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Breaking Ground: Avalanche Magazine ...

Conaty, Kim.

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Breaking Ground: Avalanche Magazine (1970-76), a New Medium for Art and Information.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Breaking Ground: Avalanche Magazine (1970-76), a New Medium for Art and Information./
作者:	Conaty, Kim.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
面頁冊數:	292 p.
附註:	Source: Dissertations Abstracts International, Volume: 77-09, Section: A.
Contained By:	Dissertations Abstracts International77-09A.
標題:	Art Criticism. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10025699
ISBN:	9781339521435

Breaking Ground: Avalanche Magazine (1970-76), a New Medium for Art and Information.
Conaty, Kim.

Breaking Ground: Avalanche Magazine (1970-76), a New Medium for Art and Information. - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 292 p.

Source: Dissertations Abstracts International, Volume: 77-09, Section: A.

Thesis (Ph.D.)--New York University, 2016.

This item is not available from ProQuest Dissertations & Theses.

Avalanche magazine was founded in 1968, the year that independent curator Willoughby Sharp and editor Liza Bear met in New York and shared their enthusiasm for the "new forms of art-making," from Land art and body art to video, performance, and dance. These practices, with their site-specific, time-based, or dematerialized forms, posed new challenges in terms of presentation, documentation, and general accessibility. Bear and Sharp sought to create a much-needed platform for this work and seized upon the magazine format, an apt venue for these practices that purposefully complicated conventional exhibition and distribution systems. In thirteen issues published sporadically between 1970 and 1976, the modestly scaled but highly ambitious magazine established itself as a key chronicler of and venue for the wide variety of conceptually oriented practices developing across North America and Europe. The magazine's title, Avalanche, relates to Sharp's early interest in land art, but more importantly suggests something literally groundbreaking: the dramatic collapse of a destabilized terrain. At a moment when artistic categories were being dismantled and traditional hierarchies leveled, Avalanche offered an alternative space to capture this changing landscape. This dissertation examines Avalanche as a curated space and as an "international information tool," a phrase the co-founders coined and used in promotional material. By considering the magazine as a visual object and as a functional space, this study positions the magazine itself as the primary site of investigation. Avalanche offers today a unique document of the art and practices of the 1970s when histories of that decade are still being discovered and written.

ISBN: 9781339521435Subjects--Topical Terms:

637082
Art Criticism.
Subjects--Index Terms:

Avalanche

Breaking Ground: Avalanche Magazine (1970-76), a New Medium for Art and Information.
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520 $a Avalanche magazine was founded in 1968, the year that independent curator Willoughby Sharp and editor Liza Bear met in New York and shared their enthusiasm for the "new forms of art-making," from Land art and body art to video, performance, and dance. These practices, with their site-specific, time-based, or dematerialized forms, posed new challenges in terms of presentation, documentation, and general accessibility. Bear and Sharp sought to create a much-needed platform for this work and seized upon the magazine format, an apt venue for these practices that purposefully complicated conventional exhibition and distribution systems. In thirteen issues published sporadically between 1970 and 1976, the modestly scaled but highly ambitious magazine established itself as a key chronicler of and venue for the wide variety of conceptually oriented practices developing across North America and Europe. The magazine's title, Avalanche, relates to Sharp's early interest in land art, but more importantly suggests something literally groundbreaking: the dramatic collapse of a destabilized terrain. At a moment when artistic categories were being dismantled and traditional hierarchies leveled, Avalanche offered an alternative space to capture this changing landscape. This dissertation examines Avalanche as a curated space and as an "international information tool," a phrase the co-founders coined and used in promotional material. By considering the magazine as a visual object and as a functional space, this study positions the magazine itself as the primary site of investigation. Avalanche offers today a unique document of the art and practices of the 1970s when histories of that decade are still being discovered and written.
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