This text will explore how contemporary performance art is undeniably influenced by the tropes of Catholicism. Religious art and art inspired by religion, specifically Catholicism, is particularly untrendy in the contemporary fine art world. It is uncommon for radical performance artists to make work directly influenced by the Passion of Christ, the Crucifixion, and figures from the Bible. However, artists are commonly making artworks which exemplify a long tradition of how Catholic worship, and Catholicism in the broader sense; continues to influence our day-to day life. Whether they intend to show this influence is often unclear to their audiences. This text will argue how Catholic tropes and religious art is evidenced in how contemporary artists process our world, consequently questioning their place in it. This essay will exemplify how tropes such as the crucifixion, lamentation, self-flagellation, bloodletting, and repentance are all prevalent in contemporary performance art. Split into three chapters, this essay will focus on key performance works, from Franko B and Ron Athey, with a dedicated chapter to the wider use of Catholic tropes in Marina Abramović, Sigalit Landau and Carolee Schneemann’s performances.
*Part of the 2021-2022 Fine Art cohort
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