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This book coincides with an increase in the programming of live art elements in many galleries and museums. Traditional art history has, however, been wary of live art's interdisciplinarity and its tendency to encourage increased formal and conceptual risk taking. Time-based performances have challenged the conventions of documentation and the viewer's access to the art experience. This book questions the canon of art history by exploring participation, liveness, interactivity, digital and process-based performative practices and performance for the camera, as presented in gallery spaces.The essays present both academic research as well as case studies of curatorial projects that have pushed the boundaries of the art historical practice. The authors come from a wide range of backgrounds, ranging from curators and art producers to academics and practising artists. They ask what it means to present, curate and create interdisciplinary performative work for gallery spaces and offer cutting-edge research that explores the intricate relationship between art history, live and performing arts, and museum and gallery space. --
Theatrical science --- Performance art. --- Performance --- Interaktive Kunst. --- Kunstausstellung. --- Kunstgalerie. --- Interactive art. --- Art museums. --- Performancekonst.
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How are we to understand works of art that are realized with viewers’ physical involvement? How are we to analyze a relationship between a work of art and its audience that is rooted in an experience both aesthetic and physical when "user experience" is a central concern of a society held in the grip of omnipresent interactivity? Between two seemingly opposed modes, contemplation and use, this book offers a third option: that of "practicable" works, made for and of audience action. Today, these works often use digital technologies, but artists have created participatory works since the mid-twentieth century. In this volume, critics, writers, and artists provide diverse perspectives on this kind of "practicable" art, discussing and documenting a wide variety of works from recent decades. *Practicable* returns to the mainstays of contemporary art from the 1950s to the present, examining artistic practices that integrate the most forward-looking technologies, disregarding the false division between artworks that are technologically mediated and those that are not. *Practicable* proposes a historical framework to examine art movements and tendencies that incorporate participatory strategies, drawing on the perspectives of the humanities and sciences. It investigates performance and exhibition, as well as key works by artists including Marina Abramović, Janet Cardiff, Lygia Clark, Piotr Kowalski, Robert Morris, David Rokeby, and Krzysztof Wodiczko, and features interviews with such leading artists and theoreticians as Matt Adams of Blast Theory, Claire Bishop, Nicolas Bourriaud, Thomas Hirschhorn, Bruno Latour, Seiko Mikami, and Franz Erhard Walther.
Interactive art. --- Interaktive Kunst --- Interactive art --- Participatory art --- Performance art --- Social practice (Art) --- #SBIB:316.7C200 --- #SBIB:39A5 --- Sociologie van de cultuuruitingen: algemeen --- Kunst, habitat, materiële cultuur en ontspanning --- Interaktive Kunst. --- kunsttheorie --- 791.5 --- 7.01 --- 7.038/039 --- performances --- participatie --- interactiviteit --- interactieve kunst --- kunst en technologie --- Public --- Participation --- Art contemporain --- Philosophy and psychology of culture --- Art --- community art --- interactive art
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