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Biographies authorized by their subjects tend to be greeted with suspicion, but to mistrust either the veracity or the completeness of Westcott's narrative would largely be to miss one of its central tenets; that is, that Marina Abramovic is an artist who is still very much alive. Cooperating so fully with Westcott on this biography is a strategy that should be considered alongside, for instance, Abramovic's re-performance of her own work and that of others in Seven Easy Pieces at the Guggenheim in 2005, or the recent establishment of her institute for the preservation of performance art in Hudson, New York. Moreover, it is not simply that, as Westcott notes in his Epilogue, having reached her sixties,...