Abstract
Since the late 1960s, Anne Bean’s performances, public interventions, drawings, videos and writings have been actively pursued as a ‘continuum’, and she strives to diminish the distinctiveness or iconicity of each in favour of a democracy of forms and effects. Bean’s pursuit of a continuum is discussed as a performance of extremity with regards to specific works of performance as well as her broader assault on critical and theoretical understandings of performance and art, in terms of the potential of performance art to blur the boundaries between art and life. The argument is channelled through the theosophy of G. I. Gurdjieff – a touchstone for Bean in the 1970s – and the dubious critical methods of magic and the occult, ending up at the persistence of her refusal to be fixed or found by history.
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