In demand

摘要

BY THE late 1990s, the small and marginal world of performance art seemed stunted by nostalgia and self-parody. "I would go to [New York's] Lower East Side and see these scruffy works that felt like a repeat of the 1970s," says RoseLee Goldberg, a South African-born curator and art historian in New York. "I was seeing works by visual artists like Shirin Neshat, Gillian Wearing and Steve McQueen, and I was wondering why aren't we seeing this kind of power or beauty in performance? Why are we still doing monologues?"