Arts Desk

The Body Stop: D.C.’s Once-Nonexistent Performance Art Scene Takes Off—in Rosslyn

Sheldon Scott, Armando López Bircann, and Eames Armstrong want to turn D.C. into a performance art hub.

Drop into any Brightest Young Things party or Pink Line Project event with a DJ, a food truck, and some graffiti, and there’s a good chance you’re going to see some performance art. Not, mind you, the Viennese Actionism of the late 1960s or the NEA Four of the early 1990s or Marina Abramović trying to make you cry, but something that feels like a distinct thing in its own right. It might be Katie Balloons (Katie Laibstain) wearing balloons in place of clothing, or Holly Bass strapping basketballs onto her behind, but there’s something to it that’s very D.C.

Performance art today is a label that captures a lot of diverse genres, to the chagrin of some artists and the delight of others. In D.C., there is only one thing that those artists have in common: They all just got here. In 2007, the city hosted almost no performance art whatsoever. As of this month, it boasts one of the country’s biggest festivals dedicated to just performance art. This weekend, SuperNOVA will assemble nearly 100 performers in Rosslyn, and attract, its organizers hope, 10 times that number of viewers—or more. Performance art has not just taken root in the D.C. area. Washington is aiming to be the nation’s performance art capital.

Consider the scene only a few years back. In 2007, D.C. artist (and longtime Washington City Paper critic) Jeffry Cudlin put together a performance art event that made light of the fact that the city had no performance art tradition—no blood, no screaming, no nudity, nothing. For “Ian and Jan” at the District of Columbia Arts Center, Cudlin and artist Meg Mitchell put all of that into a faux retrospective of two seminal artists from the Washington Body School, documenting the body-oriented performances of a D.C. movement that had since fallen by the wayside. (It was expertly executed: Area curators even chimed in, via mockumentary video interviews, to lament the lost stature of the Body School.) At that time, it was the first performance art show in who knows how long and a cheeky critique of the city’s utter lack of body or durational art to boot. (If the movement sounds familiar, that’s because it’s a spoof on the Washington Color School, an actual D.C. movement that has, in fact, fallen by the wayside.)

But by the time that Cudlin and Mitchell noticed a paucity of local performance, things were changing. The following year, in 2008, a short-lived gallery called Meat Market hosted an unprecedented “Performance Week” in the former Church of the Rapture warehouse space at 14th and T streets NW. Here was an authentic display of local performance artists. Never mind that Meat Market is long gone and 1840 14th St. NW is now home to upscale furniture shop Room & Board; those are signs of other sorts of change that tie into the plethora of performance now. “Performance Week” was a first effort to correct that oversight spoofed by Ian and Jan, even if it meant just a couple performances a night, for an audience of about a couple dozen people.

If “Performance Week” was an indication of healthy growth in D.C.’s art scene, SuperNOVA points to something like hyperthyroidism. The Rosslyn festival is a weekend-long performance art extravaganza across multiple locations and mediums. In what may be a first for performance art, SuperNOVA is a festival that won its supporters for the economic benefits they believed would come from hosting it in Rosslyn.

“We want to grab people’s attention,” says Cecilia Cassidy, executive director of the Rosslyn Business Improvement District, whose retail task force is putting on the show. “We want to stun them. Rosslyn is really a hip, cool place. We like that element of surprise.”

Not since business owners in Rosslyn began peddling the area as “Manhattan on the Potomac” has such an outrageous claim been made about the gray neighborhood of corporate high-rises. Still, the people who may be stunned most by SuperNOVA aren’t the yups who call Rosslyn home—but the flinty artists and art fans who have watched the movement emerge and then explode in just a few years.

Spiritually, Rosslyn is much closer to Room & Board than a shuttered Pentecostal church. But SuperNOVA may be just what the District needs, according to two of the artists closest to the city’s performance art buzz.

The chief curator for SuperNOVA is Eames Armstrong, 24, an artist who has in recent years emerged as D.C.’s most productive booster of performance art. She is the performance art curator at Hillyer Art Space, where she runs the “Soapbox” series, the city’s only sustained visual-art performance series.

“It’s hard to say how many artists are involved [in SuperNOVA], which seems kind of silly,” Armstrong says. Some performers are collectives or otherwise involve multiple individuals. All told, there are 73 performances, so she estimates that around 90 people are on the slate. Art scenemaker Philippa Hughes, who is something of an executive producer for SuperNOVA, recruited Armstrong to find the artists and work out various logistics, while she serves as liaison to the suits.

For a BID project, SuperNOVA resembles the sort of DIY effort that Armstrong might program at her home in the 52 O Street studios. For the Rosslyn show, she put out an open call through word-of-mouth channels while inviting a few select artists to submit proposals. SuperNOVA is happening at a much larger scale than anything she’s done before, though.

The Rosslyn BID ponied up $150,000 for the festival. Part of the purse goes directly to the artists, who each receive a base honorarium of $250. When SuperNOVA began soliciting submissions, Armstrong says, they also asked for artists to list any additional costs. “All the artists are getting paid, and a lot of their projects are getting funded,” she says. For example, the Rosslyn BID is picking up the tab for the two assistants and materials involved in J.J. McCracken’s 24-hour performance, as well as the field paint that Patrick McDonough is using to turn part of Gateway Park’s lawn white.

Why Rosslyn should invite McDonough to paint its Gateway Park chalk white—and not, say, prosecute him for it—is a question that doesn’t faze Cassidy. “The arts in Arlington generate $85 million in local economic activity,” she says, referring to annual figures from a December 2010 study assessing the state of the arts in Arlington County. “Arlington audience members spend $7.5 million [annually] on retail.” Citing chapter and verse, though, hasn’t redeemed Artisphere, the struggling Rosslyn cultural center and SuperNOVA venue. Nevertheless, Rosslyn authorities appear undeterred in their efforts to make art a thing there.

Support for art has its limits in the ’burbs: There’s to be no nudity in SuperNOVA. Asked who made that call, Cassidy simply says, “Me.” Then she rebounds with the language that one expects of a BID: “We don’t want to offend anyone’s sensibilities here. We want families to enjoy it.”

Armstrong frames this restraint another way: None of the artists were planning to disrobe in the first place. “I don’t think all performance can go anywhere,” she says, adding that plenty of fully clothed performance works wouldn’t fit SuperNOVA, either. If finding work that was Arlington-appropriate was a challenge, it turned out to be a solution, too. “A lot of the work takes Rosslyn as an integral part of the piece,” she says. She notes Cudlin’s pledge to scale Rosslyn’s streets and sidewalks—as if they were a rock face, in an hours-long durational test—as one example of site-specific work among many.

Crusty art punks may be less offended by the restriction on nudity than by “Big Bang,” the hipster-flavored Saturday dance party produced by Pink Line Project to gin up attendance at SuperNOVA. But that would be a mistake, Armstrong says. “[A dance party] is actually quite in line with a lot of performance,” she observes. “Maybe not very rigid, academic performance. But there’s a lot of partying in performance in the 1970s. Early Warehouse stuff”—referring to Andy Warhol’s outfit—“it’s a constant party.”


Armstrong says that the success of SuperNOVA would be measured by a followup festival the next year, or the year after. Artist and curator Sheldon Scott would like to develop a practice that’s not confined to just a few calendar days.

“I’d like there to be a D.C. dialect,” he says. A performance mode of D.C.’s own, he means, something native, like go-go or hardcore or mumbo sauce—all things that have been made the subject of recent gallery exhibits.

Looking at D.C.’s most visible performance artists, it’s hard to say what that vernacular could possibly be. Since her debut at Meat Market, artist J.J. McCracken has established herself as the best in D.C. performance by a margin. (For that 2007 show, she crafted small clay pots the traditional way; then, working with a staff of lab-coated assistants in a production line, she tagged and bagged them, vacuum-sealing the still-wet vessels and hanging them on the wall, like so many historical artifacts.) She has a challenger in Wilmer Wilson IV, an inventive young artist who shows at Connersmith. Kathryn Cornelius has a diverse practice, from vacuuming up sand on a beach in 2005 to marrying (but not legally) seven people in one day at the Corcoran Gallery of Art last year. Holly Bass is D.C.’s most prolific performance artist; Cudlin’s work is (unsurprisingly) metacritical but (quite surprisingly) often tragicomic. The city also has its share of enfants terribles, such as Andrew Bucket and Adrian Parsons, event impresarios who blend partying and performing into a way of life.

If a D.C. dialect exists, it’s in the fluidity of its genres, which combine the work of a somewhat cloistered gallery scene with performance rooted in happy-hour entertainment. Like Bass, Scott hails from the city’s storytelling scene. His history performing in non-galleries—Scott got his start in spoken word at Busboys and Poets—drives his view that performance art belongs in parties and bars, not just art galleries, which attract a limited crowd. “If you’re white-cubing it, you’re talking to the same audience,” he says. A pragmatist, Scott sees concrete advantages to moving performance art out of those cubes—which are diminishing in D.C. anyway—and into a cabaret setting. After all, he says, there’s no performance art without people to watch it.
Scott has also broken into another emerging support system for performance art: curation. With co-founder Armando López Bircann, Scott recently launched Animals & Fire, an effort to codify and organize the D.C. performance art scene.

For a first foray, Animals & Fire organized one of the strangest D.C. performances yet: a collaborative workshop to expand the practice of artist Bizard (Benoit Izard). On May 25, this workshop culminated in “Scotch Across D.C.,” a performance walk from the trendy Montserrat House to the staid Capitol reflecting pool. Over the course of the workshop, Bizard instructed co-performers on best practices for wrapping oneself from head to toe in colored tape. They passed through wildly divergent neighborhoods—a very different experience from performing in a 14th Street gallery—but one taped-up performer was kicked in the back while passing through Little Ethiopia in Shaw.

Scott, who is black and gay, says that part of the point of approaching visual performance art through panels and workshops is to find a common ground that traverses other kinds of boundaries. It is the same impulse that has led artists to take up land art and street art and social-practice art: to get out of the galleries and museums. Leaving one community might mean crossing racial and class lines and encountering other groups; in D.C., performance art also cherishes collaboration over working alone, which opens other doors.

“A little black sissy boy growing up in the rural south and a princess from the Upper East Side can appreciate all those same elements of self,” Scott says, given the chance.

Scott’s single lament about SuperNOVA is that it’s happening in Rosslyn, not D.C. This gets at one of the qualities that forever guides art in D.C.: It’s not a hub-and-spoke municipal model, such as you see in Pittsburgh or Minneapolis. It’s several neighborhoods competing to be the hub. Rosslyn wants in—and the area has decided that performance art could be its leg up.
“When a business is making a decision about where to locate, part of the consideration is about how the environment enriches the life of their workers,” Cassidy says. SuperNOVA “actually fits in exactly, this kind of festival. Rosslyn is pushing all facets of itself forward into the future.”

Photo by Darrow Montgomery

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  • zeromoon

    you can never have enough Viennese Actionism

  • Jeni

    Caption needed for folks in photo.

  • furcafe

    Also "faze" not "phase".

    But good article.

  • Ally Schweitzer

    Misspelling fixed. Thanks!

  • Carmen Calatayud

    The writer of this article and the sources may be really young, but that's no excuse for poor fact checking. DC does have a history of performance art. Please do your research.

  • Michael Horsley

    There is a long tradition of performance art and performance artists in Washington. The lack of historical understanding is because performance art has traditionally been on the fringe. Now Fringe is mainstream. It astounds me how the impact of Bill Warrell and District Curators is so overlooked by the latest generation of DC artists. I am still waiting for someone to perform something that tops the Sankai Juku performance dangling from ropes from the roof of the National Theater

    I did my first performance art at American University DADA Festival in 1983. Multiple shows at positive force anarchy festival. DC Space,Javarama, Washington Project for the Arts, DCAC, Central Armeture, Club Botswana, 9:30 club, Cabaret re-re-voltaire. There are too many more significant and worthy artists and venues to mention here

  • Grandma

    When I stop laughing at how ridiculous this is, I will write you a letter.

  • Kriston Capps

    Sure, dc space has a super-important place in D.C.'s music history. And District Curators did a lot to bring free jazz to D.C. at a time when there was little institutional support for it. But I would not a couple things. One, dc space closed in 1991—more than 20 years ago, which was a long time ago, even if D.C. punks feel like it was just yesterday. Two, I'm writing about visual performance art, whereas the stuff you're talking about is mostly, almost entirely, music programming. I'd point you toward this 1998 story on Bill Worrell:

    I'm not saying that there were zero instances of performance art in D.C. before 2007. But it wasn't a thing back then, and it had not been a thing for a long long time, and no one can remember a time when it was a thing. What District Curators and dc space were doing happened a very long time ago and was something really different from what I'm writing about here. Their work was important! Just a different kind of work than we're seeing today.

  • Kriston Capps

    @Carmen: I'm 33, not particularly young; for what it's worth, I've lived here for 10 years.

    @Grandma: It's hard to care much for your criticism if you aren't actually going to spell out your complaint.

  • Grandma

    Kriston, Your statements above are incorrect. Please do your homework and call Don Russell, Bill Warrell, Kim Chan, B Stanley.

  • Grandma

    1) City Paper needs to do its homework on history of performance art in DC-- its own archives would be a good place to start...
    2) Just because it's not online, doesn't mean it didn't exist.
    3) See Guillermo Gomez-Pena's "14 Art Commandments - good advice for young performance artists," Check #13 "Respect your elders and predecessors. Treat us with tenderness and when the time comes, kill us ritualistically." The only change I would make to that is "Know who your elders/predecessors are."

  • Grandma
  • Kriston Capps

    @Grandma The work I started with ("Ian and Jan"), of course, happened at DCAC in 2007, so I haven't left B. Stanley out of the mix. But none of these people—not Don Russell, Bill Warrell, Kim Chan, or even B. Stanley—were programming visual performance art on any sort of regular basis at that time, about six years ago. Or really on any basis at all, because artists weren't making it. Now there are several events on the calendar with dozens of performance-artworks each year. It's a huge change that artists are eager to talk about.

    I get that you admire the work of an older generation of D.C. curators. I do too! It doesn't particularly apply to what I'm talking about, though: I'm talking about D.C. artists. Even if I'm generous and agree with you that dc space and District Curators showed a lot of performance art—and I don't agree that they did—it was still largely an effort to find artists elsewhere and make opportunities for them to come and perform here.

    The District performance art scene in 2013 is, on the other hand, is visual art focused (if a little bit diffuse with all the spoken-word influence and so on) and home-grown (by and for artists living in D.C.). Sankai Juku is cool stuff, but it doesn't have anything to do with the District.

  • Grandma

    Kriston, the title of the article, D.C.’s Once-Nonexistent Performance Art Scene, implies there was no performance art scene before now, when in fact, there was. Many of the artists were DC-based artists and some were also from other cities/countries but the majority of performance artists were from DC. The type of work that is happening now is nothing new. Please check City Paper archives and call people. When I worked at City Paper, we had to check our facts and then check them twice.

  • Kriston Capps

    @Grandma As I wrote, "In 2007, the city hosted almost no performance art whatsoever. As of this month, it boasts one of the country’s biggest festivals dedicated to just performance art."

    That's really the thrust of the story. In no way do I suggest that performance art has never happened in D.C.—but performance art has never happened on the scale that is is happening in now. What is happening now is a more recent, and much larger, trend built by current D.C. artists (artists who by and large don't know about Bill Warrell or District Curators). Why should I need to talk about a past that has nothing to do with the present?

    I think that you have misunderstood the point of my article. I'm happy to discuss it, but you need to give me a little bit more than insults about my professionalism. Maybe you could start by using your real name? I'm not afraid of a conversation.

  • Michael Horsley

    how to measure the sucess of Supernova? are there any reviews? I sure saw a lot of pre-event PR but I did not see as much audience as I expected. more like handfuls of spectators than hoards. I wonder how events like this will fare in the future if there is little public interest? And am I the only one disturbed by the overt cozying up to,developers and business interests? too much co-opting of artistic independence affects the message. I performed in Rosalyn 25 years ago and it is still a boring dead zone today as it was then.

  • Grandma


    I am very glad that performance art has "re"-emerged in DC and that there is interest in it. The title of your article, content and comments, however, imply performance art never existed. I am simply pointing out that you are wrong about that.

    I am not suggesting that you talk about the past but you should *at least* know that there is one. And even if you don't know or acknowledge that there is one, many others do.

    If, as you say, the thrust of the article is about how there was no “visual” performance art in/since 2007, then the title of the article should not be "D.C.’s Once-Nonexistent Performance Art Scene."

    If you seemed more interested and open to learning about performance art in DC, I would be more interested in talking with you and putting you in touch with others-- however, your question, "Why should I need to talk about a past that has nothing to do with the present?" doesn't inspire me to share my name, my people or my stories.

  • Silban

    "In no way do I suggest that performance art has never happened in D.C."
    -Kriston Capps

    "D.C.’s Once-Nonexistent Performance Art Scene Takes Off."
    -Kriston Capps

    Eh hem. Just admit you picked a title that was focused on grabbing people's attention rather than being factual. STOP defending your bad choice, it makes you look even worse!

  • Ally Schweitzer

    Hey guys, Kriston Capps didn't write that headline, I did. You can direct your angry comments at me now. Thanks!

  • Grandma

    zzzzzzzzzzzzzzzzzzz. gotta go, it's past Grandma's bedtime!

  • Kim Chan

    So I heard I was mentioned in these comments. I do think the past connects to the present even if you weren't part of the past. As a curator in DC, one of my goals was to connect DC artists with out of town peers so that they could be energized by one another. It usually worked and sometimes it lead to DC artists leaving DC to some other place they found more stimulating creatively which was perfectly fine with me. I left DC for the same reasons but it was fun while it lasted.

    But while I was there, I did work with a number of performance artists in museum settings - Coco Fusco and Guillermo Gomez-Pena's Couple in a Cage piece for the Columbus quincentennary at the Smithsonian's Natural History Museum and then Gomez-Pena with Roberto Sifuentes at the Corcoran in the Temple of Confessions. Other museum based performance residency projects included James Luna, Silvana Straw, B Stanley, Holly Bass, Tracie Morris, Miguel Algarin, and Toni Blackman.

    And I was part of the committee that organized a benefit for the NEA 4 and the National Campaign for Freedom of Expression with several local artists & 3 of the NEA 4. With other friends, we brought Karen Finley to DC a few times. And also the Pomo Afro Homos, Ain Gordon, John Kelly, Ping Chong, Contraband, and several iterations of the PS 122 Field Trips.

    Good luck to everyone who's still trying to make it happen in DC! Hopefully I'll be there to visit when one of these shows is happening next.

  • Bill Warrell

    PERFORMANCE has almost as many definitions and derivations as jazz...or the title "producer" for that matter. I applaud the efforts of the artists both then (1977) and now. I can say there seems to be a new energy starting to emerge in performance... "Difficult Music" is back! Difficult times make for difficult ART... easy times make lazy art (visual, musical, performance... doesn't matter). Let's all be proud of our artists, curators and audiences but remember that the works come from the artists not the collective taxes of a business district or a happy hour event posing in an art gallery. I'm not going to forget the ARTISTS who presented and made their performances here....Joseph Beuys, Vito Acconci, Laurie Anderson, Christian Marclay, Sekou Sundiata, Tim Miller, Karen Finley, Sherman Fleming, Rogelio Maxwell, Eric Bogosian, Meredith Monk, Diamanda Galas, Ping Chong, Spaulding Gray, Jared Hendrickson, Fab Five Freddie, Silvana Straw, Sankai Juku, Holly Bass, Mabou Mines, Thunder Thighs, John Kelly, Judith Jackson, Coco Fusco and Guillermo Gomez-Pena...just a few i remember seeing perform in DC. The list will never stop...let's hope this generation of artists survive and will be on everyone's minds (and in their blogs) 20 years from now. BRAVO!

  • Kenneth Carroll

    First, thanks Bill Warrell for all you have done for performances of all kinds from all people in Washington, DC. Secondly, thanks for calling the names of some of our Hall of Fame DC performers. I would just add to the author of this article, that sometimes it's okay to thank people for filling in one's missing knowledge, rather than sinking further in the muck of ignorance by trying to argue from that absence of knowledge.

  • Kriston Capps

    @Kenneth: I'd push back that my knowledge is missing. It's no denial of the past to say that there is a visual-performance art scene happening now that is bigger than it was several years ago—maybe ever.

    I think it's amazing that Bill Warrell brought Laurie Anderson to D.C. But that's just not the subject of this article.

  • Kriston Capps

    (FWIW I do appreciate the feedback, though. It's helpful. This kind of conversation widens my understanding of how artists see D.C. art history.)

  • Bill Warrell

    Kenneth, al Please continue to add to the list (omission apologies to Kenneth, Ajax...) of artist for the world to know,NOW and THEN! But let's not lose our healthy critical edge as history never stops creating itself LOL

  • Bill Warrell

    a couple other visual artists that come to mind, both did major performance pieces at the Corcoran. NOW, iona rozeal brown and THEN, Robert Longo's Empire which included two young dancers as a living sculpture, Bill T Jones and Arnie Zane

  • Kim Chan

    I'm glad there's a renewed buzz in the DC performance scene. I think it will be important to not isolate the work of the DC artists from artists working in other places.

    In looking back at my time there, I wonder why this kind of activity has been more cyclical than sustainable. I think maybe that as the artists and the curators evolved, they moved on to different places or different interests as did many of their funders. I remember to stories of the early days of the WPA when I first moved to DC and wishing above all else that the scene there was as active that it had been. Access to affordable real estate for rehearsals and performances is also always an issue. At a certain point, I remember thinking some of the artists whose work I thought would be so fabulous to have in DC need a kind of space that didn't exist in the area back then. So whoever is going to carry onward, I hope you can find a way to break out of the cycle of boom and bust and to also tap into the part of the DC area that has always been committed to and interested in nontraditional performance rather than alienating them.

  • ahaha

    how can The Circumcision not be included in a discussion of performance art in DC??

  • Holly Bass

    As a DC-based performance artist AND a former writer for the Washington CityPaper, I can appreciate both perspectives in this comment stream. CityPaper editors love a catchy, controversial title and Kriston shouldn't necessarily be held to task on that. And I do agree that there is a resurgence of performance art.

    That said, I personally have witnessed and participated in performance art (of the visual art, non-storytelling, non-music variety) since I arrived in 1994. I remember vividly seeing Sherman Fleming re-perform "Becoming Rock" at DCAC. It made a tremendous impression on me. I also performed in art shows held in abandoned warehouses, long before my good friend Philippa picked up those threads with Pink Line Project. This was in the mid to late 1990s. Monstah Black (nee Reginald Crump) was a regular instigator of these events. Ceridwen Morris regularly curated visual art & performance shows for WPA. I recall doing a (rather ambiguous) multimedia solo performance about Frantz Fanon in 1996. I'm so appreciative of those years and that folks didn't dismiss my early misfires and saw a creative potential, which near 20 years later is now coming to fruition. In the same way that DC seeded the Harlem Renaissance, and the '90s spoken word resurgence, I can see the current crop of DC performance artists having a real impact locally as well as nationally and internationally.

  • Sub-Z

    This article is just one of many that seeks to deny history and give this desperate,vibeless Posuerville of a town some kind of identity. @ Kenneth Carroll: Thanks for "Voices Against Violence (1992). Thanks: Kaffa House (1996-1999)
    State of the Union, Metro Café (PERFORMANCE and MUSIC Space), M. Wile Askari, Gary Lilly, Groove Gumbo, 8 Rock (1992-1993), The Crib (1986)aka Old Landsburgh Building. Sheldon who? How dare you. Thanks Hoodywood (1993 in Blagden Alley)NOMA what?! STOP PLAYING! SOLO?! please. Thanks to the Insect club, Café NEMA, Bar NUN. These things happened despite the developers. How about Riverfest! remember that? That was under Barry and we know how the City Paper loves him. Kriston, do you remember Vendor's Mall? It wasn't just for vendors. Guess where it was. You know how Gallery Place got its name? No Toni Blackman? It's Your Mug? Let's bring it closer to your time frame, Longtimer: Where is the mention of Kamilah Forbes who put on the Hip Hop Theater series in the early to mid 2000's. You know, she went on to be one of the producers of Def Poetry Jam. Poemcees,Cornel West Theory. FACE: the village crier: the most inconvenient truth speaker on U St. ( go out there, you'll see him). In fact, one of the actors in her camp went on to play Jackie Robinson in 42. You got us feeling a little funny out here in the village. Oh! you were not talking about the village. My bad. Sheldon was. (the mumbo sauce thing). Btw, is he the wheat paste guy? Peace and Love upon the DC Performance giants living and transitioned. We will not forget you.

  • Grandma


  • GaryLilley

    What Sub-Zero said!

  • Michael Horsley

    art is not a cocktail party. true artists see through the trust fund wannabes. if you invoke "DC" you better know what you are talking about. put in twenty years of work before declaring sucess. trust and respect your fellow artists-we are all in a mighty struggle and it's not a competition.

  • Bacon King

    Wait, I thought City Paper's definition for performance art was broader than "visual" performance art, given your 2013 Best Performance Artist award went to A MAGICIAN...

  • Kriston Capps

    @BaconKing: Max Major won the readers' poll. I didn't have anything to do with his selection, so it doesn't have anything to do with this article.

  • Zenastics

    Let´s not forget DC-ARTBEAT, Artconnecto, Guilhermo Silveira, Artomatico