Performance Art scripted by Nancy in the Secret Garden 1-1-20o3 AXE" toxic body wash
Performance Art. Sisters Nancy and Dede watchful guardians of the natural world.
Performance Art 2010 Protesting and lamenting the loss of fertile black topsoil.
It takes 500 years of earth's natural composting of fallen leaves to build one inch of soil. I was witness to and survived one man's (a self decsribed conservationist) decision to remove all the loose bedding material and its underlying rick black top soil at Nancy Forrester's Secret Garden in He hired a team of six men or more , a fleet of very big open trucks or more to rake the entire acre of all leaves and top soil. a fleet of very big open trucks or morefleet of big open truck to haul it all awayThe land was soured of all black soil what was left was pale whitish limestone alcaline limestone lifeless mineral dirt Many full truck loads truck loads truck loads All rakings were loaded into large trucks and hauled away. It took just four days to destroy this since time inmemoriam fecund environment.
Performance Art. Soil Protectors Laura and Nancy
Artist Lara resting after writing runes on lifeless dirt in honor of an acre of missing fertile soil
Grief Managment Nancy Forrester Processing Sorrow and Anger Nancy Forrester, My lamentation screaming, wailing, crying, sobbing, growling thrashing about and flailing for its acre of lost soil at Nancy Forrester's Secret Garden
Gone Forever, My Soul, My Soil, My Soul, My Soil, Gone Forever my earthy, fertile, fecund, dark, fragrant micro life rich arena. Gone forever is your Soil Full promise of unending surprises of food and beauty. I miss your reassuring, water retentive, cool to the touch presence.
My Primal Scream for the extinction of species caused by man. Thank you, Dede Quigley, my sister who agreed to model for My Primal Scream.
While the terms ‘performance’ and ‘performance art’ only became widely used in the 1970s, the history of performance in the visual arts is often traced back to futurist productions and dada cabarets of the 1910s. Throughout the twentieth century performance was often seen as a non-traditional way of making art. Live-ness, physical movement and impermanence offered artists alternatives to the static permanence of painting and sculpture. In the post-war period performance became aligned with conceptual art, because of its often immaterial nature. Now an accepted part of the visual art world, the term has since been used to also describe film, video, photographic and installation-based artworks through which the actions of artists, performers or the audience are conveyed. More recently, performance has been understood as a way of engaging directly with social reality, the specifics of space and the politics of identity. In 2016, theorist Jonah Westerman remarked ‘performance is not (and never was) a medium, not something that an artwork can be but rather a set of questions and concerns about how art relates to people and the wider social world’.