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Quiz about Performance Art and the Body
Quiz about Performance Art and the Body

Performance, Art, and the Body Quiz


Each question is written as if the artist were telling you of their work. Also, the possible answers for each question are names of famous modern artists - Research is fun, check them out! Enjoy!

A multiple-choice quiz by KatieK54. Estimated time: 8 mins.
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Author
KatieK54
Time
8 mins
Type
Multiple Choice
Quiz #
288,387
Updated
Dec 03 21
# Qns
10
Difficulty
Tough
Avg Score
5 / 10
Plays
714
- -
Question 1 of 10
1. I wanted to explore the temporality of life and art. I had blood drawn from my body until it equaled the amount of blood that would be in the body of an adult male such as myself. I froze the blood and then sculpted it into a bust of my face. I put it on display in a refrigerated cube. To me, the piece was significant because it contained the material that made me an individual, my DNA, but at the same time, it wasn't permanent. As I will someday die, my piece could also be destroyed (thus die), if it were to be unplugged and allowed to melt. Hint


Question 2 of 10
2. I was ripped from my motherland, Cuba, at a young age. I never felt like an American, nor did I feel like a Cuban. I sought to reconnect with my heritage and with the earth itself, which inspired my 'Siluetas.' I made impressions of my body in the earth itself (sand, mud, streams, rocks, etc) before adding outside components (paint, fire, water, etc) to personalize them to myself and my experiences. Hint


Question 3 of 10
3. I created several 'Anthropometry' pieces in which I instructed the art creation process rather than participate in it. I credit myself for each piece that was completed. In one instance, I instructed a nude model to roll around in my signature blue paint before instructing other nude models to drag her painted body across the canvas, creating an artistic expression of painting without the previously necessary 'artist' and 'paintbrush.' Hint


Question 4 of 10
4. I have executed hundreds of conceptual self-portraits whereby I assume the role of all different kinds of people. Nearly all of my pieces are named as "Untitled," some followed by the number of the piece itself if was part of a specific series. I am known for specifically making works significant to representations and understandings of women in our culture and the media and I am true chameleon. Hint


Question 5 of 10
5. I suffered from cystic fibrosis my entire life, and was forced to endure medical examinations, prodding, and objectification from the medical industry since childhood. I was no stranger to physical or mental pain and anguish. As an adult, I became heavily involved in sado-masochism, which allowed me to explore and creatively express my feelings and experiences of pain, while offering candid humor and personality to an understanding of disease, suffering, and perseverance. Hint


Question 6 of 10
6. I create ritualistic experience art that crosses long periods of time and severely alters my daily life. I spent several years executing a piece about chakras, taking one part of my body and its corresponding chakra color and dressing in that color for an entire year before changing to the next. I also spent a year tied with an eight foot rope to the waist of a male performance artist; we eventually needed to bring in a mediator due to the impossibility of privacy and the emphasis on conformity. Hint


Question 7 of 10
7. While I received a lot of criticism from feminists when I created works using my body in the 1970s, I was diagnosed with lymphoma in the 1990s and executed my posthumously revered 'Intra-Venus' piece documenting my inevitable death from the cancer. I took photographs of my body so as to document the changes I was experiencing, and how this disease had robbed me of my youth, femininity, and beauty. I created object sculptures with the hair I lost during chemotherapy and painted self-portrait watercolors further showing how I was no longer conforming to the 'feminine ideal.' The most compelling aspect of this work was my documentary self-portraits showing my body being morphed, my hair being lost, and my life being taken away from me. Hint


Question 8 of 10
8. We posed as 'modern primitives' in a gold cage surrounded by people at the Plaza de Colon in Madrid. We spoke a made-up language, watched television reports about political and social unrest, and took interviews and photographs with onlookers. Those who saw us actually believed that we were members of a recently discovered group of 'savages' seeking culture, refinement, and a colonial conquerer. We wanted to put the exploitation of Latin America on display in one of the nations that robbed us of our riches, culture, and identity. The gold that was plundered and the bodies that were taken for slavery are all vital components in the overall aesthetic and concept we sought to convey. We merged history with modernity, and yet still managed to confuse, startle, and captivate the crowds. Hint


Question 9 of 10
9. My art explores two vastly different components. On one hand, I am fascinated with suspension, and have executed several pieces whereby I have suspended myself by inserting hooks through my skin and hanging in mid-air. In one piece, I spent rush hour suspended by a crane 50 stories above New York City. On the other hand, I also am fascinated with the merger of human and technological identities. I created a mechanical arm which I affix to my right arm. When synched together, I can write the same word using all three of my arms, thus doing something unheard of in medicine, science, and art. Hint


Question 10 of 10
10. I am exploring femininity and cultural ideologies by having my body surgically modified through plastic surgery. I transform the operating room into a functioning theater. I receive only topical anesthetics and remain awake throughout every procedure, even those that are done to my face (as most are). I fill the room with poets, jugglers, musicians, and my feminist surgeon. I sometimes have the surgeries shown live and I have been known to answer questions from people across the globe during the process. My work is steeped heavily in psychoanalysis and Lacanian concepts of identity and the 'mirror stage;' Recently my body has changed to include implanted horns on the top of my head. Hint



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Quiz Answer Key and Fun Facts
1. I wanted to explore the temporality of life and art. I had blood drawn from my body until it equaled the amount of blood that would be in the body of an adult male such as myself. I froze the blood and then sculpted it into a bust of my face. I put it on display in a refrigerated cube. To me, the piece was significant because it contained the material that made me an individual, my DNA, but at the same time, it wasn't permanent. As I will someday die, my piece could also be destroyed (thus die), if it were to be unplugged and allowed to melt.

Answer: Marc Quinn

This piece is humorously referred to in an episode of "Absolutely Fabulous," as artistically inept Eddy goes to "buy some art" and tells the gallery owner she is potentially seeking "one of those frozen blood heads."
2. I was ripped from my motherland, Cuba, at a young age. I never felt like an American, nor did I feel like a Cuban. I sought to reconnect with my heritage and with the earth itself, which inspired my 'Siluetas.' I made impressions of my body in the earth itself (sand, mud, streams, rocks, etc) before adding outside components (paint, fire, water, etc) to personalize them to myself and my experiences.

Answer: Ana Mendieta

Tragically, Ana Mendieta died at the age of 37 in 1985, after falling out of her high-rise apartment in New York City. Her estranged husband, Carl Andre, a very famous minimalist sculptor with whom she had a tense relationship, was charged with her murder but was eventually acquitted of all charges.

There remains considerable controversy over what actually happened in their apartment that day.
3. I created several 'Anthropometry' pieces in which I instructed the art creation process rather than participate in it. I credit myself for each piece that was completed. In one instance, I instructed a nude model to roll around in my signature blue paint before instructing other nude models to drag her painted body across the canvas, creating an artistic expression of painting without the previously necessary 'artist' and 'paintbrush.'

Answer: Yves Klein

Klein was quite an egotist, as the paint that was used was formally known as 'International Klein Blue' or IKB. Also, in the execution of several pieces, he had dignitaries and art critics watch the creation spectacle in formal dress, while he also instructed a classical quartet to play his personally composed 'Klein's Monotone Symphony,' which consisted of twenty minutes of one note music and twenty minutes of silence.
4. I have executed hundreds of conceptual self-portraits whereby I assume the role of all different kinds of people. Nearly all of my pieces are named as "Untitled," some followed by the number of the piece itself if was part of a specific series. I am known for specifically making works significant to representations and understandings of women in our culture and the media and I am true chameleon.

Answer: Cindy Sherman

Sherman received the MacArthur Fellowship in 1995 and has also worked in the creative design of campaigns for Marc Jacobs. Her more recent work has delved into fantasy representations of women, specifically in fairy tales, and dismantling them to show a representation steeped in realism and depravity.
5. I suffered from cystic fibrosis my entire life, and was forced to endure medical examinations, prodding, and objectification from the medical industry since childhood. I was no stranger to physical or mental pain and anguish. As an adult, I became heavily involved in sado-masochism, which allowed me to explore and creatively express my feelings and experiences of pain, while offering candid humor and personality to an understanding of disease, suffering, and perseverance.

Answer: Bob Flanagan

Bob lived to be 43 years old, which is considered a triumph for those suffering from cystic fibrosis; he attributed his success in staying alive to having discovered S/M as a teenager. His partner in life and art was Sheree Rose, who also was his dominant. Regardless of his art and lifestyle, he is known in cystic fibrosis organizations as an inspiration to those suffering with the disease.
6. I create ritualistic experience art that crosses long periods of time and severely alters my daily life. I spent several years executing a piece about chakras, taking one part of my body and its corresponding chakra color and dressing in that color for an entire year before changing to the next. I also spent a year tied with an eight foot rope to the waist of a male performance artist; we eventually needed to bring in a mediator due to the impossibility of privacy and the emphasis on conformity.

Answer: Linda Montano

Montano's time spent tied to Tehching Hsieh sought to eliminate the differences between them and to essentially have them merge to create one artist. They took daily photographs of themselves and tape recorded all of the conversations, but suffered a wide variety of complex personal challenges and philosophical complications in their process.
7. While I received a lot of criticism from feminists when I created works using my body in the 1970s, I was diagnosed with lymphoma in the 1990s and executed my posthumously revered 'Intra-Venus' piece documenting my inevitable death from the cancer. I took photographs of my body so as to document the changes I was experiencing, and how this disease had robbed me of my youth, femininity, and beauty. I created object sculptures with the hair I lost during chemotherapy and painted self-portrait watercolors further showing how I was no longer conforming to the 'feminine ideal.' The most compelling aspect of this work was my documentary self-portraits showing my body being morphed, my hair being lost, and my life being taken away from me.

Answer: Hannah Wilke

Wilke's early works masterfully challenged feminine ideals in beauty and art-making by posing nude in a variety of ways that challenged expectations and norms. Feminists accused Wilke of pandering to exploitative images of women, claiming that she could not claim agency in her art, as it was playing into the sexual objectification of women.

However, feminists failed to recognize that this early ideology offered women no chance of ANY agency in themselves, their bodies, or their art.
8. We posed as 'modern primitives' in a gold cage surrounded by people at the Plaza de Colon in Madrid. We spoke a made-up language, watched television reports about political and social unrest, and took interviews and photographs with onlookers. Those who saw us actually believed that we were members of a recently discovered group of 'savages' seeking culture, refinement, and a colonial conquerer. We wanted to put the exploitation of Latin America on display in one of the nations that robbed us of our riches, culture, and identity. The gold that was plundered and the bodies that were taken for slavery are all vital components in the overall aesthetic and concept we sought to convey. We merged history with modernity, and yet still managed to confuse, startle, and captivate the crowds.

Answer: Coco Fusco and Guillermo Gomez-Pena

Both Fusco and Gomez-Pena are equally independently successful as artists and art theorists, focusing heavily on Latin American experience and identity, and the ways in which it has been affected and/or stunted by America and/or its European predecessors and "conquerers".
9. My art explores two vastly different components. On one hand, I am fascinated with suspension, and have executed several pieces whereby I have suspended myself by inserting hooks through my skin and hanging in mid-air. In one piece, I spent rush hour suspended by a crane 50 stories above New York City. On the other hand, I also am fascinated with the merger of human and technological identities. I created a mechanical arm which I affix to my right arm. When synched together, I can write the same word using all three of my arms, thus doing something unheard of in medicine, science, and art.

Answer: Stelarc

Stelarc's technological masterpieces have created an entirely new concept of creation and identity. He is truly the only performance artist working in such media, and is actively making progress in merging his body with intricately detailed human technology.
10. I am exploring femininity and cultural ideologies by having my body surgically modified through plastic surgery. I transform the operating room into a functioning theater. I receive only topical anesthetics and remain awake throughout every procedure, even those that are done to my face (as most are). I fill the room with poets, jugglers, musicians, and my feminist surgeon. I sometimes have the surgeries shown live and I have been known to answer questions from people across the globe during the process. My work is steeped heavily in psychoanalysis and Lacanian concepts of identity and the 'mirror stage;' Recently my body has changed to include implanted horns on the top of my head.

Answer: Orlan

Orlan is internationally known and people continue to be captivated by her work. While her more recent work has strayed from the atypical iconography of femininity and beauty, she continues to push the limitations of physical representation and mainstream ideologies of women in art and culture, specifically with her recent interest in adopting the image of the Mona Lisa.
Source: Author KatieK54

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