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No Applause, Just Throw Money: The Unconventional World of Performance Art

Leon Foster

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Published in No Applause Just Throw Money: The That Made Vaudeville Famous

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A Photograph Of A Performance Artist Standing In A White Cube, With A Sign That Says 'No Applause Just Throw Money' In Front Of Them. No Applause Just Throw Money: The That Made Vaudeville Famous

In the realm of the avant-garde, where boundaries are pushed and norms are challenged, there exists a unique brand of performance art known as "No Applause, Just Throw Money." This unconventional approach to artistic expression has sparked both intrigue and controversy since its inception, inviting audiences to engage in a participatory and transactional experience that blurs the lines between performer and spectator.

No Applause Just Throw Money: The That Made Vaudeville Famous

No Applause--Just Throw Money: The Book That Made Vaudeville Famous

by Trav S.D.

4.6 out of 5

Language	:	English
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Print length	:	366 pages

Origins and History

The origins of No Applause, Just Throw Money can be traced back to the 1960s and 1970s, a time marked by social and cultural upheaval. Performance artists such as Allan Kaprow, Claes Oldenburg, and Joseph Beuys sought to break away from traditional theatre and gallery settings, experimenting with immersive happenings and interactive installations. The use of money as a means of exchange and support for artists emerged during this period as a rebellion against the commodification of art.

One of the pioneers of No Applause, Just Throw Money was the Viennese artist Otto Muehl. In his performances, Muehl would often invite the audience to participate in "action rituals," where they were encouraged to engage in physical and emotional confrontations. The money collected from these performances served as compensation for the artists and allowed them to continue their radical artistic experiments.

The Participatory Aspect

A defining characteristic of No Applause, Just Throw Money performances is the emphasis on audience participation. Unlike traditional theatre, where spectators are expected to remain passive observers, audiences in these performances are invited to make meaningful contributions to the artistic experience. They become active collaborators, their reactions and interactions influencing the course of the performance.

The use of money as a form of exchange further enhances the participatory nature of these works. By throwing money at the performers, the audience literally invests in the art and becomes a part of its creation. This transaction transcends the traditional divide between artist and spectator, fostering a sense of shared ownership and responsibility.

Artistic Intent

Artists who employ the No Applause, Just Throw Money approach often have multiple motivations driving their work. Some seek to challenge traditional notions of art and its value. By using money as a medium, they confront the commodification of creative expression and suggest that art should be accessible to all, regardless of financial means.

Others use No Applause, Just Throw Money as a tool for social commentary and critique. The performances can explore themes of capitalism, consumerism, and inequality. By inviting the audience to participate in a transactional experience, artists expose the power dynamics at play in society and the ways in which money influences our interactions.

Controversy and Criticism

The unconventional nature of No Applause, Just Throw Money performances has inevitably sparked controversy and criticism. Some critics argue that the use of money distracts from the artistic content and reduces the experience to a mere financial transaction. Others express concerns about the potential for exploitation, as artists may feel pressured to produce sensationalistic or provocative performances to generate income.

Despite these critiques, No Applause, Just Throw Money remains a significant and influential movement in contemporary art. It has inspired numerous artists and challenged long-held assumptions about the role of art in society.

Contemporary Manifestations

In recent years, No Applause, Just Throw Money has evolved beyond its original form to encompass a wide range of contemporary artistic practices. Performance artists continue to use money as a medium in innovative ways, exploring its symbolic and economic significance.

One contemporary example is the work of the artist Marina Abramović. In her performance "The Artist is Present" (2010),Abramović sat motionless at a table in the Museum of Modern Art for eight hours each day, inviting visitors to sit opposite her in silent contemplation. Participants were encouraged to donate money to Abramović's non-profit foundation, which supports emerging artists.

Another notable contemporary artist who incorporates No Applause, Just Throw Money elements into her work is Yoko Ono. Known for her interactive and participatory performances, Ono often invites audiences to become involved in the creation and dissemination of her art. Her "Dream Boxes" (1962) are small, portable sculptures that contain instructions for actions that can be performed by the owner. The money collected from the sale of these boxes supports Ono's ongoing artistic projects.

No Applause, Just Throw Money is a provocative and thought-provoking approach to performance art that has challenged traditional notions of art and its value. By engaging audiences in a participatory and transactional experience, artists using this method explore themes of capitalism, consumerism, and inequality. Despite controversy and criticism, it remains an influential movement in contemporary art, inspiring artists to continue pushing the boundaries of artistic expression.

No Applause--Just Throw Money: The Book That Made Vaudeville Famous

by Trav S.D.

4.6 out of 5