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In lieu of an abstract, here is a brief excerpt of the content: Camera Obscura 18.2 (2003) 98-117 Marina Abramovic's Performance: Stresses on the Body and Psyche in Installation Art Click for larger view Figure 1 'Dissolution.' Courtesy Marina Abramovic' [End Page 98] Among the most prolific, accomplished, challenging, and disturbing of international performance artists, Marina Abramovic has also become a key figure for those of us interested in the intersection of performance art, installation work, and video aesthetics. Charles Lindblom Politics And Markets Pdf Download Free Software on this page.

In addition, her work has significant implications for feminist and psychoanalytic theories, raising as it does new dimensions to our ongoing inquiries into the dynamics of the gaze, the body, and the psyche as related to textuality and reception. After a brief overview of Abramovic's career, this essay will concentrate on the theoretical implications of her work with emphasis on a particular installation drawn from a 1997 work entitled 'Spirit House.' This installation, presented at the Samuel P. Harn Museum of Art in Gainesville, Florida, excerpted from that five-part piece a triptych called 'Luminosity,' 'Insomnia,' and 'Dissolution.'

Through analysis of this triptych installation, I hope to indicate a new [End Page 99] approach to Abramovic's work as a whole, one that links it to psychoanalytic feminism, as well as to films and to theories of other feminist film and video artists such as Maya Deren and Chantal Akerman. Well-documented, Abramovic's performance art has had an audience far beyond those who actually have attended her performances at galleries and museums throughout the world. She has produced impressive retrospective volumes and catalogs of individual performances, as well as a number of documentary photographs and videotapes of these events.

The most comprehensive of these is the handsome Marina Abramovic: Artist Body, which not only traces her performance art, offering her descriptions as well as her photo documentation for each performed piece, but also includes interviews and essays on her work. This volume divides her career into three stages: her solo performances from 1969 to 1976 in Yugoslavia, performances with the Dutch performance artist Ulay (1976-88), and finally, her return to solo performances after the breakup of that partnership (1988- 98). Other volumes are devoted to specific works of Abramovic, including some of the work since 1998. There are separate volumes devoted to 'The Bridge,' 'Cleaning the House,' 'Energy Clothes,' 'Cleaning the Mirror,' and 'Spirit Cooking.' In addition, Abramovic has been featured in a number of group exhibit catalogs and in volumes on performance art.