This ebook coincides with a rise within the programming of reside paintings components in lots of galleries and museums. conventional paintings historical past has, in spite of the fact that, been cautious of dwell art’s interdisciplinarity and its tendency to motivate elevated formal and conceptual hazard taking. Time-based performances have challenged the conventions of documentation and the viewer’s entry to the paintings event. This ebook questions the canon of artwork historical past by means of exploring participation, liveness, interactivity, electronic and process-based performative practices and function for the digicam, as offered in gallery spaces.
The essays current either educational examine in addition to case experiences of curatorial initiatives that experience driven the limits of the artwork old perform. The authors come from a variety of backgrounds, starting from curators and artwork manufacturers to teachers and working towards artists. They ask what it skill to give, curate and create interdisciplinary performative paintings for gallery areas and supply state-of-the-art study that explores the difficult courting among paintings heritage, dwell and appearing arts, and museum and gallery house.
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Extra info for Performativity in the Gallery: Staging Interactive Encounters (Cultural Interactions: Studies in the Relationship between the Arts)
Sample text
B. Joseph Pine II and James H. Gilmore, ‘Welcome to the Experience Economy’, Harvard Business Review ( July–August 1998), 97–105. Pine II and Gilmore, ‘Welcome to the Experience Economy’, 98. 18 The concept of the experience economy has been criticized as resulting from and responding to the, at the time, rising USA economy. 19 Even so, aspects of the experience economy theory are clearly identifiable today in the culture and entertainment industries. 20 These developments cast a dif ferent light onto the current institutional shift of attitude towards live, event-based artistic practices, raising the question: are museums and galleries today preoccupied with exhibiting performance or, indeed, with staging experience?
Undoubtedly the materialistic cultural values encouraged by capitalism inf luence all markets – including the art market, which still revolves primarily around material, tangible and concrete objects rather than ephemeral, disappearing acts. It is equally a given that mediatized practices (TV, film, video) circulate within an economy of repetition and reproduction that, given its capacity to reach out to mass audiences, is in some respects more financially viable than the intimacy proposed by the live performance experience.
Au/_blog/blog/post/complete-13-roomsvideo-series/> accessed 15 June 2013. Auslander, Philip, ‘The Performativity of Performance Documentation’, PAJ: A Journal of Performance and Art, 28/3 (September 2006). v=twaTq D6yDlI> accessed 28 March 2013. Lies, Lies, It’s All Lies I Tell You! 25 Gilbert, Helen, ‘Bodies in Focus: Photography and Performativity in Post-Colonial Theatre’, Textual Studies in Canada, 10/11 (1993). Goldberg, RoseLee, Performance: live art since the 60s (London: Thames and Hudson, 2004).