Perform, Repeat, Record
Live Art in History
Distributed for Intellect Ltd
652 pages
|
34 color plates, 30 halftones
|
7 x 9
|
© 2012
- Contents
- Review Quotes
Table of Contents
Contents
Introductions
The Now and the Has Been: Paradoxes of Live Art in History
Amelia Jones
Then Again
Adrian Heathfield
Theories and Histories
Introduction
Amelia Jones
1. The Performativity of Performance Documentation
Philip Auslander
2. Dead Mannequin Walking: Fluxus and the Politics of Reception
Hannah B. Higgins
3. The Viral Ontology of Performance
Christopher Bedford
4. Can Photographs Make It So? Repeated Outbreaks of VALIE EXPORT’s Genital Panic Since 1969
Mechtild Widrich
5. Macular Degeneration: Some Peculiar Aspects of Performance Art Documentation
Mónica Mayer
6. History and Precariousness: In Search of a Performative Historiography
Eleonora Fabião
7. Performance Remains
Rebecca Schneider
8. Not as Before, but Simply: Again
André Lepecki
9. The Prosthetic Present Tense: Documenting Chinese Time-based Art
Meiling Cheng
10. Progressive Striptease
Sven Lütticken
11. Repetition: A Skin which Unravels
Jane Blocker
12. Art in the Age of Biopolitics: From Artwork to Art Documentation
Boris Groys
13. The Interstices of History
Angela Harutyunyan, et al
An Unofficial Timeline of Socialist and Post-Socialist Performance
Angela Harutyunyan, et al
Documents
Introduction
Adrian Heathfield
14. A Text on 20 years with 66 footnotes
Tim Etchells
15. Faith Wilding, Waiting and Wait-With
16. Lynn Hershman and/as Roberta Breitmore
17. We Are Formatted Memories
Orlan
18. Franko B and Kamal Ackarie, Don’t Leave Me This Way
19. Make Me Stop Smoking
Rabih Mroué
20. The Personal Evolution of the Performance Object (Or, What to Do with Leftovers)
Nao Bustamante
21. Cai Yuan and J.J. Xi, Mad for Real
22. Hayley Newman, MiniFlux
23. Daniel Joseph Martinez, Call Me Ishmael or The Fully Enlightened Earth Radiates Disaster Triumphant
24. Multiple Journeys: A Performance Chronology
Guillermo Gómez-Peña
25. Attending to Anthony McCall’s Long Film for Ambient Light
Lucas Ihlein
26. ReCut Project
Ming-Yuen S. Ma
27. Assuming a Migrant Woman’s Identity
Tanja Ostojić
28. Barbara Smith, Intimations of Immortality
29. Santiago Sierra and the "Contexts" of History
30. Reconstruction2
Janez Janša
31. Documents of Chinese Time-based Art: Three Impressions from Three Fragments
Meiling Cheng
32. Both Sitting Duet and Cheap Lecture
Jonathan Burrows and Matteo Fargion
33. Aftermath: The Performance / Installation Nexus
Blair French
Timeline of Ideas: Live Art in (Art) History, A Primarily European-US-based Trajectory of Debates and Exhibitions Relating to Performance Documentation and Re-enactments
Amelia Jones
Dialogues
Introduction
Adrian Heathfield
34. Interior Squirrel and the Vicissitudes of History
Carolee Schneemann and Amelia Jones
35. I Just Go in Life
Tehching Hsieh and Adrian Heathfield
36. The Maybe: Modes of Performance and the "Live"
Tilda Swinton and Joanna Scanlan
37. Photography as a Performative Act
Shezad Dawood and Amelia Jones
38. Do it Again, Do it Again (Turn Around, Go Back)
Iain Forsyth and Jane Pollard, with Andrew Renton
39. Touching Remains
Janine Antoni and Adrian Heathfield
40. Reverse Martyrologies
Ron Athey and Dominic Johnson
41. The Live Artist as Archaeologist
Marina Abramović and Amelia Jones
42. Every House Has a Door
Lin Hixson and Mathew Goulish
43. Alliterations
Mathilde Monnier and Jean-Luc Nancy
Introduction and Translation: Noémie Solomon
44. Intangibles
Hugo Glendinning, Adrian Heathfield, and Tim Etchells
Acknowledgements
Author Biographies
Index
The Now and the Has Been: Paradoxes of Live Art in History
Amelia Jones
Then Again
Adrian Heathfield
Theories and Histories
Introduction
Amelia Jones
1. The Performativity of Performance Documentation
Philip Auslander
2. Dead Mannequin Walking: Fluxus and the Politics of Reception
Hannah B. Higgins
3. The Viral Ontology of Performance
Christopher Bedford
4. Can Photographs Make It So? Repeated Outbreaks of VALIE EXPORT’s Genital Panic Since 1969
Mechtild Widrich
5. Macular Degeneration: Some Peculiar Aspects of Performance Art Documentation
Mónica Mayer
6. History and Precariousness: In Search of a Performative Historiography
Eleonora Fabião
7. Performance Remains
Rebecca Schneider
8. Not as Before, but Simply: Again
André Lepecki
9. The Prosthetic Present Tense: Documenting Chinese Time-based Art
Meiling Cheng
10. Progressive Striptease
Sven Lütticken
11. Repetition: A Skin which Unravels
Jane Blocker
12. Art in the Age of Biopolitics: From Artwork to Art Documentation
Boris Groys
13. The Interstices of History
Angela Harutyunyan, et al
An Unofficial Timeline of Socialist and Post-Socialist Performance
Angela Harutyunyan, et al
Documents
Introduction
Adrian Heathfield
14. A Text on 20 years with 66 footnotes
Tim Etchells
15. Faith Wilding, Waiting and Wait-With
16. Lynn Hershman and/as Roberta Breitmore
17. We Are Formatted Memories
Orlan
18. Franko B and Kamal Ackarie, Don’t Leave Me This Way
19. Make Me Stop Smoking
Rabih Mroué
20. The Personal Evolution of the Performance Object (Or, What to Do with Leftovers)
Nao Bustamante
21. Cai Yuan and J.J. Xi, Mad for Real
22. Hayley Newman, MiniFlux
23. Daniel Joseph Martinez, Call Me Ishmael or The Fully Enlightened Earth Radiates Disaster Triumphant
24. Multiple Journeys: A Performance Chronology
Guillermo Gómez-Peña
25. Attending to Anthony McCall’s Long Film for Ambient Light
Lucas Ihlein
26. ReCut Project
Ming-Yuen S. Ma
27. Assuming a Migrant Woman’s Identity
Tanja Ostojić
28. Barbara Smith, Intimations of Immortality
29. Santiago Sierra and the "Contexts" of History
30. Reconstruction2
Janez Janša
31. Documents of Chinese Time-based Art: Three Impressions from Three Fragments
Meiling Cheng
32. Both Sitting Duet and Cheap Lecture
Jonathan Burrows and Matteo Fargion
33. Aftermath: The Performance / Installation Nexus
Blair French
Timeline of Ideas: Live Art in (Art) History, A Primarily European-US-based Trajectory of Debates and Exhibitions Relating to Performance Documentation and Re-enactments
Amelia Jones
Dialogues
Introduction
Adrian Heathfield
34. Interior Squirrel and the Vicissitudes of History
Carolee Schneemann and Amelia Jones
35. I Just Go in Life
Tehching Hsieh and Adrian Heathfield
36. The Maybe: Modes of Performance and the "Live"
Tilda Swinton and Joanna Scanlan
37. Photography as a Performative Act
Shezad Dawood and Amelia Jones
38. Do it Again, Do it Again (Turn Around, Go Back)
Iain Forsyth and Jane Pollard, with Andrew Renton
39. Touching Remains
Janine Antoni and Adrian Heathfield
40. Reverse Martyrologies
Ron Athey and Dominic Johnson
41. The Live Artist as Archaeologist
Marina Abramović and Amelia Jones
42. Every House Has a Door
Lin Hixson and Mathew Goulish
43. Alliterations
Mathilde Monnier and Jean-Luc Nancy
Introduction and Translation: Noémie Solomon
44. Intangibles
Hugo Glendinning, Adrian Heathfield, and Tim Etchells
Acknowledgements
Author Biographies
Index
Review Quotes
Choice
The ephemeral nature of performance art has made its inclusion in the art historical record particularly difficult. Among the many challenges is the tendency to use a single photograph to stand in for a temporal event, which unintentionally corrupts memories of the live performance. This impressive volume edited by performance art experts Jones and Heathfield features essays that articulate key concepts and challenges. Recommended.
Limina
“One of the first scholarly texts to attempt to address how live art, as an ephemeral, often subversive, embodied act, becomes incorporated into history. . . An important kicking off point in what is a burgeoning arena of discourse.”
Drama and Performance Studies
“Perform, Repeat, Record offers valuable—and at times long overdue—critical perspectives on issues of historicization and documentation of performance art.”
artblog.org
“[A] broad and thoughtful investigation of how the history of performative art should be documented and studied….The book covers a particularly international scope, with essays devoted to performance art in the U.S., Western Europe, South America, China, the Middle East, Australia, and the Soviet Union, including a timeline of Soviet and Post-Soviet performance and another of performance historiography–that is, surveys and re-performances. The final section records eleven conversations between scholars and performance artists, including Carolee Schneemann, Tehching Hsieh, Ron Athey, Janine Antoni and Marina Abromavic…. The book will be very useful for scholars of performance and can serve as an introduction to the history and questions around the field for performance artists themselves.”
For more information, or to order this book, please visit https://press.uchicago.edu
Google preview here
Art: Art--General Studies
You may purchase this title at these fine bookstores. Outside the USA, see our international sales information.