This paper, at the onset, will not be focusing more on the biography of James Luna as an artist since that would appear to be following the paradigm of hagiography, which was put into action by the Giorgio Vasari. 3 There will be more focus on scrutinizing his forms of conceptual, performance and installation arts; following a semiotic, iconographic and aesthetic analysis that can evoke the complexity of the artwork in more detailed sense and perspective. Furthermore, there will be an investigation of the influences of culture and issues of identity which also exposes the complexity of ideology that his arts carry.
In totality, there shall be a synthesis of all the art historical methods of inquiry and analysis of artworks to clearly improve the knowledge that these artworks possess under the very condition culture and sensibilities.
As performances have become a common spectacle in the art world, James Luna followed suit. His image on the left (Fig. 1) is a performance he did in the 90’s. It is important to see the way he portrays a certain stance. This kind of appearance can be seen to be an imitation of the famous Rodin’s sculpture “The Thinker.” 4 When assessed in a more detailed perspective, it can be seen that there is a very different condition that can be seen from the artworks.
The former is more focused on seeing the act in its full scope, which is in contrast with the latter being a sculpture. In terms of a materialized condition for the act, Luna makes the viewer feel what a person feels when thinking. His performance in “The Thinker” provides a condition for the spectator to feel the artwork. However, when analyzed further, the essence cannot be retain; possibly, the aesthetic condition, due to its tendency to changed whenever it is presented. Thus, there is an intrinsic indeterminacy present in James Luna’s performance art.