Because performance is by its very nature ephemeral, it elicits a desire for what is lost more than any other form of art making. But what is the nature of that desire, and on what models has it been structured? How has it affected the ways in which the history of performance art gets told?
In What the Body Cost, Jane Blocker revisits key works in performance art by Carolee Schneemann, Vito Acconci, Hannah Wilke, Yves Klein, Ana Mendieta, and others to challenge earlier critiques that characterize performance, or body art, as a purely revolutionary art form and fail to recognize its...
Because performance is by its very nature ephemeral, it elicits a desire for what is lost more than any other form of art making. But what is the natu...
Blocker (art history, U. of Minnesota) examines performance art works by Carolee Schneemann, Vito Acconci, Hannah Wilke, Yves Klein, Ana Mendieta, and others, in a challenge to earlier critiques that characterize performance, or body art, solely as a revolutionary art form. She argues that the acceptance of the body in art came at a price, that th
Blocker (art history, U. of Minnesota) examines performance art works by Carolee Schneemann, Vito Acconci, Hannah Wilke, Yves Klein, Ana Mendieta, and...
Ana Mendieta, a Cuban-born artist who lived in exile in the United States, was one of the most provocative and complex personalities of the 1970s artworld. In "Where Is Ana Mendieta?" art historian Jane Blocker provides an in-depth critical analysis of Mendieta s diverse body of work. Although her untimely death in 1985 remains shrouded in controversy, her life and artistic legacy provide a unique vantage point from which to consider the history of performance art, installation, and earth works, as well as feminism, multiculturalism, and postmodernism. Taken from banners carried in a 1992...
Ana Mendieta, a Cuban-born artist who lived in exile in the United States, was one of the most provocative and complex personalities of the 1970s artw...
Is there such a thing as contemporary art history? The contemporary, after all--as much as we may want to consider it otherwise--is being made history as it happens. By what means do we examine this moving target? These questions lie at the center of Jane Blocker's Becoming Past. The important point is not whether there is--or should be--contemporary art history, Blocker argues, but how.
Focusing on a significant aspect of current art practice?in which artists have engaged with historical subject matter, methods, and inquiry?Blocker asks how the creation of the artist...
Is there such a thing as contemporary art history? The contemporary, after all--as much as we may want to consider it otherwise--is being made hist...
