Ztohoven is a radical stylist who inserted an image of a mushroom cloud into a weather report on an ordinary morning. This act resulted into multiple condemnations, similar to those faced by Orson Welles in the H.G Well’s alien invasion radio play of 1938. Ztohoven’s video caused little panic though; neither did it find its classification as a classic despite making way to You tube. In addition to that, Ztohoven received an award from the National Gallery in Prague for the prank. Despite these accolades, the group was tried before a Czech court for claims of propagation of false information and scaremongering (LaFollette, 2013).
By looking at the meteorological manipulation by this group, the author’s question of the responsibility that an artwork commands arises. Certain works are designed to be provocative, thus it is necessary to determine the point at which shock overweighs the intended purpose of an artwork. In addition to that, the relevance of the responsibility should consider the global environment that is full of hip-hop songs (Charry, 2012), movies and repulsive reality shows all which depict the nature of the current world.
Chris Byrden, in the year 1970, publicly shot himself in the arm while Vito Acconci openly masturbated under a gallery floor. All this happened as his audience walked above him. The growth of installation and performance of the video art have pushed the levels of sexual content to a rather transgressive territory. This is even more surprising as all through the transformation, the human body has acted as the medium for expressing the changes in the artwork displayed to the public.
Furthermore, the author highlights an incident in which Andrea Fraser tapes herself receiving $20,000 for the exchange of sex (Ley, 2012). As if not enough, Karen Finley strips naked before coating herself with chocolate while Santiago Sierra tattoos prostitutes. The question whether the artists are aware of