Live art in art history: A paradox?

The Cambridge Companion to: Performance Studies

Volumn , Issue , 2008, Pages 151-165

  Jones, Amelia ^a  

^a UNIVERSITY OF MANCHESTER   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84928373054     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.1017/CCOL9780521874014.011     Document Type: Chapter

References (37)

1. Amelia Jones, Body Art/Performing the Subject (Minneapolis: University of Minnesota Press, 1998).
2. Emmanuel Kant, The Critique of Judgement (1790) (London: www.kessinger.net), 12.
3. Luc Ferry, Homo Aestheticus: The Invention of Taste in the Democratic Age (1990), trans. Robert de Loaiza (Chicago: University of Chicago Press, 1993), 27.
4. Charles Harrison and Paul Wood, eds., Art in Theory 1900–1990 (Oxford: Blackwell, 1992), 78- 86.
5. Amelia Jones, ed., Companion to Contemporary Art Since 1945 (Oxford: Blackwell, 2005), 127–44.
6. Clement Greenberg, Modernist Painting (1960), rpt. in Gregory Battcock, ed., The New Art (New York: Dutton, 1973), 68, 79.
7. Caroline Jones, Eyesight Alone: Clement Greenberg’s Modernism and the Bureaucratization of the Senses (Chicago: University of Chicago Press, 2006).
8. Mel Gordon, Dada Performance (New York: PAJ Publications, 1987).
9. Roselee Goldberg, Performance Art: From Futurism to the Present, 2nd edn (New York: Thames and Hudson, 2001).
10. Robert Motherwell, ed., The Dada Painters and Poets (1951), 2nd edn (Cambridge, MA: Harvard University Press, 2005).
11. Robert Lebel, Marcel Duchamp (London: Trianon Press, 1959).
12. Michael Fried, “Art and Objecthood” (1967), rpt. in Gregory Battcock, ed., Minimal Art: A Critical Anthology (New York: E. P. Dutton, 1968), 116–47.
13. Robert Morris, “Notes on Sculpture, Part 2” (1966), rpt. in Morris, Continuous Project Altered Daily: The Writings of Robert Morris (London and Cambridge, MA: MIT Press, 1993), 13–14.
14. Maurice Berger, Labyrinths: Robert Morris, Minimalism, and the 1960s (New York: Harper&Row, 1989).
15. Clement Greenberg, “Avant-Garde Attitudes: New Art in the Sixties” (1969), rpt. in Clement Greenberg: The Collected Essays, ed. John O’Brian, Volume IV: Modernism with a Vengeance (Chicago: University of Chicago Press), 292–302.
16. Harold Rosenberg, “American Action Painters,” Artnews 51 (December 1952), 22.
17. Rebecca Schneider, The Explicit Body in Performance (New York: Routledge, 1997).
18. Kathy O’Dell, Contract with the Skin: Masochism, Performance Art and the 1970s (Minneapolis: University of Minnesota Press, 1998).
19. Mary Emma Harris, The Arts at Black Mountain College (Cambridge, MA: MIT Press, 1987), 226, 228.
20. Kristine Stiles, “Uncorrupted Joy: International Art Actions,” in Paul Schimmel, ed., Out of Actions: Between Performance and the Object 1949–1979 (Los Angeles: Museum of Contemporary Art, 1998), 287.
21. Alexandra Munroe et al., Japanese Art after 1945: Scream Against the Sky (New York: Harry Abrams, 1994). 21.
22. Allan Kaprow, “The Legacy of Jackson Pollock”(1958), rpt. in Kaprow, Essays on the Blurring of Art and Life, ed. Jeff Kelley (Berkeley: University of California Press, 1993), 3–4.
23. Clement Greenberg, “American Type Painting” (1955), rpt. in Greenberg, Art and Culture (Boston: Beacon Press, 1961), 208–29.
24. Carolee Schneemann, “Meat Joy,” in Carolee Schneemann: Imagining Her Erotics (Cambridge, MA: MIT Press, 2002), 62.
25. Cindy Nemser, “Subject-Object Body Art,” Arts Magazine 46, no. 1 (September- October 1971), 38–42.
26. Lea Vergine, Body Art and Performance: The Body as Language (Milan: Skira 2000).
27. François Pluchart, L’art corporel (Paris: Editions Rodolphe Stadler/Galerie Stadler, 1975).
28. Ira Licht, “Bodyworks,” in Bodyworks (Chicago: Museum of Contemporary Art, 1975) Erotics (Cambridge, MA: MIT Press, 2002), 62.
29. Sally Banes’s Greenwich Village 1963: Avant-Garde Performance and the Effervescent Body (Durham: Duke University Press, 1993).
30. Henry Sayre, The Object of Performance: The American Avant-Garde Since 1970 (Chicago: University of Chicago Press, 1989).
31. Jane Blocker, Where is Ana Mendieta? Identity, Performativity and Exile (Durham: Duke University Press, 1999).
32. Jane Blocker, What the Body Cost: Desire, History, and Performance (Minneapolis: University of Minnesota Press, 2004).
33. Jennifer Doyle, Sex Objects: Art and the Dialectics of Desire (Minneapolis: University of Minnesota Press, 2006).
34. Kristine Stiles, “Performance,” in Robert Nelson and Richard Shiff, eds., Critical Terms for Art History, 2nd edn (Chicago: University of Chicago Press, 2003), 75–97.
35. Peggy Phelan, eds., The Ends of Performance (New York: New York University Press, 1998), 1–19.
36. Schneider, The Explicit Body, and Peggy Phelan’s survey essay in Helena Reckitt, ed., Art and Feminism (London: Phaidon, 2001), 14–49.
37. Barbara Kirshenblatt-Gimblett, “Performance Studies,” adapted from a report written for the Rockefeller Foundation, 1999.