Moved to tears by art



Marina Abramovic was born in Belgrade, Serbia in 1946. Her work investigates the relationship between the performer and the audience, enabling participation by observers to uncover fresh notions of identity, and considers endurance as an art form.  

Abramovic is considered an art world ion and a performance art pioneer. She has pushed both herself and her audience by inviting audience member to interact with her through  performance pieces. She focussed on ‘confronting pain, blood and physical limits of the body’ - all of which are likely to lead to tears. 

One of her most famous pieces was ‘The Artist is Present’ which was exhibited in 2010 in the New York Museum of Modern Art. To understand it’s magnitude as art – she was the first woman to have a solo exhibition in all of the museum’s main galleries since opening in 1768. This piece was 736 hours and 30 minutes long – in which Marina sat at a table opposite her audience member, in silence. The audience member was invited to enter into an equal level of intimacy with the artist. The two at the table were surrounded by onlookers, photographers and those wishing to document the piece.  

The rules of engagement noted that no touch was to be made between the artist and the sitter. The only time this was broken was when Marina’s ex-lover Ulay sat across from her. She reached across the table and touched his hand, before he left the table. This act and reflection caused Marina to cry – for the only time during the performance. 

Photographer Anelli took photographs of some of those engaged every day and created a related art collection ‘Marina Abramovic Made Me Cry’ – noting only how long each sitter occupied the space and the number of the sitter – 82 photographs have been included. Those who chose to engage with Marina included ‘celebrities’, and well-known personalities – but no distinction was made by Anelli. All included showed tears, or facial characteristics that may be considered in advance of tears being shed. A sense of melancholy permeates the collection. Those who cried while at the table were part of the performance, feeling such emotion and intensity that they were moved to tears. 

Other artists are known for leading to such a reaction – though this was considered because of viewing an art piece. Notably Rothko’s work provoked such a reaction. This was documented referring to the visitor’s book at the Rothko Chapel – and James Elkins’ book ‘Pictures and Tears: A History of People Who Have Cried in Front of Paintings’ considers that the majority of people who have wept over twentieth-century paintings have done so in front of Rothko’s paintings’. Rothko’s work was related with an experiential intention, ie to provoke an emotional response such as crying.  Rothko himself notes his interest ‘only in expressing human emotions – tragedy, ecstasy, doom and so on’ - and from that he suggests as people break down in tears in front of his paintings that his work is done. 

Should we cry at art? Of course, but who knows why? 

 

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