The 'Do-it-Yourself' Artwork: Participation from Fluxus to New MediaAnna Dezeuze Viewers of contemporary art are often invited to involve themselves actively in artworks, by entering installations, touching objects, performing instructions or clicking on interactive websites. Why have artists sought to engage spectators in these new forms of participation? In what ways does active participation affect the viewer’s experience and the status of the artwork? Spanning a range of practices including kinetic art, happenings, environments, performance, installations, relational and new media art from the 1950s to the present, this critical anthology sheds light on the history and specificity of artworks that only come to life when you -- the viewer -- are invited to "do it yourself." Rather than a specialist topic in the history of twentieth- and twenty-first century art, the "do-it-yourself" artwork raises broader issues concerning the role of the viewer in art, the status of the artwork, and the socio-political relations between art and its contexts. |
Contents
Clark Cultural Association page | 2 |
Three pioneers Guy Brett | 25 |
Liberdade Liberty Cape by Hélio Oiticica and Rubens | 32 |
Copyright | |
17 other sections not shown
Other editions - View all
Common terms and phrases
Abramović action activity Allan Kaprow architectural argue artists audience become behaviour body Bourriaud Brecht Bruce Nauman Chapter collaboration concept concrete art contemporary art context created creative critical critique cultural curator David Medalla defined discourse discussion do-it-yourself artworks economy environment essay everyday example exhibition experience fetish Fluxus function George Brecht George Maciunas gift Gillick GRAV Guy Brett Hélio Oiticica hinge Hirschhorn human Ibid individual infra thin installation interaction kind Liam Gillick London Lygia Clark Maciunas Marina Abramović material Medalla media art Morris's museum Nauman Neoconcrete networks Nicolas Bourriaud object painting Parangolé performance physical play political potential Press produced race racial relational aesthetics relationship Rhythm Rirkrit Rirkrit Tiravanija Robert Morris sculpture Sierra social space specific spectator participation structure Tate Gallery theory Thomas Hirschhorn tion Tiravanija's urban viewer visitors visual vocabulary Yoko Yoko Ono York