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[ 洋図書 ] Beyond objecthood : the exhibition as a critical form since 1968 /

James Voorhies. -- The MIT Press, -- c2017. --

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ISBN 0262035529 (hardcover ; alk. paper)
ISBN13桁 9780262035521 (hardcover ; alk. paper)
テキストの言語 英語                  
分類：NDC10版 702.07
個人著者標目 Voorhies, James Timothy.
本タイトル Beyond objecthood :
タイトル関連情報 the exhibition as a critical form since 1968 /
著者名 James Voorhies.
出版地・頒布地 Cambridge, Massachusetts :
出版者・頒布者名 The MIT Press,
出版年・頒布年 c2017.
数量 ix, 275 pages :
他の形態的事項 chiefly color illustrations ;
大きさ 25 cm.
書誌注記 Includes bibliographical references and index.
内容注記 Introduction : "Warning" : Beyond objecthood ; The exhibition as a critical form since 1968 -- The rise of the exhibition as a form : Staging grounds ; Robert Smithson: the time to see non-sites ; Against a "manneristic modernism" ; The non-site as exhibition ; Michael Asher: the gallery as an experiential environment ; Other frames for the viewer ; At Münster: moving toward the perimeters ; Group material: reshaping forms ; Grabbing hold of the technique ; The exhibition as a work ; Inhabiting the institution: modes of the dialectic -- On new institutionalism : The critical work ; The curator in charge: this is Harald Szeemann's documenta ; The Venice Biennale: yesterday and today ; The 24/7 Biennial: context is everything ; Relational art: values of encounters ; "Learning to inhabit the world in a better way" ; Manifesta: anti-Biennial as new institution ; Manifesta 2 : the nonthematic, thematic exhibition ; The lifestyle package ; Kunstverein München: invisible orbits with visible change ; The future is now -- The efficacy of a critical art : The critical according to Jacques Rancière ; Now is our time: Martha Rosier, Josephine Meckseper, and Levi's ; Thomas Hirschhorn: a guilty pleasure ; Presence and production: the Bijlmer Spinoza-Festival ; The crystallization of a micro-society ; One immersive world ; Harnessing the means of the exhibition ; Anton Vidokle: they don't have to be done like that ; Michel Foucault: the critical attitude ; Assuming the shape of the work -- The industrial art complex : The educational turn in the exhibition ; Unexpected byproducts of a failed manifesta ; An exhibition-as-school grows in the former East Berlin ; A mode of address in the curatorial technique ; New institutionalism and its critics ; An "office" for contemporary art in Norway ; Thinking things otherwise ; An expansion of the public sphere ; What ever happened to new institutionalism? ; Carsten Höller: down a slide -- Conclusion : On the road.
要約、抄録、注釈等 In 1968, Robert Smithson reacted to Michael Fried's influential essay "Art and Objecthood" with a series of works called non-sites. While Fried described the spectator's connection with a work of art as a momentary visual engagement, Smithson's non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery. In Beyond Objecthood, James Voorhies traces a genealogy of spectatorship through the rise of the exhibition as a critical form--and artistic medium. Artists like Smithson, Group Material, and Michael Asher sought to reconfigure and expand the exhibition and the museum into something more active, open, and democratic, by inviting spectators into new and unexpected encounters with works of art and institutions. This practice was sharply critical of the ingrained characteristics long associated with art institutions and conventional exhibition-making; and yet, Voorhies finds, over time the critique has been diluted by efforts of the very institutions that now gravitate to the "participatory." Beyond Objecthood focuses on innovative figures, artworks, and institutions that pioneered the exhibition as a critical form, tracing its evolution through the activities of curator Harald Szeemann, relational art, and New Institutionalism. Voorhies examines recent artistic and curatorial work by Liam Gillick, Thomas Hirschhorn, Carsten Höller, Maria Lind, Apolonija Šušteršič, and others, at such institutions as Documenta, e-flux, Manifesta, and Office for Contemporary Art Norway, and he considers the continued potential of the exhibition as a critical form in a time when the differences between art and entertainment increasingly blur.-- Provided by Publisher.
一般件名 Art -- History -- 20th century.
Art -- History -- 21st century.
資料情報1 『Beyond objecthood : the exhibition as a critical form since 1968 /』　James Voorhies.　The MIT Press,　c2017. （所蔵館：中央　 請求記号：F/702.0/V95/B　 資料コード：7110610822）
URL https://catalog.library.metro.tokyo.lg.jp/winj/opac/switch-detail.do?lang=ja&bibid=1352032076

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