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The body as a material in the early ...

University of California, Berkeley.

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The body as a material in the early performance work of Carolee Schneemann, Yvonne Rainer, and Vito Acconci.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The body as a material in the early performance work of Carolee Schneemann, Yvonne Rainer, and Vito Acconci./
作者:	Archias, Sarah Elise.
面頁冊數:	373 p.
附註:	Adviser: Anne M. Wagner.
Contained By:	Dissertation Abstracts International70-04A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=3353045
ISBN:	9781109095135

The body as a material in the early performance work of Carolee Schneemann, Yvonne Rainer, and Vito Acconci.
Archias, Sarah Elise.

The body as a material in the early performance work of Carolee Schneemann, Yvonne Rainer, and Vito Acconci. - 373 p.

Adviser: Anne M. Wagner.

Thesis (Ph.D.)--University of California, Berkeley, 2008.

This dissertation explores the body as a material in performance art of the 1960s and early 1970s through three case studies: Carolee Schneemann, Yvonne Rainer, and Vito Acconci. It analyzes the way that certain widespread artistic strategies from this period---such as minimalism's reduction of "expression" and the use of everyday "junk" objects in painting and sculpture---were inflected when deployed in relation to the human body as a material. The dissertation's three chapters discuss the different paths by which each artist developed an aesthetic that emphasized the physicality of the body, above all. Their achievement was to present the human performer not as a coherent character, a symbol for a stable idea of Man that they did not believe in, but rather as a contingent material entity---shifting, strange, complicatedly gendered, its movements frequently determined by a structure imposed from without. The body appeared as both ordinary and unknown, simultaneously familiar and the basis for a new concrete language. At a time when the work of art was being actively re-imagined, the body acted as a bridge between modernist notions of impersonal materiality and the 1960s commitment to the literal and the "non-art." Yet in opening itself up to ordinariness, the work of Schneemann, Rainer, and Acconci also raised questions about the negative effects on human lives of everyday conditions in late twentieth century consumer culture. The body's passive materiality could only be perceived in relation to the constraint of the codes, routines, systems, and tests through which it appeared.

ISBN: 9781109095135Subjects--Topical Terms:

635474
Art History.

The body as a material in the early performance work of Carolee Schneemann, Yvonne Rainer, and Vito Acconci.
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520 $a This dissertation explores the body as a material in performance art of the 1960s and early 1970s through three case studies: Carolee Schneemann, Yvonne Rainer, and Vito Acconci. It analyzes the way that certain widespread artistic strategies from this period---such as minimalism's reduction of "expression" and the use of everyday "junk" objects in painting and sculpture---were inflected when deployed in relation to the human body as a material. The dissertation's three chapters discuss the different paths by which each artist developed an aesthetic that emphasized the physicality of the body, above all. Their achievement was to present the human performer not as a coherent character, a symbol for a stable idea of Man that they did not believe in, but rather as a contingent material entity---shifting, strange, complicatedly gendered, its movements frequently determined by a structure imposed from without. The body appeared as both ordinary and unknown, simultaneously familiar and the basis for a new concrete language. At a time when the work of art was being actively re-imagined, the body acted as a bridge between modernist notions of impersonal materiality and the 1960s commitment to the literal and the "non-art." Yet in opening itself up to ordinariness, the work of Schneemann, Rainer, and Acconci also raised questions about the negative effects on human lives of everyday conditions in late twentieth century consumer culture. The body's passive materiality could only be perceived in relation to the constraint of the codes, routines, systems, and tests through which it appeared.
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