Networked Collectivities:North American Artists' Groups, 1968-1978.

North American Artists"Groups;Intermediality;Performance;Video;and Mail Art;Artistic Collaboration;Conceptual Art;Art History;Film and Video Studies;American and Canadian Studies;Arts;Humanities;History of Art

Olds, Kirsten FleurZurier, Rebecca ;

University of Michigan

关键词: North American Artists";    Groups;    Intermediality;    Performance;    Video;    and Mail Art;    Artistic Collaboration;    Conceptual Art;    Art History;    Film and Video Studies;    American and Canadian Studies;    Arts;    Humanities;    History of Art;   

Others  :  https://deepblue.lib.umich.edu/bitstream/handle/2027.42/64697/kolds_2.pdf?sequence=3&isAllowed=y

瑞士|英语

来源: The Illinois Digital Environment for Access to Learning and Scholarship

【 摘 要 】

In the late 1960s and ’70s, hundreds of artists across North America banded together into small groupings, sometimes two, sometimes ten, seeking alternatives to the single-artist model prized since the Renaissance. Many of these ;;collectives” drew support and methodologies from countercultural political movements invested in feminist and queer politics, Chicano and African-American identity, ecological advancements, and new media, to name a few.This study demonstrates that, despite differences in location, media, and political views, they shared goals and strategies. Most importantly, they sought to change the networks in which their art was produced and distributed, and thereby fashion new artistic identities for themselves and interpellate different publics for their work. Taking three such groups—Asco, Ant Farm, and General Idea—as case studies, this dissertation considers several central issues relating to artistic practicein the 1970s: collaboration and artistic identity, conceptual art outside the frame of the art world,intersections of art and consumer society, and political art in the wake of an exhausted politicized subculture.By examining archival material—photographs, manuscripts, video- and audiotapes, grant applications, notebooks, reviews, props, clothing, financial records, and installations—I reconstitute these groups’ often ephemeral practices, discovering the ways in which they seized, interrupted, and re-configured the discursive networks in which contemporary art was embedded.Rather than being merely supplemental or secondary materials, as they are often construed, these forms constitute the core of their intermedial practices, an approach that significantly expanded the conception of artistic medium. Establishing new infrastructures, such as artist-run centers, independently published periodicals, and correspondence networks, they generated alternative arenas of practice and interpretation and experimented with systemic solutions to the problem of institutionalized minoritization.In arguing that collectives’ approaches changed, from the utopian premises of 1960s communal movements to an interest in developing communications networks for an increasingly global and technological society, this study offers a different lens through which to understand the supposedly ;;in between” decade of the 1970s.I contend that ambivalent, networked, intermedial artistic forms developed during the period, have a distinctive character, and are neither simply extensions of 1960s counterculture nor anticipations of 1980s postmodernism.