東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

You are What You Read: Participation...

Kluck, Marielos C.

FindBook

Google Book

Amazon

博客來

You are What You Read: Participation and Emancipation Problematized in Habacuc's "Exposicion #1".

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	You are What You Read: Participation and Emancipation Problematized in Habacuc's "Exposicion #1"./
作者:	Kluck, Marielos C.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
面頁冊數:	143 p.
附註:	Source: Masters Abstracts International, Volume: 56-06.
Contained By:	Masters Abstracts International56-06(E).
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10604666
ISBN:	9780355219227

You are What You Read: Participation and Emancipation Problematized in Habacuc's "Exposicion #1".
Kluck, Marielos C.

You are What You Read: Participation and Emancipation Problematized in Habacuc's "Exposicion #1". - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 143 p.

Source: Masters Abstracts International, Volume: 56-06.

Thesis (M.A.)--California State University, Long Beach, 2017.

Conceptualized by Costa Rican artist Guillermo Vargas Jimenez (known as Habacuc), Exposicion #1 [Exposition #1](or its more infamous moniker "starving dog art")(2007) operates as a multifarious transgressive work of art. A main point of contention within the artwork is the rumored starvation of a dog during the course of artwork's exhibition. This thesis analyzes Habacuc's proposition within contemporaneous debates around participatory practices and Internet art. This examination is provided in order to present an alternative interpretation of the work relative to the divisive practices of the artist. Similar to other artists working with the period known as postinternet, Habacuc engages in a form of art that is counter-cultural, utilizing misinformation as a catalyst for his viral proposition. While Habacuc employs a strategy of critique throughout his varied oeuvre, Exposicion #1, arguably his most complex work to date, wholly demonstrates his approach to the Internet as an intrinsically hybridized, political, and oppositional medium. Within the following chapters I focus on the types of participatory relations being produced within Exposicion #1 and Habacuc's authorial intent to challenge the principles of emancipation promised in the discourses around participation in art and the Internet as "global village."

ISBN: 9780355219227Subjects--Topical Terms:

2122701
Art history.

You are What You Read: Participation and Emancipation Problematized in Habacuc's "Exposicion #1".
LDR:02308nmm a2200313 4500 001 2157187
005 20180531091028.5
008 190424s2017 ||||||||||||||||| ||eng d
020 $a 9780355219227
035 $a (MiAaPQ)AAI10604666
035 $a (MiAaPQ)csulb:12024
035 $a AAI10604666
040 $a MiAaPQ $c MiAaPQ
100 1 $a Kluck, Marielos C. $3 3344984
245 1 0 $a You are What You Read: Participation and Emancipation Problematized in Habacuc's "Exposicion #1".
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2017
300 $a 143 p.
500 $a Source: Masters Abstracts International, Volume: 56-06.
500 $a Adviser: Nizan Shaked.
502 $a Thesis (M.A.)--California State University, Long Beach, 2017.
520 $a Conceptualized by Costa Rican artist Guillermo Vargas Jimenez (known as Habacuc), Exposicion #1 [Exposition #1](or its more infamous moniker "starving dog art")(2007) operates as a multifarious transgressive work of art. A main point of contention within the artwork is the rumored starvation of a dog during the course of artwork's exhibition. This thesis analyzes Habacuc's proposition within contemporaneous debates around participatory practices and Internet art. This examination is provided in order to present an alternative interpretation of the work relative to the divisive practices of the artist. Similar to other artists working with the period known as postinternet, Habacuc engages in a form of art that is counter-cultural, utilizing misinformation as a catalyst for his viral proposition. While Habacuc employs a strategy of critique throughout his varied oeuvre, Exposicion #1, arguably his most complex work to date, wholly demonstrates his approach to the Internet as an intrinsically hybridized, political, and oppositional medium. Within the following chapters I focus on the types of participatory relations being produced within Exposicion #1 and Habacuc's authorial intent to challenge the principles of emancipation promised in the discourses around participation in art and the Internet as "global village."
590 $a School code: 6080.
650 4 $a Art history. $3 2122701
650 4 $a Art criticism. $3 526357
650 4 $a Latin American studies. $3 2122903
690 $a 0377
690 $a 0365
690 $a 0550
710 2 $a California State University, Long Beach. $b Art History. $3 2093266
773 0 $t Masters Abstracts International $g 56-06(E).
790 $a 6080
791 $a M.A.
792 $a 2017
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10604666