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Word Count: 1,761
Throughout its existence the artwork has gone through several evolutions and modifications to its physicality as well as with its relations to the world and the audience Beginning with such simplistic intentions as cave paintings for communicative purposes to pieces of work made only for aesthetic and decorative purposes to entire productions involving the audience the environment and the time into the artwork The practices of Installation and Performance art have been the fundamental starting point for these such changes Artists such as Mike Parr and Ken Unsworth listed in their fields respectively recognize and accept these changes and interpret them in their artworks Art began around 15 000 BC often favouring drawing over colour in forms such as cave paintings There have been changes from emphasis on geometrical shapes such as mosaics and arches religious and gothic-based in which art evolved from its two dimensions and was practised in sculpture format the Victorian and art Nouveau-influenced craft movements in which art became decoration through to Dada in which the art was taken off the canvas - new materials and exhibiting practises were used to encourage stronger responses from the audience Subject matter had changed from communicative to aesthetic to political social and emotional Dada was the jump-off point for performance art The origin is said to be found in 1917 in Zurich where several notable Dadaists spoke nonsensical words to complement nonsense acts to protest the Great War and the importance of art in general No more cute art in frames no more static art that only makes the Philistines richer An integral part of the ritual of performance art is its ephemerality - it is not static like most artworks After it is finished nothing will be the same again and nothing is left Performance art is described as unprecedented and because of its originality it is difficult to censor It is very relevant to its time because of the
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