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100   $a20000814d2001      ub         0
101 0 $aeng
135   $aurcn|||||||||
181   $ctxt
182   $cc
183   $acr
200 14$aThe third hand $ecollaboration in art from conceptualism to postmodernism /$fCharles Green
205   $a1st ed.
210   $aMinneapolis $cUniversity of Minnesota Press$dc2001
215   $a1 online resource (266 p.)
300   $aDescription based upon print version of record.
311   $a0-8166-3713-X 
311   $a0-8166-3712-1 
320   $aIncludes bibliographical references (p. 201-234) and index.
327   $aContents; Acknowledgments; Introduction: Collaboration as Symptom; Part I. Collaboration as Administration; 1. Art by Long Distance; 2. Conceptual Bureaucracy; Part II. Collaboration, Anonymity, and Partnership; 3. Memory, Ruins, and Archives; 4. Memory Storage; 5. Memory and Ethics; Part III. Collaboration and the Third Hand; 6. Negotiated Identity; 7. Eliminating Personality; 8. Missing in Action; 9. Doubles, Doppelga?ngers, and the Third Hand; Conclusion: The Value Added Landscape; Notes; Index;
330   $aSince the 1960's, a number of artists have challenged the dominant paradigm of art-that of the lone artist-by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art.
606   $aArtist couples$vCase studies
606   $aArtistic collaboration$vCase studies
606   $aConceptual art
606   $aModernism (Art)
606   $aPostmodernism
615  0$aArtist couples
615  0$aArtistic collaboration
615  0$aConceptual art.
615  0$aModernism (Art)
615  0$aPostmodernism.
676   $a700/.9/04
700   $aGreen$b Charles$f1953-$0911426
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906   $aBOOK
912   $a9910812934103321
996   $aThe third hand$94127799
997   $aUNINA