04754nam 2200697 450 991079101990332120230802012438.01-78320-437-01-78320-436-2(CKB)2550000001321633(EBL)4307401(SSID)ssj0001321515(PQKBManifestationID)11751365(PQKBTitleCode)TC0001321515(PQKBWorkID)11369685(PQKB)10022852(MiAaPQ)EBC1719541(MiAaPQ)EBC4307809(Au-PeEL)EBL1719541(CaPaEBR)ebr10888129(CaONFJC)MIL621097(OCoLC)881887983(EXLCZ)99255000000132163320140711h20122012 uy 0engur|n|---|||||txtccrPerform, repeat, record live art in history /edited by Amelia Jones and Adrian Heathfield ; cover designer, Holly Rose ; index, Lyn GreenwoodBristol, [England] ;Chicago, Illinois :Intellect,2012.©20121 online resource (595 p.)Includes index.1-84150-489-0 1-306-89846-3 Includes bibliographical references and index.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 DocumentationChapter 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 footnotesChapter 15: Faith Wilding, Waiting and Wait-WithChapter 16: Lynn 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 ChronologyChapter 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 NexusTimeline 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 ArchaeologistChapter 42: Every House Has a DoorMotion picturesHistoryPerformance artHistoryProjection artHistoryMotion picturesHistory.Performance artHistory.Projection artHistory.791.4309Jones AmeliaHeathfield AdrianRose HollyGreenwood LynMiAaPQMiAaPQMiAaPQBOOK9910791019903321Perform, repeat, record1339160UNINA