their perspective on documentation. Catling, having decided early on that he would not be making money off his art, appears to treat each piece as an artistic stepping stone; Bronstein must consider the 'image economy' of the art world and how best to navigate it (see how well he chooses what he says?).
This last point may prove pertinent for a blog like this that purports to provide an overview of the work of an artist that is essentially out of the bounds of what can be documented. To use the Pirsig analogy, it's like freight cars of Static Quality, when the real work -dynamic, without form and at the meeting between subject and object, the performance, as it were- is happening at a point ahead of the nose of the train. Snatching at shadows comes to mind, or the wisps of vapour from the train chimney. Ho hum.
Jump ahead to the first question, at 7:24.