Description
Book SynopsisWhat happens when you touch or enter an artwork instead of looking at it? As artists since the 1950s have increasingly sought to involve viewers more actively in their artworks, this critical anthology sheds light on the nature of these new forms of participation and their historical, social and political significance.
Table of ContentsAnna Dezeuze: What the do-it-yourself artwork can do for you
PART I: PARTICIPATION IN CONTEXT
Anna Dezeuze: “Open work,” “do-it-yourself artwork,” and bricolage
Judith Rodenbeck: “creative acts of consumption” or, death in Venice
Arnauld Pierre: Instability: the visual/bodily perception of space in kinetic environments
Guy Brett: 3 Pioneers
PART II: PERFORMING PARTICIPATION
Catherine Wood: The rules of engagement: Displaced figuration in Robert Morris’s sculpture
Frazer Ward: Marina Abramovic: Approaching zero
Amelia Jones: Space, body and the self in the work of Bruce Nauman
Janet Kraynak: Tiravanija’s liability
Jennifer Gonzalez: the face and the public: Race, secrecy and digital art practice
PART III: ANALYSING PARTICIPATION
Anna Dezeuze: Play, ritual and politics: Transitional artworks in the 1960s
Christian Kravagna: Working on the community: Models of participatory practice
Miwon Kwon: Exchange and reciprocity in some art of the 1960s and after
Claire Bishop: Antagonism and Relational Aesthetics
Beryl Graham: What kind of participative system? Critical vocabularies from new media art
Index
