Main entry:

Voorhies, James Timothy, author.

Title & Author:

Beyond objecthood : the exhibition as a critical form since 1968 / James Voorhies.

Publication:

Cambridge, Massachusetts : The MIT Press, [2017]
©2017

Description:

ix, 275 pages : chiefly color illustrations ; 25 cm

Notes:
Includes bibliographical references and index.
The rise of the exhibition as a form -- On new institutionalism -- The efficacy of a critical art -- The industrial art complex.
Introduction : "Warning" : Beyond objecthood ; The exhibition as a critical form since 1968 -- The rise of the exhibition as a form : Staging grounds ; Robert Smithson: the time to see non-sites ; Against a "manneristic modernism" ; The non-site as exhibition ; Michael Asher: the gallery as an experiential environment ; Other frames for the viewer ; At Münster: moving toward the perimeters ; Group material: reshaping forms ; Grabbing hold of the technique ; The exhibition as a work ; Inhabiting the institution: modes of the dialectic -- On new institutionalism : The critical work ; The curator in charge: this is Harald Szeemann's documenta ; The Venice Biennale: yesterday and today ; The 24/7 Biennial: context is everything ; Relational art: values of encounters ; "Learning to inhabit the world in a better way" ; Manifesta: anti-Biennial as new institution ; Manifesta 2 : the nonthematic, thematic exhibition ; The lifestyle package ; Kunstverein München: invisible orbits with visible change ; The future is now -- The efficacy of a critical art : The critical according to Jacques Rancière ; Now is our time: Martha Rosier, Josephine Meckseper, and Levi's ; Thomas Hirschhorn: a guilty pleasure ; Presence and production: the Bijlmer Spinoza-Festival ; The crystallization of a micro-society ; One immersive world ; Harnessing the means of the exhibition ; Anton Vidokle: they don't have to be done like that ; Michel Foucault: the critical attitude ; Assuming the shape of the work -- The industrial art complex : The educational turn in the exhibition ; Unexpected byproducts of a failed manifesta ; An exhibition-as-school grows in the former East Berlin ; A mode of address in the curatorial technique ; New institutionalism and its critics ; An "office" for contemporary art in Norway ; Thinking things otherwise ; An expansion of the public sphere ; What ever happened to new institutionalism? ; Carsten Höller: down a slide -- Conclusion : On the road.

Summary:

In 1968, Robert Smithson reacted to Michael Fried's influential essay "Art and Objecthood" with a series of works called non-sites. While Fried described the spectator's connection with a work of art as a momentary visual engagement, Smithson's non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery. In Beyond Objecthood, James Voorhies traces a genealogy of spectatorship through the rise of the exhibition as a critical form--and artistic medium. Artists like Smithson, Group Material, and Michael Asher sought to reconfigure and expand the exhibition and the museum into something more active, open, and democratic, by inviting spectators into new and unexpected encounters with works of art and institutions. This practice was sharply critical of the ingrained characteristics long associated with art institutions and conventional exhibition-making; and yet, Voorhies finds, over time the critique has been diluted by efforts of the very institutions that now gravitate to the "participatory." Beyond Objecthood focuses on innovative figures, artworks, and institutions that pioneered the exhibition as a critical form, tracing its evolution through the activities of curator Harald Szeemann, relational art, and New Institutionalism. Voorhies examines recent artistic and curatorial work by Liam Gillick, Thomas Hirschhorn, Carsten Höller, Maria Lind, Apolonija Šušteršič, and others, at such institutions as Documenta, e-flux, Manifesta, and Office for Contemporary Art Norway, and he considers the continued potential of the exhibition as a critical form in a time when the differences between art and entertainment increasingly blur.-- Provided by Publisher.

ISBN:

9780262035521 (hardcover ; alk. paper)
0262035529 (hardcover ; alk. paper)

Subject:

Allgemeine Deutsche Kunstausstellung
Art Exhibitions History 20th century.
Art Exhibitions History 21st century.
Art exhibition audiences.
Art Expositions Histoire 20e siècle.
Art Expositions Histoire 21e siècle.
Art Expositions Publics.
viewers (observers)
20.07 art criticism, art review.
Art Exhibitions
Ausstellung
Gegenstand
Innovation
Institutionalisierung

Form/genre:

History

Holdings:

Location: Library main 294414
Call No.: BIB 239972
Status: Available