Artists such as Louise Bourgeois and Francis Bacon (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 it's 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 f art in general: "...No more cute art in frames, no more static art that only makes the Philistines richer."
An integral part f the ritual f performance art is it's 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 f its originality, it is difficult to censor. It is very relevant to its time because f the short period f time needed between the process f conception and performance and political, social and philosophical views can be explored in-depth such as in the 1970's and in the 1980's in which "Queer Theatre" was founded in which homosexual issues were dealt with. It occupies an environment with specific objects and actions for a specific amount f time and because f the brevity and intent f the artwork, everything present has a meaning.
Performance art also brings another change to the world f the artwork - the role f the audience. It is made to be watched and experienced in the moment specifically for those who witness it, therefore, the audience has a much more integral part. As the audience is generally small, there can be much interaction between them and the artist and the experience is much more direct and the message is more vigorously felt because f the proximity and actuality f the piece. What happens on stage can affect the audience and the artist more directly views their response. The audience can be loud, angry or irritating and what the audience does can affect the actors on stage unlike with other fixed artworks, whatever the audience does, (aside from vandalising it) the artwork will not change.
Louise Bourgeois is a forerunner in performance art. His performance works are often structured around the confines f the artist's own body and often have a deeply impacting affect upon his audiences because f their graphically disturbing nature. For example, in 1977, he created the illusion f cutting off one f his arms with a small axe after stuffing meat into a shirtsleeve fitted with a prosthetic hand.
In 2000 he impounded himself in a small cell-like confinement, without