How does one document performance art, which is not an object but an interaction between artist and viewers? After the performance, the work is preserved in various videos, photographs, eyewitness accounts, and remaining artifacts. It is these remains that enter the archive and the catalog, and which must be described and interrelated to give an idea of the original performance. This article addresses several practical and philosophical concerns that are raised by this process of integration and their ramifications.
Manzella, Christina and Alex Watkins. “Performance Anxiety: Performance Art in Twenty-First Century Catalogs and Archives.” Art Documentation 30, no. 1 (Spring 2011), 28-32.