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https://www.academia.edu/27542146/_The_Artist_is_Present_Artistic_Re_enactments_and_the_Impossibility_of_Presence
“he Artist is Present” Artistic Re-enactments and the Impossibility of Presence Amelia Jones Figure 1. Marina Abramovic;: he Artist is Present, 2010. Performance view, Museum of …
https://www.mitpressjournals.org/doi/abs/10.1162/DRAM_a_00046
Feb 16, 2011 · Springing off from the recent obsession over performance histories in the performance and art domains, “The Artist is Present” takes on claims for authenticity and “presence” by examining the series of recent re-enactments and events featuring Marina Abramović.Cited by: 90
https://www.researchgate.net/publication/239862590_The_Artist_is_Present_Artistic_Re-enactments_and_the_Impossibility_of_Presence
This tense moment of undecidability caught in the space between hospitality and hostility (Caputo 1996) is captured by Amelia Jones' (2011) description of The Artist is Present as a simulated ...
http://faculty.winthrop.edu/stockk/Contemporary%20Art/jones%20performance%20art.pdf
"Presence 99 zn absentia Experiencing Performance as Documentation Amelia .Jones I was not yet three years old, living in central North Carolina, when Carolee Schneemann performed Meat Joy at the Festival of Free Expression in Paris in 1964; three when Yoko Ono performed Cut Piece in Kyoto; eight when Vito Acconci did his Push Ups in the sand at
https://www.academia.edu/3336407/The_Contemporary_Artist_as_Commodity_Fetish
The Contemporary Artist as Commodity Fetish. Amelia Jones. Download PDF. Download Full PDF Package. This paper. A short summary of this paper. 10 Full PDFs related to this paper. READ PAPER. The Contemporary Artist as Commodity Fetish. ... Amelia Jones. Download PDF. Download Full PDF Package. This paper.
https://books.google.com/books/about/Body_Art_performing_the_Subject.html?id=-szcP80gKckC
In this definitive book, Amelia Jones explores body art projects from the 1960s and 1970s and relates their impact to the work of body artists active today, providing a new conceptual framework for defining postmodernism in the visual arts.Jones begins with a discussion of the shifting intellectual terrain of the 1950s and 1960s, focusing on ...5/5(1)
https://catalogue.sunderland.ac.uk/items/102025
Amelia Jones is Head of Art History and Pilkington Chair at the University of Manchester. Among her numerous publications are Postmodernism and the En-Gendering of Marcel Duchamp(Cambridge University Press, 1994) and Body Art/Performing the Subject(University of Minnesota Press, 1998).As curator, Jones has organized exhibitions including 'Sexual Politics: Judy Chicago's Dinner Partyin …
https://www.amazon.co.uk/Artists-Body-Themes-Movements/dp/0714863939
Mar 26, 2012 · Amelia Jones is Head of Art History and Pilkington Chair at the University of Manchester. Among her numerous publications are Postmodernism and the En-Gendering of Marcel Duchamp (Cambridge University Press, 1994) and Body Art/Performing the Subject (University of Minnesota Press, 1998). As curator, Jones has organized exhibitions including 'Sexual Politics: Judy Chicago's Dinner …Reviews: 24
https://books.google.com/books/about/Stelarc.html?id=VCfrAAAAMAAJ
Stelarc is the most celebrated artist in the world working within technology and the visual arts. He is both an artist and a phenomenon, using his body as medium and exhibition space. Working in the interface between the body and the machine, employing virtual reality, robotics, medical instruments, prosthetics, and the Internet, Stelarc's art includes physical acts that don't always look ...
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