Mike Parr - Works

Works

Parr's early works were designed to get a reaction from the audience. In one of Parr's earlier works, he sits in front of his audience and begins talking to them. Most of the people in the audience have no idea that he has one prosthetic arm. Suddenly he gets out an axe and begins hacking into his prosthetic arm which he has filled with minced meat and fake blood.

In 2002, Parr's most challenging performance, "For Water from the Mouth" was held at the gallery Artspace – a work of ten whole days where Parr was isolated in a room, with no human contact, without anything but water to keep him alive. His every action surveyed by video cameras and web cams, broadcast live on the internet for 24 hours a day.

"A stitch in time" was another of his performances, a live web cam showing Parr having his lips and face extensively stitched with thread into a caricature of shame.

In 2003, one of Parr's extended performances was as live web broadcast received more than 250,000 hits in the first 24 hours alone. For 30 hours Parr sat in a gallery (again at Artspace) with his only arm nailed to the wall. This was called "Malevich (A Political Arm)".

Read more about this topic:  Mike Parr

Famous quotes containing the word works:

    He never works and never bathes, and yet he appears well fed always.... Well, what does he live on then?
    Edward T. Lowe, and Frank Strayer. Sauer (William V. Mong)

    Any balance we achieve between adult and parental identities, between children’s and our own needs, works only for a time—because, as one father says, “It’s a new ball game just about every week.” So we are always in the process of learning to be parents.
    Joan Sheingold Ditzion, Dennie, and Palmer Wolf. Ourselves and Our Children, by Boston Women’s Health Book Collective, ch. 2 (1978)

    The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to the another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own travelling brotherhood.
    Freya Stark (b. 1893–1993)