Since the early 1970s, Marina Abramovic (b. 1946) has pioneered the use of performance as a visual art form, exploring her physical and emotional limits in some of the most iconic works in contemporary art. Her body is her primary subject and medium, and she has withstood pain, exhaustion, and danger in her ongoing quest for emotional and spiritual transformation. As a vital member of the generation of pioneering performance artists that includes Bruce Nauman, Vito Acconci, and Chris Burden, Abramovic created some of the most historic early performance pieces. Of these artists, she is the only one still making important durational works. Abramovic features prominently in virtually every survey published on performance art, and her works are held in the permanent collections of many of the world's top museums, including the Musee Nationale d'Art Moderne, Centre Pompidou, Paris; the Stedelijk Museum, Amsterdam; and the Museum of Modern Art, New York. In November 2005 at New York's Guggenheim Museum, Abramovic staged a landmark weeklong series of performances entitled Seven Easy Pieces. Her twelve-day 'living installation', The House with the Ocean View was on numerous critics' lists as the best exhibition of 2002, and she was awarded the Golden Lion at the 1997 Venice Biennale for her video installation/performance Balkan Baroque.

Marina Abramovic (Phaidon Contemporary Artists Series)

Marina Abramović

Chrissie Iles

Kristine Stiles

Klaus Biesenbach

Arts & Photography

Phaidon Press

Catalog for Oct 15, 1999-Jan 9, 2000 exhibition. 180p. Measures 9x11 inches. Articles include "Seeing in Real Time" by David A. Ross, "Time, Perception, and Sight" by Robert R. Riley, "Reimaging the Archive: Art, Technology, and Cultural Memory" by Marita Sturken and "The Formation of a Collection" by Thea Westreice. Plates (with essays by Chrissie Iles) include the work of Marcel Broodthaers, Jane and Louise Wilson, Thomas Struth, Bill Viola, Bruce Nauman, Vito Acconci, Matthew Barney and others.

Seeing Time: Selections from the Pamela and Richard Kramlich Collection of Media Art

Robert R. Riley

Marita Sturken

Thea Westreich

Photography & Video

San Francisco Museum of Modern Art

Yoko Ono : Have You Seen the Horizon Lately?

Cornerhouse Publications

Marina Abramovic. [Katalog zur Ausstellung im Museum Villa Stuck München vom 8. Febr. - 8. April 1996].

Jo-Anne Birnie Danzker

Museum Villa Stuck, München

For 12 days in November 2002, Marina Abramovic lived on three open platforms in the Sean Kelly Gallery in New York. She did not eat or speak, nor did have any privacy: the rooms were open and spectators were even invited to observe the artist through a high-powered telescope. She had no escape: the ladders leaning against bedroom, sitting room and bathroom had rungs made of large butcher knives. Throughout her 30-year career, Abramovic has used her body as her primary material, pushing it to extremes of altered consciousness, often putting herself in great physical peril. Her concern with creating works that ritualize the simple actions of everyday life like lying, sitting, dreaming and thinking focuses, in effect, on the manifestation of a unique mental state. In one early solo performances, the artist announced that she would be a passive object for six hours and laid out 72 items spectators could use on her, including a loaded gun. A fight broke out when someone tried to use it. Beginning in the late 70s, she and her then partner Ulay collaborated on now classic performances in which they crawled on their stomachs with a python that hadn't eaten in two weeks; collided with each other, naked, at top speed; sat motionless for seven hours at either end of a long table, trying not even to blink; and, most famously and difficultly, crossed the Great Wall of China, starting at opposite ends and walking until they met in the middle. Abramovic thought The House With the Ocean View would be most like walking this last piece, so she mounted the platforms at Sean Kelly Gallery clad in the old hiking boots she wore in China. This volume presents documentation of The House With the Ocean View, Abramovic's most important performance work to date, alongside essays by the artist, her gallerist Sean Kelly, art historian Thomas McEvilley, curator Chrissie Iles, and others. Published in conjunction with the Sean Kelly Gallery

Marina Abramovic: The House With the Ocean View

Thomas McEvilley

Sean Kelly

Individual Artists

Charta

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Books by Chrissie Iles