Object—Event— Performance
Art, Materiality, and Continuity Since the 1960s
Distributed for Bard Graduate Center
360 pages
|
6 x 9
- Contents
- Review Quotes
Table of Contents

Contents
Senior 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
Index
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
Index
Review Quotes
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.”
Rebecca Schneider, Brown University
“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.”
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