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Art --- installations [visual works] --- performance art --- Fox, Terry

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performance art --- installations [visual works] --- light art --- Iconography --- sound [acoustics] --- Art --- Kuhn, Hans Peter --- anno 1900-1999 --- kunst en technologie

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Arts and society --- Performance art --- Postmodernism --- Arts et société --- Art de performance --- Postmodernisme --- History --- Histoire --- Arts et société

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The lack of common style in American art since 1970 has generally been explained as a function of the avant-garde's confused diversity, its willful eclecticism - in short, its "pluralism." In *The Object of Performance*, Henry M. Sayre instead defines this art in terms of its shared, distinctly postmodern concerns, showing for the first time how the entire range of contemporary art - including dance, photography, oral poetry, performance art, and earth sculpture - is associated in a collective avant-garde project. What artists like Cindy Sherman, Andy Warhol, Laurie Anderson, David Antin, and Robert Smithson have in common, Sayre convincingly argues, is a view of art as primarily performative.

Sayre's title, *The Object of Performance*, is a suggestive paradox, for contemporary art's antiformalist, experience-oriented stance has rendered the art object per se dispensable. The element of performance that exists in all avant-garde arts has shifted the site of art's presence from the object to the audience, deliberately undermining any claim to formal autonomy. The consequences of this shift include the opening of art to a multiplicity of interpretation, the valorization of popular art forms over high art, and the emergence of ever more politically oriented work. The denial of authority to the object has inevitably opened avant-garde art to exploitation and misuse, but it has also forwarded the idea of the establishment of community as an alternative end of art. Such an art, finally, has profound implications of criticism itself, transforming the critic from a mere interpreter of an autonomous object to an active participant in the ongoing history of the work itself. In keeping with performance's deferral to its audience, Sayre is candid about his own responses to the art he discusses, and his style of writing is refreshingly personal. Sayre combines this accessibility with a critical sophistication and range of reference that make *The Object of Performance* a singular contribution to our understanding of contemporary culture.

dances [performance events] --- easel paintings [paintings by form] --- -Performance art --- -Avant-garde (Aesthetics) --- -7.036 --- 7.036 --- Avant-garde (Aesthetics) --- 7.036 Moderne kunststijlen --- Moderne kunststijlen --- History --- Performance art --- performance art --- avant-garde --- installations [visual works] --- feminism --- sculpture [visual works] --- photographs --- Art --- anno 1970-1979 --- United States --- Avant-Garde (Aesthetics) --- 20th century --- social criticism --- United States of America --- ARTS DU SPECTACLE --- AVANT-GARDE (ESTHETIQUE) --- ETATS-UNIS --- paintings [visual works]

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Art styles --- Iconography --- Art --- installations [visual works] --- happenings --- art [discipline] --- performance art --- kunstsociologie --- Albrecht d. --- anno 1950-1959 --- anno 1960-1969 --- anno 1970-1979 --- anno 1900-1999 --- Germany