Smithsonian Institution
Rear view of "The Castle", the Institution's headquarters
Established	August 10, 1846; 165 years ago  (August 10, 1846)
Location	Washington D.C.
Public transit access	Smithsonian, L'Enfant Plaza Maryland Avenue exit.
Website	si.edu

The Smithsonian Institution ( /smɪθˈsoÊŠniÉ™n/ smith-SOH-nee-É™n) is an educational and research institute and associated museum complex, administered and funded by the government of the United States and by funds from its endowment, contributions, and profits from its retail operations, concessions, and licensing activities. The Smithsonian has requested $797.6 million from Congress in 2011 to fund its operations. While most of its 19 museums, its zoo, and its nine research centers facilities are located in Washington, D.C., sites are also located in Arizona, Maryland, New York City, Virginia, Panama, and elsewhere. The Smithsonian has over 137 million items in its collections,^[1] publishes two magazines named Smithsonian (monthly) and Air & Space (bimonthly), and employs the Smithsonian Police to protect visitors, staff, and the property of its museums. The Smithsonian Institution is the largest museum complex in the world, and many of its buildings are historical and architectural landmarks. In addition, 168 other museums are Smithsonian affiliates.^[1]

History[link]

The Smithsonian Institution was founded for the "increase and diffusion of knowledge" from a bequest to the United States by the British scientist James Smithson (c. 1765–1829), who never visited the new nation. In Smithson's will, he stated that should his nephew, Henry James Hungerford, die without heir, the Smithson estate would go to the United States to create an "Establishment for the increase & diffusion of Knowledge among men". After the nephew died without issue in 1835, President Andrew Jackson informed Congress of the bequest. Richard Rush was appointed as agent of the government to go to England and pursue the bequest, which was tied up in the Court of Chancery. It took some two years for Rush to obtain the estate, which amounted to 104,960 gold sovereigns, or US$500,000.^[2] The money was invested in shaky state bonds, which quickly defaulted. After heated debate in Congress, Massachusetts Representative (and former President) John Quincy Adams successfully argued to restore the lost funds with interest.^[3] Though Congress wanted to use the money for other purposes, Adams successfully persuaded Congress to preserve the money for an institution of science and learning.^[4] Congress also debated whether the federal government had the authority to accept the gift. Congress accepted the legacy bequeathed to the nation and pledged the faith of the United States to the charitable trust on July 1, 1836.^[5]

When the Detroit philanthropist Charles Lang Freer donated his private collection to the Smithsonian and funds to build the museum to hold it (which was named the Freer Gallery), it was among the Smithsonian's first major donations from a private individual. The gallery opened in 1923.

Though the Smithsonian's first Secretary, Joseph Henry, wanted the Institution to be a center for scientific research, before long it also became the depository for various Washington and U.S. government collections. The United States Exploring Expedition by the U.S. Navy circumnavigated the globe between 1838 and 1842. The voyage amassed thousands of animal specimens, an herbarium of 50,000 plant specimens, and diverse shells and minerals, tropical birds, jars of seawater, and ethnographic artifacts from the South Pacific. These specimens and artifacts became part of the Smithsonian collections, as did those collected by several military and civilian surveys of the American West, including the Mexican Boundary Survey and Pacific Railroad Surveys, which assembled many Native American artifacts and natural history specimens.

The Institution became a magnet for natural scientists from 1857 to 1866, who formed a group called the Megatherium Club. Many scientists of a variety of disciplines work at the various Smithsonian museums, which have become centers for research.

The asteroid 3773 Smithsonian, discovered in 1984, is named in honor of the Institution.

The 2009 film Night at the Museum: Battle of the Smithsonian was the first commercial production to be given rights to use the Smithsonian Institution's name.

Administration[link]

The Smithsonian Castle doorway

The Smithsonian Institution is established as a trust instrumentality by act of Congress, and it is functionally and legally a body of the U.S. government, but separate from the government's federal legislative, executive, and judicial branches. More than two-thirds of the Smithsonian's workforce of some 6,300 persons are employees of the federal government. Attorneys from the United States Department of Justice represent the Smithsonian in litigation, and any money judgments against the Smithsonian are paid from the federal treasury.

As approved by Congress on August 10, 1846, the legislation that created the Smithsonian Institution called for the creation of a Board of Regents to govern and administer the organization. This 17-member board meets at least four times a year and includes as ex officio members the Chief Justice of the United States and the Vice President of the United States. The nominal head of the Institution is the Chancellor, an office which has traditionally been held by the Chief Justice. In September 2007, the Board created the position of Chair of the Board of Regents, a position currently held by Patricia Q. Stonesifer of Washington State.^[6]

Other members of the Board of Regents are three members of the U.S. House of Representatives appointed by the Speaker of the House; three members of the Senate, appointed by the President pro tempore of the Senate; and nine citizen members, nominated by the Board and approved by the Congress in a joint resolution signed by the President of the United States.^[7] Regents who are senators or representatives serve for the duration of their elected terms, while citizen Regents serve a maximum of two six-year terms. Regents are compensated on a part-time basis.

The chief executive officer (CEO) of the Smithsonian is the Secretary, who is appointed by the Board of Regents. There have been 13 Secretaries since the Smithsonian was established. The Secretary also serves as secretary to the Board of Regents, but is not a voting member of that body. The Secretary of the Smithsonian has the privilege of the floor at the United States Senate.

Secretaries of the Smithsonian[link]

1. Joseph Henry, 1846–1878
2. Spencer Fullerton Baird, 1878–1887
3. Samuel Pierpont Langley, 1887–1906
4. Charles Doolittle Walcott, 1907–1927
5. Charles Greeley Abbot, 1928–1944
6. Alexander Wetmore, 1944–1952
7. Leonard Carmichael, 1953–1964
8. Sidney Dillon Ripley, 1964–1984
9. Robert McCormick Adams, 1984–1994
10. Ira Michael Heyman, 1994–1999
11. Lawrence M. Small, 2000–2007
12. G. Wayne Clough, 2008–^[8]

Smithsonian museums[link]

Aircraft on display at the National Air and Space Museum, including a Ford Trimotor and Douglas DC-3 (top and second from top).

Nineteen museums and galleries, as well as the National Zoological Park, comprise the Smithsonian museums.^[9] Eleven are on the National Mall, the strip of land that runs between the Lincoln Memorial and the United States Capitol. Other museums are located elsewhere in Washington, D.C., with two more in New York City and one in Chantilly, Virginia.

The Smithsonian has close ties with 168 other museums in 39 states, Panama and Puerto Rico.^[9] These museums are known as Smithsonian Affiliated museums. Collections of artifacts are given to these museums in the form of long-term loans. The Smithsonian also has a large number of traveling exhibitions. In 2008, 58 of these traveling exhibitions went to 510 venues across the country.^[9]

Smithsonian research centers and programs[link]

The following is a list of Smithsonian research centers, with their affiliated museum in parentheses:

• Archives of American Art
• Smithsonian Astrophysical Observatory and the associated Harvard-Smithsonian Center for Astrophysics
• Carrie Bow Marine Field Station (Natural History Museum)
• Center for Folklife and Cultural Heritage
• Smithsonian Environmental Research Center
• Center For Earth and Planetary Studies (Air and Space Museum)
• Smithsonian Conservation Biology Institute (National Zoo)
• Marine Station at Fort Pierce (Natural History Museum)
• Migratory Bird Center (National Zoo)
• Museum Conservation Institute
• Smithsonian Tropical Research Institute
• Woodrow Wilson International Center for Scholars
• Smithsonian Institution Libraries
• Smithsonian Institution Archives^[10]
• Smithsonian Latino Center^[11]
• Smithsonian Asian Pacific American Program

Also of note is the Museum Support Center (MSC), located in Silver Hill, Maryland (Suitland), which is the principal off-site conservation and collections facility for multiple Smithsonian museums, primarily the National Museum of Natural History. The MSC was dedicated in May 1983.^[12] The MSC covers 4.5 acres (18,000 m²) of land, with over 500,000 square feet (46,000 m²) of space, making it one of the largest set of structures in the Smithsonian. It has over 12 miles (19 km) of cabinets, and more than 31 million objects.

Controversies[link]

Enola Gay display[link]

In 1994, controversy arose over the exhibit at the National Air and Space Museum associated with display of the Enola Gay, the Superfortress used by the United States to execute the first atomic bombing in World War II. The American Legion and Air Force Association believed the exhibit put forward only one side of the debate over the atomic bombings of Hiroshima and Nagasaki, and that it emphasized the effect on the victims without the overall context of the war. The Smithsonian changed the exhibit, displaying the aircraft only with associated technical data and without discussion of its historic role in the war.

Censorship of "Seasons of Life and Land"[link]

In 2003, a National Museum of Natural History exhibit, Subhankar Banerjee's Seasons of Life and Land, featuring photographs of the Arctic National Wildlife Refuge, was censored and moved to the basement by Smithsonian officials because they feared that its subject matter was too politically controversial.^[13]

In November 2007, the Washington Post reported internal criticism has been raised regarding the institution's handling of the exhibit on the Arctic. According to documents and e-mails, the exhibit and its associated presentation were edited at high levels to add "scientific uncertainty" regarding the nature and impact of global warming on the Arctic. Acting Secretary of the Smithsonian Cristián Samper was interviewed by the Post, and claimed the exhibit was edited because it contained conclusions that went beyond what could be proven by contemporary climatology.^[14] The Smithsonian is now a participant in the U.S. Global Change Research Program.^{[15][relevant? – discuss]}

Copyright restrictions[link]

The Smithsonian Institution provides access to its image collections for educational, scholarly and nonprofit uses. Commercial uses are generally restricted unless permission is obtained. Smithsonian images fall into different copyright categories; some are protected by copyright, many are subject to license agreements or other contractual conditions, and some fall into the public domain, such as those prepared by Smithsonian employees as part of their official duties. The Smithsonian’s terms of use for its digital content, including images, are set forth on the Smithsonian Web site.^[16][17]

In April 2006, the institution entered into an agreement of "first refusal" rights for its vast silent and public domain film archives with Showtime Networks, mainly for use on the Smithsonian Channel, a network created from this deal. Critics contend this agreement effectively gives Showtime control over the film archives, as it requires filmmakers to obtain permission from the network to use extensive amounts of film footage from the Smithsonian archives.^[18]

The Smithsonian contends independent producers continue to have unchanged access to the institution and its collections as they had prior to the agreement^{[citation needed]}. The process to gain access to film at the Smithsonian remains the same. Since January 2006, independent producers have made more than 500 requests to film in the museums and collections, and/or to use archival footage and photos.^{[citation needed]}

Funding[link]

The Smithsonian Institution receives funding from the United States Government, through the House and Senate Interior, Environment and Related Agencies Appropriations subcommittees.^[19][20] The President’s fiscal year 2011 budget request to Congress for the Smithsonian is $797.6 million, an increase from the $761.4 million appropriated to the Institution in FY 2010. The Salaries and Expenses budget request for FY 2011 is $660.8 million and the Facilities Capital budget is $136.8 million.^[21] During the 1995–1996 Government Shutdown, the Smithsonian closed, due to lack of money to pay salaries.^[22][23][24] In 2007, there was controversy about Secretary Small's expenses and compensation.^[25] There is a plan to reduce a backlog in deferred maintenance.^[26] In 2010, the Deficit Commission recommended admission fees,^[27] which has been resisted.^[28]

Office of Protection Services (OPS)[link]

The Smithsonian Office of Protection Services oversees security at the Smithsonian facilities. The Secretary of the Smithsonian may designate employees to have Special Police Status to enforce regulations within the Smithsonian facilities and grounds as well as areas of the National Capital Parks in D.C.

According to 40 U.S.C. Â§ 6306, certain Smithsonian staff are designated as Special police have arrest authority within the Smithsonian buildings and grounds, and may enforce laws and regulations for National Capital Parks together with the United States Park Police.

The Office of Protection Services has three main positions within the division, all of which are U.S. government positions:^{[citation needed]}

• Smithsonian Museum Protection Officers/Guards;
• Smithsonian Museum Physical Security Specialists and Supervisory Physical Security Specialists; and
• Smithsonian Zoological Park Police Officers are federal law enforcement officers with full legal jurisdiction and arrest powers within the District of Columbia are assigned to the 163-acre (0.66 km²) National Zoo enforcing the District of Columbia criminal code and the United States Code. There are officers assigned to the 3200 Acre research facility known as Smithsonian Conservation Biology Institute in Front Royal, Virginia.

See also[link]

District of Columbia portal

• List of aircraft in the Smithsonian Institution
• Smithsonian Ocean Portal

References[link]

Further reading[link]

• Nina Burleigh, Stranger and the Statesman: James Smithson, John Quincy Adams, and the Making of America's Greatest Museum, The Smithsonian, HarperCollins, September 2003, hardcover, 288 pages, ISBN 0-06-000241-7
• Heather Ewing (2007). The Lost World of James Smithson: Science, Revolution, and the Birth of the Smithsonian. Bloomsbury. ISBN 978-0-7475-7653-2. 

External links[link]

Wikimedia Commons has media related to: Smithsonian Institution

Wikisource has the text of the 1911 Encyclopædia Britannica article Smithsonian Institution.

• Smithsonian Institution webpage
• Smithsonian Collections Search Center webpage
• Smithsonian Education webpage
• Map of the museums from the Smithsonian Institution
• To the Smithsonian or Bust: The Scientific Legacy of Nikola Tesla from Yale Scientific Magazine

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Coordinates: 38°53′20″N 77°01′34″W / 38.8888°N 77.026°W / 38.8888; -77.026

Marina Abramović
Abramović performing The Artist is Present, MoMA, May 2010
Born	(1946-11-30) November 30, 1946 (age 65) Belgrade, PR Serbia, FPR Yugoslavia
Field	Performance Art
Training	Academy of Fine Arts, Belgrade Academy of Fine Arts, Zagreb
Movement	Conceptual art
Works	Rhythm Series (1973–1974) Works with Ulay (1976–1988) Balkan Baroque (1997) The Artist is Present (2010)

Marina Abramović (Serbian Cyrillic: Марина Ð?брамовић; born November 30, 1946) is a Belgrade-born New York-based Serbian performance artist who began her career in the early 1970s. Active for over three decades, she has recently begun to describe herself as the "grandmother of performance art". Abramović's work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind.

Early life[link]

Marina Abramović's great uncle was Patriarch Varnava of the Serbian Orthodox Church.^[1] Both of her parents were Partisans^[2] during the Second World War: her father Vojo was a commander who was acclaimed as a national hero after the War; her mother Danica was a major in the army, and in the mid-sixties was Director of the Museum of the Revolution and Art in Belgrade.

Abramović's father left the family in 1964. In an interview published in 1998, she described how her "mother took complete military-style control of me and my brother. I was not allowed to leave the house after 10 o'clock at night till I was 29 years old. ... [A]ll the performances in Yugoslavia I did before 10 o'clock in the evening because I had to be home then. It's completely insane, but all of my cutting myself, whipping myself, burning myself, almost losing my life in the firestar, everything was done before 10 in the evening."^[3]

Abramović was a student at the Academy of Fine Arts in Belgrade from 1965–70. She completed her post-graduate studies at the Academy of Fine Arts in Zagreb, SR Croatia in 1972. From 1973 to 1975, she taught at the Academy of Fine Arts at Novi Sad, while implementing her first solo performances.

From 1971 to 1976, she was married to Neša Paripović. In 1976, Abramović left Yugoslavia and moved to Amsterdam.

Selected early works[link]

[edit] Rhythm 10, 1973

In her first performance Abramović explored elements of ritual and gesture. Making use of twenty knives and two tape recorders, the artist played the Russian game in which rhythmic knife jabs are aimed between the splayed fingers of her hand. Each time she cut herself, she would pick up a new knife from the row of twenty she had set up, and record the operation.

After cutting herself twenty times, she replayed the tape, listened to the sounds, and tried to repeat the same movements, attempting to replicate the mistakes, merging together past and present. She set out to explore the physical and mental limitations of the body – the pain and the sounds of the stabbing, the double sounds from the history and from the replication. With this piece, Abramović began to consider the state of consciousness of the performer. “Once you enter into the performance state you can push your body to do things you absolutely could never normally do.�^[4]

[edit] Rhythm 5, 1974

Abramović sought to re-evoke the energy of extreme body pain, in this case using a large petroleum-drenched star, which the artist lit on fire at the start of the performance. Standing outside the star, Abramović cut her nails, toenails, and hair. When finished with each, she threw the clippings into the flames, creating a burst of light each time. Burning the communist five-pointed star represented a physical and mental purification, while addressing the political traditions of her past.

In the final act of purification, Abramović leapt across the flames, propelling herself into the center of the large star. Due to the light and smoke given off by the fire, the observing audience didn't realize that, once inside the star, the artist had lost consciousness from lack of oxygen. Some members of the audience realized what had occurred only when the flames came very near to her body and she remained inert. A doctor and several members of the audience intervened and extricated her from the star.

Abramović later commented upon this experience: “I was very angry because I understood there is a physical limit: when you lose consciousness you can’t be present; you can’t perform.�^[5]

[edit] Rhythm 2, 1974

As an experiment testing whether a state of unconsciousness could be incorporated into a performance, Abramović devised a performance in two parts.

In the first part, she took a pill prescribed for catatonia, a condition in which a person’s muscles are immobilized and remain in a single position for hours at a time. Being completely healthy, Abramović's body reacted violently to the drug, experiencing seizures and uncontrollable movements for the first half of the performance. While lacking any control over her body movements, her mind was lucid, and she observed what was occurring.

Ten minutes after the effects of that drug had worn off, Abramović ingested another pill – this time one prescribed for aggressive and depressed people – which resulted in general immobility. Bodily she was present, yet mentally she was completely removed. (In fact, she has no memory of the lapsed time.) This project was an early component of her explorations of the connections between body and mind, which later took her to Tibet and the Australian desert. Following Rhythm 2, she set to develop the rest of the series of rhythm projects, continually testing her endurance.

[edit] Rhythm 0, 1974

To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her.

Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions.

Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) people began to act more aggressively. As Abramović described it later:

“What I learned was that... if you leave it up to the audience, they can kill you.� ... “I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation.�^[6]

Works with Ulay (Uwe Laysiepen)[link]

In 1976, after moving to Amsterdam, Abramović met the West German performance artist Uwe Laysiepen, who went by the single name Ulay. They have the same birthday, in different years.

When Abramović and Ulay began their collaboration, the main concepts they explored were the ego and artistic identity. This was the beginning of a decade of influential collaborative work. Each performer was interested in the traditions of their cultural heritages and the individual’s desire for ritual. Consequently, they decided to form a collective being called “the other�, and spoke of themselves as parts of a “two-headed body�.^[7] They dressed and behaved like twins, and created a relationship of complete trust. As they defined this phantom identity, their individual identities became less accessible. In an analysis of phantom artistic identities, Charles Green has noted that this allowed a deeper understanding of the artist as performer, for it revealed a way of “having the artistic self made available for self-scrutiny.�^[8]

While some critics have explored the idea of a hermaphroditic state of being as a feminist statement, Abramović herself denies considering this as a conscious concept. Her body studies, she insists, have always been concerned primarily with the body as the unit of an individual, a tendency she traces to her parents' military pasts. Rather than concern themselves with gender ideologies, Abramović/Ulay explored extreme states of consciousness and their relationship to architectural space. They devised a series of works in which their bodies created additional spaces for audience interaction. In "Relation in Space" (1976) they ran around the room – two bodies like two planets, mixing male and female energy into a third component called “that self.� "Relation in Movement" had the pair drive their car inside of a museum for 365 laps; a black liquid oozed from the car, forming a kind of sculpture, each lap representing a year. (After 365 laps they entered the New Millennium.)

In discussing this phase of her performance history, Abramović has said: “The main problem in this relationship was what to do with the two artists’ egos. I had to find out how to put my ego down, as did he, to create something like a hermaphroditic state of being that we called the death self.�^[9]

To create this “Death self,� the two performers devised a piece in which they connected their mouths and took in each other’s exhaled breaths until they had used up all of the available oxygen. Seventeen minutes after the beginning of the performance they both fell to the floor unconscious, their lungs having filled with carbon dioxide. This personal piece explored the idea of an individual's ability to absorb the life of another person, exchanging and destroying it.

In Imponderabilia (1977, reenacted in 2010) two performers, both completely nude, stand in a doorway. The public must squeeze between them in order to pass, and in doing so choose which one of them to face.

In 1988, after several years of tense relations, Abramović and Ulay decided to make a spiritual journey which would end their relationship. Each of them walked the Great Wall of China, starting from the two opposite ends and meeting in the middle. As Abramović described it: “That walk became a complete personal drama. Ulay started from the Gobi desert and I from the Yellow Sea. After each of us walked 2500 km, we met in the middle and said good-bye.â€?^[10]

Abramović conceived this walk in a dream, and it provided what she thought was an appropriate, romantic ending to a relationship full of mysticism, energy and attraction. She later described the process: “We needed a certain form of ending, after this huge distance walking towards each other. It is very human. It is in a way more dramatic, more like a film ending … Because in the end you are really alone, whatever you do.�^[10]

Abramović reported that during her walk she was reinterpreting her connection to the physical world and to nature. She felt that the metals in the ground influenced her mood and state of being; she also pondered the Chinese myths in which the great wall has been described as a “dragon of energy.�

[edit] Seven Easy Pieces, November 2005

Abramović performing Bruce Nauman's "Body Pressure." Guggenheim Museum, November 2005.

Beginning on November 9, 2005, Abramović presented Seven Easy Pieces at the Guggenheim Museum in New York City. On seven consecutive nights for seven hours she recreated the works of five artists first performed in the 60s and 70s, in addition to re-performing her own "Lips of Thomas" and introducing a new performance on the last night. The performances were arduous, requiring both the physical and the mental concentration of the artist. Included in Abramović's performances were recreations of Gina Pane's Self-Portraits, which required lying on a bed frame suspended over a grid of lit candles, and of Vito Acconci's 1972 performance in which the artist masturbated under the floorboards of a gallery as visitors walked overhead. It is argued that Abramović re-performed these works as a series of homages to the past, though many of the performances were altered from their originals.^[11]

Here is a full list of the works performed:

• Bruce Nauman's Body Pressure (1974)
• Vito Acconci's Seedbed (1972)
• Valie Export's Action Pants: Genital Panic (1969)
• Gina Pane's The Conditioning (1973)
• Joseph Beuys's How to Explain Pictures to a Dead Hare (1965)
• Abramović's own Lips of Thomas (1975)
• Abramović's own Entering the Other Side (2005)

[edit] The Artist Is Present, March–May 2010

Abramović performing in "The Artist is Present" at the Museum of Modern Art, March 2010.

From March 14 to May 31, 2010, the Museum of Modern Art held a major retrospective and performance recreation of Abramović's work, the biggest exhibition of performance art in MoMA's history.^[12] During the run of the exhibition, Abramović performed "The Artist is Present," a 736-hour and 30-minute static, silent piece, in which she sat immobile in the museum's atrium, while spectators were invited to take turns sitting opposite her.^[13] A support group for the "sitters", "Sitting with Marina", was established on Facebook^[14] as was the blog "Marina Abramović made me cry".^[15] In September 2011, a video game version of Abramović's performance was released by Pippin Barr.^[16]

Later life[link]

Marina Abramović purchased a theater two hours north of Manhattan in Hudson, NY, intending to establish a nonprofit organization, Marina Abramović Foundation for the Preservation of Performance Art. She will use the space to work and develop ideas with video and post-production equipment and there will be a second property to house resident artists.^[17]

In 2009, Abramović was featured in Chiara Clemente's documentary Our City Dreams and a book of the same name. The five featured artists – also including Swoon, Ghada Amer, Kiki Smith, and Nancy Spero – "each possess a passion for making work that is inseparable from their devotion to New York," according to the publisher.^[18]

Abramović is also the subject of an independent feature documentary movie currently titled "MARINA" that is based on her life and performance at her retrospective "The Artist is Present" at the Museum of Modern Art in 2010. The film will be broadcast in the United States on HBO.^[19]

In January 2011, Abramović was on the cover of Serbian ELLE, photographed by Dushan Reljin.

Prizes and awards[link]

• Golden Lion Award, XLVII Venice Biennale, 1997
• Niedersächsischer Kunstpreis, 2003
• New York Dance and Performance Awards (The Bessies), 2003
• International Association of Art Critics, Best Show in a Commercial Gallery Award, 2003
• Honorary Doctorate of Arts, University of Plymouth UK, 25 September 2009
• Cultural Leadership Award, American Federation of Arts, 26 October 2011
• Honorary Doctorate of Arts, Instituto Superior de Arte, Cuba, 14 May 2012

See also[link]

• Avant-garde
• Experimental theatre
• Fluxus
• Richard Foreman
• Happening
• Dick Higgins
• Intermedia
• Allan Kaprow
• Elizabeth LeCompte
• Ontological-Hysteric Theater
• Performance art
• Richard Schechner
• Speculations: An Essay on the Theater
• The Flea Theater
• The Wooster Group
• Mac Wellman

Bibliography[link]

Works by Abramović and collaborators[link]

• Artist Body: Performances 1969–1998, artist, Abramović; authors Abramović, Toni Stooss, Thomas McEvilley, Bojana Pejic, Hans Ulrich Obrist, Chrissie Iles, Jan Avgikos, Thomas Wulffen, Velimir Abramović; English ed. (Charta, 1998) ISBN 978-88-8158-175-7.
• The Bridge / El Puente, artist Abramović, authors Abramović, Pablo J. Rico, Thomas Wulffen (Charta, 1998) ISBN 978-84-482-1857-7.
• Performing Body, artist Abramović, authors Abramović, Dobrila Denegri (Charta, 1998) ISBN 978-88-8158-160-3.
• Balkan Baroque, (Pierre Coulibeuf, 1999)
• Public Body: Installations and Objects 1965–2001, artist Abramović, authors Celant, Germano, Abramović (Charta, 2001) ISBN 978-88-8158-295-2.
• Marina Abramović, fifteen artists, Fondazione Ratti; co-authors Abramović, Anna Daneri, Giacinto Di Pietrantonio, Lóránd Hegyi, Societas Raffaello Sanzio, Angela Vettese (Charta, 2002) ISBN 978-88-8158-365-2.
• Student Body, artist Abramović, vari; authors Abramović, Miguel Fernandez-Cid, studenti; (Charta, 2002) ISBN 978-88-8158-449-9.
• The House with the Ocean View, artist Abramović; authors Abramović, Sean Kelly, Thomas McEvilley, Cindy Carr, Chrissie Iles, RosaLee Goldberg, Peggy Phelan (Charta, 2004) ISBN 978-88-8158-436-9; the 2002 piece of the same name, in which Abramović lived on three open platforms in a gallery with only water for 12 days, was reenacted in Sex and the City in the HBO series' sixth season.^[20]
• Marina Abramović: The Biography of Biographies, artist Abramović; co-authors Abramović, Michael Laub, Monique Veaute, Fabrizio Grifasi (Charta, 2004) ISBN 978-88-8158-495-6.
• Balkan Epic, (Skira, 2006).
• Balkan Erotic Epic, as producer and director, Destricted (Offhollywood Digital, 2006)
• Seven Easy Pieces, artist, Abramović; authors Nancy Spector, Erika Fischer-Lichte, Sandra Umathum, Abramović; (Charta, 2007). ISBN 978-88-8158-626-4.

Critical and academic studies[link]

• Laurie Anderson, “Marina Abramović,â€? Bomb Summer 2003: 25–31.
• Patrick Anderson, "How to Stage Self-Consumption," So Much Wasted: Hunger, Performance, and the Morbidity of Resistance. Durham: Duke University Press, 2010. pp. 85–109.
• Klaus Biesenbach (ed.), Marina Abramović: The Artist Is Present, Exhibition Catalog with essays by Klaus Biesenbach, Arthur C. Danto, Chrissie Iles, Nancy Spector, and Jovana Stokić, Museum of Modern Art, New York, 2010
• Aline Brandauer,. "Marina Abramović: Double Blind." Sculpture, July/August 1995, pp. 23–27.
• A Daneri, et al., (eds.), Marina Abramović, (Charta, 2002)
• Jovan Despotovic, Marina Abramović, ’Fin de siecle’ – Balkans way, Borba, Belgrade, September 6–7, 1997, p. 17
• Jennifer Fisher, “Interperformance: The Live Tableaux of Suzanne Lacy, Janine Antoni, and Marina Abramović,â€? Art Journal 56 (1997): 28–33.
• Charles Green, “Doppelgangers and the Third Force: The Artistic Collaborations of Gilbert & George and Marina Abramović/Ulay,â€? Art Journal 59.2: 36–45.
• Shogo Hagiwara, “Art Hurts: Blood and Pain are Abramović’s Media,â€? The Daily Yomiuri April 1, 2004 p18.
• Janet Kaplan, “Deeper and Deeper: Interview with Marina Abramović,â€? Art Journal 58:2 (1999):6–19.
• Zoe Kosmidou, “A Conversation with Marina Abramović,â€? Sculpture Nov. 2001: 27–31.
• Tom Lubbock, “Visual Arts: Caught In the Act; It’s Video But Not As We Know It,â€? The Independent September 2, 2003.
• Thomas McEvilley, “Performing the Present Tense,â€? Art in America April 2003: 114–117; 153.
• Thomas McEvilley, "Art, Love, Friendship: Marina Abramović and Ulay, Together & Apart," book, Documentext (McPherson & Company), 2010.
• Asami Nagai, “Art in Harmony with Nature,â€? The Daily Yomiuri July 24, 2003, p. 13.
• Anna Novakov, “Point of Access: Marina Abramović’s 1975 Performance Role Exchange,â€? Woman’s Art Journal Fall 2003/Winter 2004: 31–35.
• Jennifer Phipps, “Marina Abramović/Ulay/Ulay/Marina Abramović,â€? Art & Text 3 (1981).
• Theresa Smalec, “Not What It Seems: The Politics of Re-Performing Vito Acconci's Seedbed,â€? PMC: Postmodern Culture 17 (1) 2006^[21]
• “Writing Art,â€? Art Monthly 1999 230:13–17.

References[link]

External links[link]

Wikiversity has learning materials about Performance art

• Marina Abramović: The Artist is Present at MoMA
• Artfacts.Net profile with major exhibitions and public collections.
• Coulibeuf, Pierre. Balkan Baroque 1999 (video). "The autobiography, both real and imaginary, of Marina Abramović...."
• Interview with Bernard Goy for Journal of Contemporary Art, June 1990
• Marina Abramović, The Hero (for Antonio) – 2001. Vejer de la Frontera, Spain: NMAC Foundation.
• Marina Abramović, Human Nests – 2001. Vejer de la Frontera, Spain: NMAC Foundation.
• Marina Abramović Institute, San Francisco, California, USA.
• Marina Abramović: Seven Easy Pieces, November 9–15, 2005, 5PM to 12AM. New Way: Solomon R. Guggenheim Museum.
• Mediateca Media Art Space documentary archive with biography, works, and references.
• Rosenberg, Karen. Provocateur: Marina Abramović (interview). New York magazine, December 4, 2005.
• Lisson Gallery Marina Abramović artist page. Including works, bio, exhibitions and catalogues
• Sean Kelly Gallery artist page with biography, works, press, exhibitions, and catalogues.
• Spector, Nancy. Marina Abramović, Rhythm 5, 1974, published 1994. Guggenheim collection online.
• "Marina" the feature documentary film
• Interview, March 2010, with Robert Ayers at A Sky filled with Shooting Stars.
• Arthur C. Danto, "Sitting with Marina", New York Times, 2010/05/23
• Vice magazine interview, November 2010.
• 2011 James T. Demetrion Lecture: "How Performance Art is Entering the History of Art", press release, March 9, 2011, Hirschorn Museum, Washington, DC, USA; lecture April 5, 2011.
• Conversation: Marina Abramovic, interview with Jeffrey Brown, PBS Newshour Art Beat, April 8, 2011; transcript and video. Link: The Hirshhorn conducted a Twitter forum with Abramovic in late March; Q&A here.
• Tate: Meet the Artist: Marina Abramovic The artist talks about her performance practice. January 29, 2009.
• | EAI Artist biography and list of video works.