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Les Levine: Disposable Art, Technology, and Media, 1964-1971.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Les Levine: Disposable Art, Technology, and Media, 1964-1971./
Author:	Kirsch, Corinna.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
Description:	283 p.
Notes:	Source: Dissertations Abstracts International, Volume: 83-09, Section: A.
Contained By:	Dissertations Abstracts International83-09A.
Subject:	Art history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28869878
ISBN:	9798790660757

Les Levine: Disposable Art, Technology, and Media, 1964-1971.
Kirsch, Corinna.

Les Levine: Disposable Art, Technology, and Media, 1964-1971. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 283 p.

Source: Dissertations Abstracts International, Volume: 83-09, Section: A.

Thesis (Ph.D.)--State University of New York at Stony Brook, 2021.

This item must not be sold to any third party vendors.

"Les Levine: Disposable Art, Technology, and Media, 1964-1971" traces how technology took shape as a material form and node of inquiry in art practice of the 1960s and 1970s through the work and writings of conceptual artist Les Levine. The study focuses on the stakes of making art with technology when the two were at-times fractious partners, followed by its subsequent transformations into the 1970s at the height of artists' retreat from the so-called "art and technology" paradigm. The dissertation reveals that rather than a retreat from "technology," its terms were being worked upon and further transformed within art practice into what more readily fits the contours of "media" today. The dissertation follows technology in Levine's practice by attending to the artist's disposable art theory, through which he took a highly variegated approach to understanding technology as a multifold structure that could be lodged across cultural and aesthetic fields. In large part, artists were coming to terms with understanding the nuanced relationship between art and technology through an understanding of the burgeoning field of media theory. Each chapter addresses the meeting of disposability with technology through one of the following sites: economics, environment, software, and infrastructure. Thus understood as a dispersed set of techniques rather than as a material equipment or product, technology additionally provided a model through which artists could challenge traditional art practices by incorporating such techniques into their own practice. Ultimately, "disposability" would be insufficient in accounting for the material realities of media infrastructures in an age of distributed agency among technical and environmental elements. However, as this dissertation argues, this narrative identifies a shift rather than closure; art practices with technology in the Long 1960s should not be seen as an endpoint, but as a vector, guiding and giving shape to subsequent art practices with media.

ISBN: 9798790660757Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Art history

Les Levine: Disposable Art, Technology, and Media, 1964-1971.
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245 1 4 $a Les Levine: Disposable Art, Technology, and Media, 1964-1971.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2021
300 $a 283 p.
500 $a Source: Dissertations Abstracts International, Volume: 83-09, Section: A.
500 $a Advisor: Patterson, Zabet;Uroskie, Andrew.
502 $a Thesis (Ph.D.)--State University of New York at Stony Brook, 2021.
506 $a This item must not be sold to any third party vendors.
520 $a "Les Levine: Disposable Art, Technology, and Media, 1964-1971" traces how technology took shape as a material form and node of inquiry in art practice of the 1960s and 1970s through the work and writings of conceptual artist Les Levine. The study focuses on the stakes of making art with technology when the two were at-times fractious partners, followed by its subsequent transformations into the 1970s at the height of artists' retreat from the so-called "art and technology" paradigm. The dissertation reveals that rather than a retreat from "technology," its terms were being worked upon and further transformed within art practice into what more readily fits the contours of "media" today. The dissertation follows technology in Levine's practice by attending to the artist's disposable art theory, through which he took a highly variegated approach to understanding technology as a multifold structure that could be lodged across cultural and aesthetic fields. In large part, artists were coming to terms with understanding the nuanced relationship between art and technology through an understanding of the burgeoning field of media theory. Each chapter addresses the meeting of disposability with technology through one of the following sites: economics, environment, software, and infrastructure. Thus understood as a dispersed set of techniques rather than as a material equipment or product, technology additionally provided a model through which artists could challenge traditional art practices by incorporating such techniques into their own practice. Ultimately, "disposability" would be insufficient in accounting for the material realities of media infrastructures in an age of distributed agency among technical and environmental elements. However, as this dissertation argues, this narrative identifies a shift rather than closure; art practices with technology in the Long 1960s should not be seen as an endpoint, but as a vector, guiding and giving shape to subsequent art practices with media.
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