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Record Nr. |
UNINA9910791019903321 |
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Titolo |
Perform, repeat, record : live art in history / / edited by Amelia Jones and Adrian Heathfield ; cover designer, Holly Rose ; index, Lyn Greenwood |
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Pubbl/distr/stampa |
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Bristol, [England] ; ; Chicago, Illinois : , : Intellect, , 2012 |
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©2012 |
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ISBN |
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1-78320-437-0 |
1-78320-436-2 |
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Descrizione fisica |
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1 online resource (595 p.) |
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Disciplina |
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Soggetti |
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Motion pictures - History |
Performance art - History |
Projection art - History |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Title Page; Copyright Page; Contents; Introductions; The Now and the Has Been: Paradoxes of Live Art in History; Then Again; Theories and Histories; Introduction; Chapter 1: The Performativity of Performance Documentation; Chapter 2: Dead Mannequin Walking: Fluxus and the Politics of Reception; Chapter 3: The Viral Ontology of Performance; Chapter 4: Can Photographs Make It So? Repeated Outbreaks of VALIE EXPORT 's Genital Panic Since 1969; Chapter 5: Macular Degeneration: Some Peculiar Aspects of Performance Art Documentation |
Chapter 6: History and Precariousness: In Search of a Performative HistoriographyChapter 7: Performance Remains; Chapter 8: Not as Before, but Simply: Again; Chapter 9: The Prosthetic Present Tense: Documenting Chinese Time-based Art; Chapter 10: Progressive Striptease; Chapter 11: Repetition: A Skin which Unravels; Chapter 12: Art in the Age of Biopolitics: From Artwork to Art Documentation; Chapter 13: The Interstices of History; An Unofficial Timeline of Socialist and Post-Socialist Performance; Documents; Introduction; Chapter 14: A Text on 20 years with 66 footnotes |
Chapter 15: Faith Wilding, Waiting and Wait-WithChapter 16: Lynn |
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Hershman and/as Roberta Breitmore; Chapter 17: We Are Formatted Memories; Chapter 18: Franko B and Kamal Ackarie, Don't Leave Me This Way; Chapter 19: Make Me Stop Smoking; Chapter 20: The Personal Evolution of the Performance Object (Or, What to Do with Leftovers); Chapter 21: Cai Yuan and J.J. Xi, Mad For Real; Chapter 22: Hayley Newman, MiniFlux; Chapter 23: Daniel Joseph Martinez, Call Me Ishmael or The Fully Enlightened Earth Radiates Disaster Triumphant; Chapter 24: Multiple Journeys: A Performance Chronology |
Chapter 25: Attending to Anthony McCall's Long Film For Ambient LightChapter 26: ReCut Project; Chapter 27: Assuming a Migrant Woman's Identity; Chapter 28: Barbara Smith, Intimations of Immortality; Chapter 29: Santiago Sierra and the "Contexts" of History; Chapter 30: Reconstruction2; Chapter 31: Documents of Chinese Time-based Art: Three Impressions from Three Fragments; Chapter 32: Both Sitting Duet and Cheap Lecture; Chapter 33: Aftermath: The Performance / Installation Nexus |
Timeline of Ideas: Live Art in (Art) History, A Primarily European-US-based Trajectory of Debates and Exhibitions Relating to Performance Documentation and Re-enactmentsDialogues; Introduction; Chapter 34: Interior Squirrel and the Vicissitudes of History; Chapter 35: I Just Go in Life; Chapter 36: The Maybe: Modes of Performance and the "Live"; Chapter 37: Photography as a Performative Act; Chapter 38: Do it Again, Do it Again (Turn Around, Go Back); Chapter 39: Touching Remains; Chapter 40: Perverse Martyrologies; Chapter 41: The Live Artist as Archaeologist |
Chapter 42: Every House Has a Door |
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