"This is the first book of its kind to examine the development of the confessional subject in video art, and demonstrate how it can provide a vital platform for navigating politics of self, subjectivity, and resistance in society. Analysing a range of case studies from the 1960s up until the present day, the book reframes video art as an urgent socio-political tool and argues for its growing relevance in contemporary art and society. In doing so, it provides a framework through which to view this constantly-evolving genre and a deeper understanding of wider contemporary video practices"--
"This is the first book of its kind to examine the development of the confessional subject in video art, and demonstrate how it can provide a vital platform for navigating politics of self, subjectivity, and resistance in society. Analysing a range of case studies from the 1960s up until the present day, the book reframes video art as an urgent socio-political tool and argues for its growing relevance in contemporary art and society. In doing so, it provides a framework through which to view this constantly-evolving genre and a deeper understanding of wider contemporary video practices"--
List of Illustrations Introduction 1. Private Life is Public Business: Contemporary Confessional Forms and Confessional Art 1.1. Outline and Definition of Confessional Art 1.2. Approaches to Subjectivity and the Confessional Subject Through Fictitious Narratives and Disguise: a 1.3. comparative analyses of video artists Ryan Trecartin, Lizzie Fitch, Eric Fournier, and Gillian Wearing 1.4. Self-Disclosure or Verbalisation within mid-Twentieth Century Confessional Frameworks 1.5. Abandoning Privacy as a Transformative Mechanism 1.6. The Relationship between Confessional Forms and Confessional Art 2. Technologies of the Self as Confessional Art 2.1. Defining Technologies of the Self 2.2. The Self in Performance Art from the 1960s to now: A case study of the performance work of Yoko Ono, Marina Abramovic, Ana Mendieta, Elke Krystufek, Franko B, and Bob Flanagan 2.3. The Radical Origins of Early Video Art as a Political Tool: A comparative analysis of Ralph Lemon, Tino Sehgal, Lynda Benglis, Elke Krystufek, Chris Burden, and Vito Aconci 3. Re-imaging Public Spaces, Subjectivity, and Confessional Art 3.1. Early Twenty-First Century Definitions of Public and Private Spaces 3.2. Institutionalised Heteronormativity in Public Spaces in the performance work of Jaye Early 3.3. Re-imagining Public Spaces and Subjectivity as a Site of Politics and Democratisation 3.4. Subjectivity in a Postmodern Landscape 3.5. The emergence of international Video Art and Subjectivity from 1990 and Beyond in the video works of Sam Taylor-Wood, Sadie Benning, Gillian Wearing, Michael Curran, Gina Pane, Bruce Nauman, Dani Marti, and Alan Currall Conclusion Bibliography Index
List of Illustrations Introduction 1. Private Life is Public Business: Contemporary Confessional Forms and Confessional Art 1.1. Outline and Definition of Confessional Art 1.2. Approaches to Subjectivity and the Confessional Subject Through Fictitious Narratives and Disguise: a 1.3. comparative analyses of video artists Ryan Trecartin, Lizzie Fitch, Eric Fournier, and Gillian Wearing 1.4. Self-Disclosure or Verbalisation within mid-Twentieth Century Confessional Frameworks 1.5. Abandoning Privacy as a Transformative Mechanism 1.6. The Relationship between Confessional Forms and Confessional Art 2. Technologies of the Self as Confessional Art 2.1. Defining Technologies of the Self 2.2. The Self in Performance Art from the 1960s to now: A case study of the performance work of Yoko Ono, Marina Abramovic, Ana Mendieta, Elke Krystufek, Franko B, and Bob Flanagan 2.3. The Radical Origins of Early Video Art as a Political Tool: A comparative analysis of Ralph Lemon, Tino Sehgal, Lynda Benglis, Elke Krystufek, Chris Burden, and Vito Aconci 3. Re-imaging Public Spaces, Subjectivity, and Confessional Art 3.1. Early Twenty-First Century Definitions of Public and Private Spaces 3.2. Institutionalised Heteronormativity in Public Spaces in the performance work of Jaye Early 3.3. Re-imagining Public Spaces and Subjectivity as a Site of Politics and Democratisation 3.4. Subjectivity in a Postmodern Landscape 3.5. The emergence of international Video Art and Subjectivity from 1990 and Beyond in the video works of Sam Taylor-Wood, Sadie Benning, Gillian Wearing, Michael Curran, Gina Pane, Bruce Nauman, Dani Marti, and Alan Currall Conclusion Bibliography Index
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