The Third Hand: Collaboration in Art from Conceptualism to PostmodernismUNSW Press, 2001 - 246 Seiten Since the 1960s, a number of artists have challenged the image of the lonely artist by embarking on long term collaborations that dramatically altered the terms of artistic identity. In this book, Green offers a sustained critical examination of collaboration in international contemporary art. |
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The Third Hand: Collaboration in Art from Conceptualism to Postmodernism Charles Green Eingeschränkte Leseprobe - 2001 |
The Third Hand: Collaboration in Art from Conceptualism to Postmodernism Charles Green Eingeschränkte Leseprobe - 2001 |
The Third Hand: Collaboration in Art from Conceptualism to Postmodernism Charles Green Keine Leseprobe verfügbar - 2001 |
Häufige Begriffe und Wortgruppen
Abramović and Ulay according actions aesthetic allegorical Anne and Patrick archive Art & Language Art Gallery art-work arte povera Artforum artistic collaboration artistic identity audience Australia authorship avant-garde body Boyle Family Buchloh Burn and Ramsden Burn's chapter Christo and Jeanne-Claude conceptual art conceptual artists conceptualist constructed Contemporary Art critique cultural curators discourse doppelgänger early essay exhibition catalog fiction Fried's George's Gilbert & George Harald Szeemann Harrison and Newton Helen Mayer Harrison Ian Burn iconic idea images Indman installations interview Jack Burnham John Kaldor Joseph Kosuth landscape later living sculptures Marina Abramović Mark Boyle Mel Ramsden Melbourne memory mental metaphor Michael minimalist Mnemosyne modernist Museum Newton Harrison object Ostia Antica painting Patrick Poirier performance photographs postmodern Press proposition reading representation resembled Robert Smithson role ruins Singing Sculpture Smithson Soft-Tape Studio International Sydney teams theatrical tion tropes Ulay's uncanny viewer visual York
Beliebte Passagen
Seite 9 - ... nondecorative — having nothing to do with architecture; it can be brought into the home or museum but wasn't made with either in mind; it can be dealt with by being torn out of its publication and inserted into a notebook or stapled to the wall — or not torn out at all — but any such decision is unrelated to the art. My role as an artist ends with the work's publication.
Seite 54 - Words and rocks contain a language that follows a syntax of splits and ruptures. Look at any word long enough and you will see it open up into a series of faults, into a terrain of particles each containing its own void.
Seite 12 - ... work" sometimes taking up as many as five or six spaces in that many publications — depending on how many divisions exist in the category). This way the immateriality of the work is stressed and any possible connections to painting are severed. The new work is not connected with a...
Seite 72 - Even before the emergence of the anti-formalist "specific object" there appeared an oblique type of criticism, resisting emotive and literary associations. Pioneered between 1962 and 1965 in the writings of Donald Judd, it resembles what a computer programmer would call an entity's "list structure," or all the enumerated properties needed to physically rebuild an object. Earlier the phenomenologist, Maurice Merleau-Ponty, asserted the impossibility of conceptually reconstructing an object from such...
Seite 142 - George the sculptors are walking along a new road they left their little studio with all the tools and brushes, taking with them only some music, gentle smiles on their faces and the most serious intentions in the world.
Seite 223 - Michael Fried, Absorption and Theatricality: Painting and Beholder in the Age of Diderot...
Seite 63 - ... essay, post-formalist esthetic, the term systems esthetic seems to encompass the present situation more fully. The systems approach goes beyond a concern with staged environments and happenings; it deals in a revolutionary fashion with the larger problem of boundary concepts. In systems perspective there are no contrived confines such as the theater proscenium or picture frame. Conceptual focus rather than material limits define the system. Thus any situation, either in or outside the context...
Seite 148 - Always be smartly dressed, well groomed relaxed friendly polite and in complete control 2 Make the world to believe in you and to pay heavily for this privilege 3 Never worry assess discuss or criticize but remain quiet respectful and calm 4 The lord chissels still, so don't leave your bench for long Giii r I and George tkr
Seite 112 - This involves no mere passive inability to rid oneself of an impression, no mere indigestion through a once-pledged word with which one cannot "have done," but an active desire not to rid oneself, a desire for the continuance of something desired once, a real memory of the will: so that between the original "I will...