By Frazer Ward
ISBN-10: 1611683351
ISBN-13: 9781611683356
At a second whilst functionality paintings and function often are on the heart of the overseas artwork international, Frazer Ward deals us insightful readings of significant functionality items via the likes of Acconci, Burden, Abramovi , and Hsieh, and confronts the twisting and afflicted courting that functionality artwork has had with the spectator and the general public sphere. Ward contends that the moral demanding situations with which functionality paintings confronts its audience converse to the reimagining of the viewers, in phrases that recommend the cave in of notions like “public” and “community.”
A considerate, even pressing dialogue of the connection among artwork and the viewers that might entice a huge diversity of artwork historians, artists, and others drawn to buildings of the general public sphere.
“Ward has pulled off the striking feat of navigating the advanced theoretical positions of functionality paintings and its histories, in a fashion that's either attractive and instructive, whereas widening validated debates.” —Oxford paintings Journal
“No blameless Bystanders reorients our realizing of a few of the main galvanizing and generative functionality works of the Seventies. In prose that's either refreshingly direct and finely nuanced, Frazer Ward reads those works as explorations of the restrict stipulations of publicness and of neighborhood. The argument couldn't be extra timely.” (Judith Rodenbeck, writer of Radical Prototypes: Allan Kaprow and the discovery of Happenings)
Read or Download No Innocent Bystanders: Performance Art and Audience (Interfaces: Studies in Visual Culture) PDF
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Extra resources for No Innocent Bystanders: Performance Art and Audience (Interfaces: Studies in Visual Culture)
Sample text
What these subjectivities shared was the idea of a private interior to subjectivity, a private mental space that extended behind modernist artworks and was made manifest via the properties of a medium. This is precisely the idea that minimalism and its heirs and critical champions rejected as a fantasy, explicitly, 35 ............ no innocent bystanders 36 not only in the production of their work but in writing as well. Minimalism’s compositionally simple, repetitive structures presented alternate ways for viewers to experience artworks; this was the main tactic in their attack on the presumed primacy to aesthetic experience of the artist’s subjective relation to a medium.
42 ............ performance after minimalism In January 1972, famously, Acconci masturbated in public—or, not quite. He did exhibit a low wooden ramp in the Sonnabend Gallery, New York. Two feet high at the back, it merged with the floor in the middle of the room. ∏≠ The sloping floor drew visitors’ attention to their own movement through the familiar white cube of the gallery. But a speaker sat in one corner of the ramp, and underneath was something less self-evident. Twice a week, six hours a day, visitors could listen to Acconci, below, speaking into a microphone the sexual fantasies triggered by the sounds of those above, and masturbating: ‘‘ .
As his body receded from the scene of performance, in works like Where We Are Now (Who Are We Anyway) (1976),∑π Acconci issued the ironic invitation to the audience to launch itself back into the public, into the street, via a diving board or plank that he had conveniently provided. But the very irony of diving in, or walking the plank, suggested the ambivalent lure of public space. That space, Acconci would later write, functions as a ‘‘container of bodies,’’ which ‘‘trembles at the boiling point’’: ‘‘The wonder of the city is: with all these bodies crowded next to each other, one on top of the other—why aren’t they all tearing each other’s clothes o√, why aren’t they all fucking each other, left and right.
No Innocent Bystanders: Performance Art and Audience (Interfaces: Studies in Visual Culture) by Frazer Ward
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