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The Third Hand: Collaboration in Art from Conceptualism to Postmodernism, , Gree
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Condition:
Very Good
A book that does not look new and has been read but is in excellent condition. No obvious damage to the cover, with the dust jacket (if applicable) included for hard covers. No missing or damaged pages, no creases or tears, and no underlining/highlighting of text or writing in the margins. May be very minimal identifying marks on the inside cover. Very minimal wear and tear. See the seller’s listing for full details and description of any imperfections.
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eBay item number:145555216322
Item specifics
- Condition
- ISBN
- 9780816637133
- Book Title
- Third Hand : Collaboration in Art from Conceptualism to Postmodernism
- Publisher
- University of Minnesota Press
- Item Length
- 10 in
- Publication Year
- 2001
- Format
- Trade Paperback
- Language
- English
- Illustrator
- Yes
- Item Height
- 0.7 in
- Genre
- Art, Philosophy
- Topic
- Conceptual, General, History & Surveys / Modern, History / General
- Item Weight
- 16.4 Oz
- Item Width
- 7 in
- Number of Pages
- 268 Pages
About this product
Product Identifiers
Publisher
University of Minnesota Press
ISBN-10
081663713X
ISBN-13
9780816637133
eBay Product ID (ePID)
21038730941
Product Key Features
Book Title
Third Hand : Collaboration in Art from Conceptualism to Postmodernism
Number of Pages
268 Pages
Language
English
Publication Year
2001
Topic
Conceptual, General, History & Surveys / Modern, History / General
Illustrator
Yes
Genre
Art, Philosophy
Format
Trade Paperback
Dimensions
Item Height
0.7 in
Item Weight
16.4 Oz
Item Length
10 in
Item Width
7 in
Additional Product Features
LCCN
00-010820
Dewey Edition
21
Reviews
"This is a clearly argued, original, and highly illuminating book that provides a genuinely new way of looking at contemporary art 'on the cusp,' as the author puts it, between modernism and postmodernism. The decision to focus on the notion of collaboration has been used to open up a series of fascinating case studies associated with specific collaborative enterprises." -Stephen Bann, University of Bristol, "As one of the artists Green discusses, I thought 'Yes, this is exactly how it happened.' Readers will be inspired to know more about each of the collaborative artists included in this exceptional book." --Marina Abramovic, "As one of the artists Green discusses, I thought 'Yes, this is exactly how it happened.' Readers will be inspired to know more about each of the collaborative artists included in this exceptional book." -Marina Abramovic, "This is a clearly argued, original, and highly illuminating book that provides a genuinely new way of looking at contemporary art 'on the cusp,' as the author puts it, between modernism and postmodernism. The decision to focus on the notion of collaboration has been used to open up a series of fascinating case studies associated with specific collaborative enterprises." --Stephen Bann, University of Bristol
Dewey Decimal
700/.9/04
Synopsis
A major reevaluation of collaboration's role in art since 1968. The lone artist is a worn cliché of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions. Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples-like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovi´c and Ulay-who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century., The lone artist is a worn cliche of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions.Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples -- like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovic and Ulay -- who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century., A major reevaluation of collaboration's role in art since 1968. The lone artist is a worn cliché of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions. Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples-like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovi c and Ulay-who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.
LC Classification Number
N6490.6.G74 2001
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