1,720,959 research outputs found
H-Net & Digital Peer Review; Tracing New Possibilities
No full textH-Net & Digital Peer Review (Robert Cassanello and Yelena Kalinsky)
Tracing New Possibilities for Research and Collaboration (Kyle Bohunicky, Melissa Bianchi, Caleb Milligan, Shannon Butts, Jason Crider, Emily Brooks and Madeline Gangnes
Drowning in Documents: Action, Documentation, and Factography in Early Work by the Collective Actions Group
Get PDFThis article traces a provisional history of the early years of the conceptual performance art group Collective Actions through an examination of three critical terms—action, documentation, and factography—that came to figure prominently in the group's definition of its aesthetic project. A close reading of several of the group's actions and key theoretical texts from this period (1976–1981) reveals a dialectic of performance and documentation wherein the photographic and textual recording of actions, first carried out for purely pragmatic purposes, begins to acquire an independent aesthetic dimension that challenges the primacy of the live action. This shifting understanding of action—away from the ephemeral, spatio-temporal event and toward an aesthetics of documentation and factographic discourse—became a form of self-institutionalization that revealed fault lines in the artistic positions and ambitions of the Moscow Conceptualist circle. The article therefore attempts to locate the specific stakes of performance as an artistic practice within Moscow Conceptualism at the turn of the 1980s
SSM04 - H-Net & Digital Peer Review
No full textRobert Cassanello, VP of Research and Publications with H-Net and Yelena Kalinsky Associate Director and Managing Editor, Reviews at H-Net launched a network based Peer Review initiative in 2016-2017. Individual networks at H-Net have launched original scholarly projects on H-Net
Useless Actions and Senseless Laughter: On Moscow Conceptualist Art and Politics
Get PDFThrough a series of close readings of an album by Ilʼia Kabakov and actions by the groups Collective Actions (Kollektivnye deistviia) and Mukhomor, this article considers the place of laughter in the work of the Moscow Conceptualist circle. Distinguishing between a metaphysically-oriented laughter in the 1970s and a carnivalesque or kynic laughter in the 1980s, the article rejects the easy identification of Moscow Conceptualismʼs ironic laughter with a social and political critique of the Soviet Union, and instead locates these different strains of Moscow Conceptualist practice in the shifting artistic and political contexts of the last two Soviet decades
Invisible Exhibitions: Performance & the Archive in Moscow Conceptualism
Get PDFThe emergence in the 1970s of albums, conceptualist object-poetry, and performances that addressed a small and select audience in private studios or suburban fields is evidence that at least some artists did not seek access to the wider Soviet public or official recognition of their activities in exhibitions. On the contrary, this conceptual turn constituted a reassessment of what it means to exhibit and experience artworks, at times explicitly thematizing recent exhibition history and rejecting both the exhibition as a convention and the notion of artwork that it presupposes. In particular, two forms of conceptualist practice – performance and collaborative artists’ archives – articulated these new positions regarding artworks and publics in the late 1970s and early 1980s. While they served as alternative exhibition spaces at a time when state-run museums and exhibition halls were inaccessible, they went well beyond this necessity and declared a shift in artistic priorities that has become one facet of the movement now known as Moscow Conceptualism
Pencil Marks on a Field: Form and Support in Late Soviet Participatory Performance by Collective Actions
Get PDF"The stakes of performance and its documentation extend beyond museological questions of cataloging and preservation. While performance encompasses a wide range of activities, in general it uses forms of temporal and bodily presence, photo, sound, and video documentation , as well as narrative forms such as the script and the audience's recollections, to reflect on fundamental questions of individual and collective life, public and private space, temporality, and the availability of events to interpretation, memory, and history. The shifting and proliferating formal parameters of CA's actions (including their various modes of documentation ) offer a model of performance that unsettles the conventional relationship between the bounded aesthetic object and the boundless surround of everyday life. Enlisting the notions of form and support put forward by performance theorist Shannon Jackson, I challenge the widespread view that CA's enigmatic actions constituted a withdrawal into a hermetic world of formal structures, theoretical texts, and documentation. In what follows, I offer a close reading of one fairly representative action in CA's corpus whose varied material forms, both performative and documentary, created spaces for individual and collective aesthetic experience at once within and outside of the mediated late Soviet lifeworld.
Project: Building a Research Collection
Get PDFThis is a digital project developed as part of the Spring 2019 MSU Digital Humanities Faculty Learning Community for use in an upcoming course on Soviet & East European Contemporary Art. The project equips students with the technical and conceptual tools for building and maintaining personal research collections for art history research
The Schizoid Objects of Moscow Conceptualism
No full textEssay in exhibition catalogue for “'Thinking Pictures': Moscow Conceptual Art in the Dodge Collection," Zimmerli Art Museum, on view Sep 06, 2016 - Dec 31, 2016
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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