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HIGH PERFORMANCE
Issue #7, 1979
HIGH PERFORMANCE
PER/
FOR/
MANCE
Issue #10, 1980
“Settimana della Performance Art Americana”
ARTnews
by Michael Shore, 1980
“It’s energetic. It’s intense. It’s the ‘new wave’ of rock and roll that’s becoming a major influence on young artists. ‘Music’s a great way to get out of the art ghetto,’ says one.”
Berkshire Eagle
by Charles Bonenti, 1981
“She [Martha Wilson] thinks of performance as confrontation… a good performance is one that leaves the audience with an experience to carry away.”
Chicago Tribune
by Alan G. Artner, 1981
“The antics that did ensue left no one suspecting that opera, even at its most unconventional, was what the event was about.”
LA Herald
by Darcy Diamond, 1981
“It was an evening of whimsy. If LAICA had provided hot cocoa and popcorn, I’d have though [sic] we were all back around the campfire, making hilarious parodies of our camp counselors.”
LA Times
by Jerry Belcher, 1981
“‘She thought she had permission,’ said Burnham. ‘I understand now she didn’t. It was all a misunderstanding.'”
Montez Press Radio
Primary Information Presents Matthew NYC, NY, 2018
Culturebot.org
by Mashinka Firunts, 2012
“In the pantheon of New York artist collectives of the 1970s and 80s, the inimitable DISBAND represents the all-singing, all-dancing, all-girl contingent. The ‘conceptual art punk band of women artists who can’t play any instruments’ joined the fray in 1978 with melodies proclaiming ‘the end of art, the end of my career and yours, the end of articles.'”
Dis Magazine
by Alaina Claire Feldman, 2012
“One might argue DISBAND’S collective performances allowed the artists to work beyond identity in an attempt to dissolve it. Collective music making is a re-definition and sharing of power—an idea that is still unreasonably new to both contemporary music and art audiences.”
Getting the Band Back Together: Martha Wilson’s Punk Group Is Still Gigging After All These Years
by M. H. Miller, 2015
The artist Martha Wilson answered the door to her apartment wearing a gray suit and tie, with a matching fedora that covered her curious hair, half of which is dyed a reddish orange. Ilona Granet, one of Wilson’s collaborators, stood behind her, wearing blue dress slacks and a shirt with a knitted tie. She had on a sailor’s cap. Wilson’s tie belonged to Granet’s father. Running in circles around both of them was Granet’s excitable dog, wearing a green sweater.
by Maria Elena Buszek, 2020
Ladies’ Auxiliary of the Lower East Side: Post-punk feminist art and New York’s Club 57
