The late 1960's and early 1970's were a time in which performance emerged as a primary medium for female artists (Antin 108). Over the years performance art for women has transformed. However in some ways it has stayed the same. Current works about sexual assault have a revival attribute, revitalizing a 1960s delivery of extremist consciousness-raising: defiantly political, resistant to silence, and deconstructive of cultural definitions of rape. (Edwards 1) “It's crucial, therefore, to elevate a diverse array of survivors' voices, to recognize that there is no homogenous experience of survival nor single method or representation of recovery(Zeilinger 1).” The artist Suzanne Lacy is one of the artists who is well known for starting the discussion on problems that need to be addressed by using performance as her expression. Lacy's career has been based on collective experiences. She collaborates with women to generate works of art that present issues from a shared vantage point. The May 1977 project Three Weeks in May by Suzanne Lacy involved a three week performance in which she…show more content… The earliest recorded was Yoko Ono. Her Cut Piece performance used her own body as a medium for art and protest. Marina Abramovic is another well known performance artist. She did not deal with the theme of sexual assault in her work directly but the themes of embodiment, consent, and violence. She let viewers do anything they wanted to her even physically harm her doing her performances. There were a few other artists leading up to most recent works such as 24 Hours of #Rape by Caroline Rothstein and Project Unbreakable by Grace Brown. All of these famous works addressing that there still is an anti-rape movement that started decades before. (Zeilinger 2) These works were just a few that led up to the contemporary revival of performance art on sexual
