Related
Scratching Both Walls at Once
In Scratching Both Walls at Once, Rebecca Horn extends her “Finger Gloves,” creating longer versions to scratch the walls of her studio while walking. The performance, filmed by Horn, explores the relationship between body and space, continuing her evolving “Personal Art” series.
Museum Highlights: A Gallery Talk
Museum Highlights: A Gallery Talk is a video where Andrea Fraser, in the role of fictional docent Jane Castleton, leads a satirical tour of the Philadelphia Museum of Art. The performance critiques museum values, taste, and class, drawing attention to institutional ideologies and assumptions.
Strategies for Leaving and Arriving Home
Strategies for Leaving and Arriving Home was a six-week, 880 km performative walk from Melbourne to Sydney. Walking alone with minimal supplies, she documented interactions, support, and reflections, exploring vulnerability and relational experiences along the journey.
Related
Scratching Both Walls at Once
In Scratching Both Walls at Once, Rebecca Horn extends her “Finger Gloves,” creating longer versions to scratch the walls of her studio while walking. The performance, filmed by Horn, explores the relationship between body and space, continuing her evolving “Personal Art” series.
Museum Highlights: A Gallery Talk
Museum Highlights: A Gallery Talk is a video where Andrea Fraser, in the role of fictional docent Jane Castleton, leads a satirical tour of the Philadelphia Museum of Art. The performance critiques museum values, taste, and class, drawing attention to institutional ideologies and assumptions.
Strategies for Leaving and Arriving Home
Strategies for Leaving and Arriving Home was a six-week, 880 km performative walk from Melbourne to Sydney. Walking alone with minimal supplies, she documented interactions, support, and reflections, exploring vulnerability and relational experiences along the journey.
Nauman focuses his video camera down the length of a long, twenty-inch corridor, which he built in his Southampton studio expressly as a prop for the videotape. With his hands clasped behind his neck and swinging his hips, he animates a classic contrapposto pose as he walks up and down the length of the corridor. "The camera was placed so that the walls came in at either side of the screen," he explained. "You couldn't see the rest of the studio, and my head was cut off most of the time. … In most of the pieces I made [in 1969] you could see only the back of my head, pictures from the back or from the top."
_
Information sourced from the Electronic Arts Intermix website.
Credits
This title is available for exhibitions, screenings, and institutional use through Electronic Arts Intermix (EAI), NY. Please visit the EAI Online Catalogue for further information about this artist and work.

You must be logged in to post a comment.