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Index Note: Page numbers in italics refer to the illustrations. Abramovi¢, Marina, 133, 178n29; emergence as performance artist, 151n3; and exclusivity of community , 9; and homo sacer, 9; and reperformance , 12–13; Rhythm series (1973–1974), 3, 113–29; Rhythm 2 (1974), 118; Rhythm 4 (1974), 118–19; Rhythm 5 (1974), 11, 22, 116, 117–18; Rhythm 10 (1973), 115–17; Rhythm 0 (1974), 2, 20–22, 25–26, 114–15, 119–29, 122, 126, 151n3; Seven Easy Pieces (2005), 113; Thomas’ Lips (1975; re-performed, 2005), 3, 109, 113, 129, 129–30 abstract expressionism, 31, 35 Acconci, Vito, 107, 133; Adaptation Studies (1970), 67; Airtime (1973), 16; and artist’s subjectivity, 16–17; Blindfolded Catching, 116; Broadjump 71 (1971), 58–59; Claim (1971), 3, 11, 55, 71, 71–79, 82, 152n26; Conversions (1971), 68–70, 116; Conversions Part II (Insistence, Adaptation , Groundwork, Display) (1971), 69; Conversions Part III (Association , Assistance, Dependence) (1971), 69, 69; emergence as performance artist, 151n3; Following Piece (1969), 53, 61–64, 166n30; influence of, 115; and minimalism, 4, 8–9, 28–29, 41–51; as ‘‘postmedium ’’ artist, 29; as postmodernist , 29; Proximity Piece (1970), 168n63; and public/private contrast , 54–80; Room Piece (1970), 55–56, 82; Second Hand (1971), 64– 66, 167n39; Seedbed (1972), 2–3, 3, 10, 12, 17, 27, 42, 54–55, 59–61, 68, 82, 163n20, 177n17; See Through (1969), 66; Service Area (1970), 57– 58, 162n10, 168n63; Step Piece (1970), 56–57, 67; Waterways, 67–68; Where We Are Now (Who Are We Anyway) (1976), 23–25, 24, 80 Acconci Studio, 23 activation of viewer, 44–45; in perception of performance art, 9–13 Adorno, Theodor, 151n11 a√ectivity, and rationality, 8 after-the-factness, of performance, 119–20, 138 Agamben, Giorgio, 4, 9, 82, 101, 107, 110, 112, 124–26, 128, 135, 143, 174n45, 177n13, 180n13 agency: in Abramovi¢’s work, 115–29; audience and, 20 aggression, in Abramovi¢’s Rhythm 0, 123 alienation, 121 Americanness, Burden and, 89, 97– 101. See also illegal alien 196 ............ i n d e x Andre, Carl, 6, 29, 35 anti-psychology: in Abramovi¢’s work, 115, 122; Hsieh and, 137 anti-war movement, 75–77, 99–101, 170n76–170n77. See also protest culture, of 1960s and 1970s art: general conditions of, 70–71; as public and embodied, 6; rejection of, 145–47, 146. See also performance art art community, 110, 112; and Hsieh’s work, 133 art connoisseurs, and Burden’s Shoot, 25 art galleries: Acconci and, 79; as public /private space, 73. See also museums artistic context: and Burden’s Shoot, 91–92; as ‘‘criminal,’’ 106–7; as legal defense, 106–7 artistic uniqueness, claims of, and Acconci’s Claim, 72–73 artist statements, in minimalism, 29. See also documentation of performance art asceticism, in Hsieh’s work, 140 Attanasio, Robert, 143 Attica State Penitentiary (New York state), 11, 152n26, 167n53 audience: and agency, 20; artist’s pressure on, 21–23; Burden and, 87–89, 106–7; as community, 100–101; and duration, 13; Hsieh and, 133–35, 147–49; idea of, 14; primary and secondary, 12, 89; and public, 17; reimagining of, 1– 26; and viewer, 17; virtual, 12. See also community; viewer audience intervention: in Abramovi ¢’s Rhythm 5, 117–18; in Abramovi ¢’s Rhythm 0, 120–21; in Abramovi¢’s Thomas’ Lips, 130; and Burden’s Shoot, 83 audience participation, in Burden’s Shoot, 93 audiotapes, in Hsieh’s Rope Piece, 145 Auslander, Philip, 153n38 autobiography, Acconci and, 163n19 Avalanche (magazine), 71, 73, 157n19; interview with Burden, 86, 94, 105 avant-garde art, 169n71 Ballard, J. G., The Atrocity Exhibition, 173n30 ‘‘bare life’’ (Agamben), 143–44 Barry, Robert, 160n57 Baudrillard, Jean, 166n25 Béar, Liza, 169n69 Berger, Maurice, 157n20 Beuys, Joseph, How to Explain Pictures to a Dead Hare (1965), 177n17 Bewley, Jon, 174n40 ‘‘birth of the reader,’’ minimalism and, 92 Bochner, Mel, 32 body, artist’s, 10, 94; in Acconci’s Step Piece, 56–57; in Acconci’s work, 66–70; in Burden’s Deadman, 107; in Burden’s Locker Piece, 45–48; in Burden’s Shoot, 87; as human sculpture, 97; as medium, 84; as process, 122–23; as readymade, 121–22; substituted for art object, 68, 70–71; testing limits of, 115; wounded, 96, 113–14 body, human: as border between public and private, 123–29; as model for public sphere, 173n30; ownership of, 123–24; and subjectivity , 40; subject to mediation, 7 body, viewer’s, in Burden’s Shoot, 87 body art, 180n12...

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Additional Information

ISBN
9781611683363
Related ISBN
9781611683349
MARC Record
OCLC
818733962
Pages
224
Launched on MUSE
2013-01-01
Language
English
Open Access
No
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