東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Guerrilla Tactics: Performance Art a...

Gleisser, Faye Raquel.

Linked to FindBook

Google Book

Amazon

博客來

Guerrilla Tactics: Performance Art and the Politics of Identity in American Visual Culture, 1967-1983.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Guerrilla Tactics: Performance Art and the Politics of Identity in American Visual Culture, 1967-1983./
Author:	Gleisser, Faye Raquel.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
Description:	331 p.
Notes:	Source: Dissertation Abstracts International, Volume: 77-10(E), Section: A.
Contained By:	Dissertation Abstracts International77-10A(E).
Subject:	Art history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10117335
ISBN:	9781339787374

Guerrilla Tactics: Performance Art and the Politics of Identity in American Visual Culture, 1967-1983.
Gleisser, Faye Raquel.

Guerrilla Tactics: Performance Art and the Politics of Identity in American Visual Culture, 1967-1983. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 331 p.

Source: Dissertation Abstracts International, Volume: 77-10(E), Section: A.

Thesis (Ph.D.)--Northwestern University, 2016.

This item is not available from ProQuest Dissertations & Theses.

Although the notion of the "guerrilla" or "small war" initially entered the English vernacular in 1808 during the Peninsular War, by the late 1960s the term had become synonymous with the mainstream media's representation of militant groups borrowing from the theories of Che Guevara, Ho Chi Minh, and Mao Zedong. These revolutionaries promoted the use of guerrilla tactics: calculated, low-tech actions of incremental pressure designed to shift the terms of battle from brute force to psychological defeat. Amidst the media's visualizations of military intervention in Vietnam, Latin America, and Africa, and the documentation of groups like the Black Panther Party and Symbionese Liberation Army at home, artists, too, adopted guerrilla tactics in U.S.-based performance art throughout the "long" 1970s, from 1967 to 1983.

ISBN: 9781339787374Subjects--Topical Terms:

2122701
Art history.

Guerrilla Tactics: Performance Art and the Politics of Identity in American Visual Culture, 1967-1983.
LDR:02751nmm a2200325 4500 001 2158900
005 20180618095017.5
008 190424s2016 ||||||||||||||||| ||eng d
020 $a 9781339787374
035 $a (MiAaPQ)AAI10117335
035 $a (MiAaPQ)northwestern:13258
035 $a AAI10117335
040 $a MiAaPQ $c MiAaPQ
100 1 $a Gleisser, Faye Raquel. $0 (orcid)0000-0002-5913-1270 $3 3346755
245 1 0 $a Guerrilla Tactics: Performance Art and the Politics of Identity in American Visual Culture, 1967-1983.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2016
300 $a 331 p.
500 $a Source: Dissertation Abstracts International, Volume: 77-10(E), Section: A.
500 $a Adviser: Huey G. Copeland.
502 $a Thesis (Ph.D.)--Northwestern University, 2016.
506 $a This item is not available from ProQuest Dissertations & Theses.
520 $a Although the notion of the "guerrilla" or "small war" initially entered the English vernacular in 1808 during the Peninsular War, by the late 1960s the term had become synonymous with the mainstream media's representation of militant groups borrowing from the theories of Che Guevara, Ho Chi Minh, and Mao Zedong. These revolutionaries promoted the use of guerrilla tactics: calculated, low-tech actions of incremental pressure designed to shift the terms of battle from brute force to psychological defeat. Amidst the media's visualizations of military intervention in Vietnam, Latin America, and Africa, and the documentation of groups like the Black Panther Party and Symbionese Liberation Army at home, artists, too, adopted guerrilla tactics in U.S.-based performance art throughout the "long" 1970s, from 1967 to 1983.
520 $a My dissertation offers a new approach for understanding the historical, cultural, and aesthetic significance of these artistic interventions. Through the analytic of the guerrilla tactic, I bring together unconventional pairings of artists, focusing on their use of sabotage, raid, infiltration, and misinformation to examine and rehabilitate the overlooked connections between: Adrian Piper and Jean Toche of Guerrilla Art Action Group in Boston; Asco and Chris Burden in Los Angeles; and Tehching Hsieh and William Pope.L in New York City. In linking these artists, I argue that the figure of the guerrilla---always racialized, classed, and gendered---has had a transformative impact on contemporary art and the frameworks through which radicalism, identity, and resistance have developed in ambivalent and contradictory ways in American society.
590 $a School code: 0163.
650 4 $a Art history. $3 2122701
650 4 $a American studies. $3 2122720
690 $a 0377
690 $a 0323
710 2 $a Northwestern University. $b Art History. $3 1676537
773 0 $t Dissertation Abstracts International $g 77-10A(E).
790 $a 0163
791 $a Ph.D.
792 $a 2016
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10117335