Shoot (Burden)
Shoot was a 1971 performance by Chris Burden in which he arranged to have himself non-lethally shot. It is the artist's most infamous performance.
| Shoot | |
|---|---|
.jpg.webp) Film still | |
| Artist | Chris Burden |
| Year | 1971 |
| Medium | Performance, video |
Description
On November 19, 1971, at the F-Space gallery in Santa Ana, California,[1] a friend raised a .22-caliber rifle at a distance of 15 feet from the artist Chris Burden and shot his left shoulder. The performance was documented in an eight-second video[2] on 16mm film and photographs.[3] There was a small audience for the performance, including the videographer and photographer.[3] The work was later presented through documentary photographs and text from Burden.[4]
Analysis
Burden has said that the performance came from the common folklore and televisual motif of getting shot in America, whether real or faked, without knowing how it actually felt. The performance was then to feel what he only experienced visually. Additionally, themes from the Vietnam War were frequent on American television news during the time of the performance.[5]
Burden displayed a high degree of control in the work's presentation.[1] In the artist's self-published documentation of the work, the relics of the performance and its text are terse and leave the reader to imply the performance's narrative.[4] Burden himself referred to the photographs as symbols.[1]
Commentators have also noted the role of non-intervention on the part of the performance's attendees, that in a bystander effect similar to the murder of Kitty Genovese, no one contested the potentially deadly action.[6]
Legacy
Shoot is Burden's most infamous work.[3] With Shoot and his later work, Burden pioneered the use of deadly risk as artistic expression.[2] It made him known as "the artist who shot himself", even though this is technically false.[3] As a critic in X-TRA put it, Shoot's primary medium is rumor.[7]
The performance spawned multiple reproductions. In 1999, an Israeli artist painted Burden after Shoot based on an image in Lucy Lippard's 1973 Six Years: The Dematerialization of the Art Object.[8] Tom LaDuke's 2004 Self-Inflicted Burden is a three-foot self-portrait sculpture modeled after Burden after Shoot.[9] UCLA art student Joe Deutch simulated Russian roulette with what appeared to be a loaded weapon in a 2004 performance class.[10] Burden spurred an ensuing media controversy comparatively larger than Shoot's by resigning his teaching post at the university, blaming the university's inaction against a hostile work environment, and likening the work to domestic terrorism. Burden later said that the offshoot work was meant to co-opt, demean, and parody his own. Burden's retirement in reaction to Deutch's performance assured that the work would be remembered in connection with Shoot.[11]
References
- Bedford 2011, p. 82.
- "8 Artists Who Went to Extreme Measures for Their Art". Artsy. April 11, 2016. Retrieved July 18, 2020.
- Paulsen 2017, p. 75.
- Bedford 2011, p. 81.
- Paulsen 2017, p. 78.
- Paulsen 2017, pp. 75–76.
- Lord, Benjamin (Spring 2016). "Chris Burden (1946–2015)". X-TRA. Retrieved July 19, 2020.
- Bedford 2011, p. 83.
- Bedford 2011, pp. 83–84.
- Bedford 2011, p. 84.
- Bedford 2011, p. 85.
Bibliography
- Bedford, Christopher (2011). "The Viral Ontology of Performance". In Jones, Amelia; Heathfield, Adrian (eds.). Perform, Repeat, Record Live Art in History. Routledge. pp. 77–88. ISBN 978-0-415-59469-1. OCLC 641536228.
- Paulsen, Kris (2017). "Touching Television: Chris Burden's Anti-Spectacular Video and the Ethics of Observation". Here/There: Telepresence, Touch, and Art at the Interface. MIT Press. pp. 67–94. ISBN 978-0-262-03572-9.
Further reading
- Evans, Yates Alan (2003). Chris Burden's Shoot (1971): A Reconsideration (M.A.). Virginia Commonwealth University. OCLC 54021543.
- Fallon, Michael (2014). "Shoot (1971) – Chris Burden". Creating the Future: Art and Los Angeles in the 1970s. Counterpoint. pp. 98–106. ISBN 978-1-61902-404-5.
- Ho, Melissa; Crow, Thomas; Levin, Erica (2019). Artists Respond: American Art and the Vietnam War, 1965–1975. Princeton University Press. p. 229–. ISBN 978-0-691-19118-8.
- Knight, Cher Krause; Senie, Harriet F. (2018). "Shoot and a Bad Boy Reputation". Museums and Public Art?. Cambridge Scholars Publishing. pp. 89–. ISBN 978-1-5275-1200-9.
- Sickerman, Elizabeth Edgeworth (2017). Into the Limits: The Artist, the Audience, and the Practice of Self-Inflicted Violence in Performance Art (M.A.). The Florida State University. ProQuest 2026747134.