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OverviewFull Product DetailsAuthor: Hanna B. HöllingPublisher: Bard Graduate Center, Exhibitions Department Imprint: Bard Graduate Center, Exhibitions Department Dimensions: Width: 15.80cm , Height: 2.90cm , Length: 23.30cm Weight: 0.674kg ISBN: 9781941792223ISBN 10: 1941792227 Pages: 360 Publication Date: 05 July 2022 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: In stock  We have confirmation that this item is in stock with the supplier. It will be ordered in for you and dispatched immediately. Table of ContentsSenior Editor’s Preface Acknowledgements Introduction: Object—Event—Performance Hanna B. Hölling 1. Introducing Fluxus with Tools Hanna B. Higgins 2. Exhausting Conservation: Object, Event, Performance in Franz Erhard Walther’s Werkstücke Hanna B. Hölling 3. Video Art’s Past and Present “Future Tense:” The Case of Nam June Paik’s Satellite Works Gregory Zinman 4. Resurrecting Hannah Wilke’s Homage to a Large Red Lipstick Andrea Gyorody 5. Mutable and Durable: The Performance Score after 1960 Alison D’Amato 6. Sometimes An Onion: Simone Forti and the Choreographic Logic of Objects and Institutions Megan Metcalf 7. Views of Nature: Preserving Land (Art) with Collective Intent Rebecca Uchill 8. Enlivened Pieces: Richard Tuttle at the Whitney Museum of American Art 1975 Susanne Neubauer 9. The Cheapness of Writing Paper, and Code: Materiality, Exhibiting and Audiences after New Media Art Beryl Graham 10. The Propensity toward Openness: Bloch as Object, Event, and Performance Johannes M. Hedinger and Hanna B. Hölling List of Contributors IndexReviewsThis collection is promising for its conception of conservation as a 'participative practice' that alters as much as conserves an object or a work and for its emphasis on the dynamic changeability of art's materialities. It is also promising for the ways that it attempts to speak across audiences who are often segregated into either practitioners, scholars, curators, or conservators. --Rebecca Schneider, Brown University Object--Event--Performance lays out several tantalizing observations on the ways that art since the 1960s increasingly challenged the traditional values found in art and conservation. . . . The volume is ambitious and informative, and the approach particularly germane to the artistic practices that are predicated upon live performance, variously conceived, with elements captured in ways difficult to preserve or transfer. It is a valuable contribution to conversations that continue to be explored within the field of conservation. --Joyce Tsai, University of Iowa Object-Event-Performance lays out several tantalizing observations on the ways that art since the 1960s increasingly challenged the traditional values found in art and conservation. . . . The volume is ambitious and informative, and the approach particularly germane to the artistic practices that are predicated upon live performance, variously conceived, with elements captured in ways difficult to preserve or transfer. It is a valuable contribution to conversations that continue to be explored within the field of conservation. -- Joyce Tsai, University of Iowa This collection is promising for its conception of conservation as a 'participative practice' that alters as much as conserves an object or a work and for its emphasis on the dynamic changeability of art's materialities. It is also promising for the ways that it attempts to speak across audiences who are often segregated into either practitioners, scholars, curators, or conservators. -- Rebecca Schneider, Brown University Author InformationHanna B. Hölling is lecturer in the history of art and material studies in the Department of History of Art, University College London. She is also research professor at the University of the Arts in Bern, Switzerland. Tab Content 6Author Website:Countries AvailableAll regions |
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