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Flexi, 6.75 x 9.5 in. / 176 pgs / 79 color. PUBLISHING STATUS
Pub Date 3/31/2010
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Catalog: SPRING 2010 p. 81 PRODUCT DETAILS
ISBN 9783037640715 TRADE
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| | | Not to Play with Dead ThingsEdited by Marie de Brugerolle. Text by Catherine Wood, Patricia Brignone, Arnaud Labelle-Rojoux.
From its Futurist and Dadaist origins to the body art of the 1970s and more recent developments in the genre, the history of Performance art is oriented around a fairly consistent set of elements: movements, speech, the body, impermanence, audience participation. But artists have also produced installations and performative objects for their performances, whose status becomes ambiguous once the action is over. Not to Play with Dead Things pays overdue attention to these frequently orphaned props of performance art, documenting works from the 1960s to the present by artists as diverse as Richard Jackson, Paul McCarthy, Roman Signer, Mike Kelley, Franz West, Jim Shaw, Guy de Cointet, John Bock, Spartacus Chetwynd, Catherine Sullivan and Erwin Wurm. Not to Play with Dead Things asks: are these objects relics of their own making? And is their hybridity a kind of resistance to the streamlining of art?
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FORMAT: Flexi, 6.75 x 9.5 in. / 176 pgs / 79 color.
LIST PRICE: U.S. $35.00
LIST PRICE: CANADA $47.5
ISBN: 9783037640715
PUBLISHER: JRP|Ringier
AVAILABLE: 3/31/2010
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Out of print
AVAILABILITY: Not available
TERRITORY: WORLD Excl FR DE AU CH | D.A.P. CATALOG: SPRING 2010 Page 81 | PRESS INQUIRIES
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| Not to Play with Dead Things Published by JRP|Ringier.
Edited by Marie de Brugerolle. Text by Catherine Wood, Patricia Brignone, Arnaud Labelle-Rojoux. From its Futurist and Dadaist origins to the body art of the 1970s and more recent developments in the genre, the history of Performance art is oriented around a fairly consistent set of elements: movements, speech, the body, impermanence, audience participation. But artists have also produced installations and performative objects for their performances, whose status becomes ambiguous once the action is over. Not to Play with Dead Things pays overdue attention to these frequently orphaned props of performance art, documenting works from the 1960s to the present by artists as diverse as Richard Jackson, Paul McCarthy, Roman Signer, Mike Kelley, Franz West, Jim Shaw, Guy de Cointet, John Bock, Spartacus Chetwynd, Catherine Sullivan and Erwin Wurm. Not to Play with Dead Things asks: are these objects relics of their own making? And is their hybridity a kind of resistance to the streamlining of art?
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