Confessional Video Art and Subjectivity Private Experiences in Public Spaces
Produktdetaljer
Om bidragsyterne
Jaye Early is a Lecturer in the School of Art & Design at UNSW Sydney, Australia.This is the first book of its kind to examine the development of the confessional subject in video art and demonstrate how it can provide a vital platform for navigating the politics of self, subjectivity, and resistance in society. In doing so, it reframes video art – the most ubiquitous and yet most understudied art form of recent decades – as an urgent socio-political tool that is increasingly popular among contemporary artists as a means of exploring a broad range of social issues, from politics and identity, to the body and technologies of self-representation.
Analysing a diverse selection of case studies from the 1960s up to the present day, covering the work of Yoko Ono, Gillian Wearing, Ryan Trecartin, Tracey Emin, Anatasia Klose, and Heath Franco, among others, the book brings together theory and practice to look afresh at contemporary video art through a Foucauldian lens. It also brings the analysis of video art up to date by showing how social media and digital self representation has informed and further politicized time-based art practices.
Confessional Video Art and Subjectivity shows how forms of confessional discourse not only play an important function in the construction of subjectivity but also open spaces for personal resistance and agency within contemporary video art. As a result, it offers researchers of contemporary art practice, and media and cultural studies, an updated framework through which to view this constantly-evolving genre and a deeper understanding of wider contemporary video practices.
List of Illustrations
Introduction
1. Private Life is Public Business: Contemporary Confessional Forms and Confessional Art
1.1. Outline and Definition of Confessional Art
1.2. Approaches to Subjectivity and the Confessional Subject Through Fictitious Narratives and Disguise: a 1.3. comparative analyses of video artists Ryan Trecartin, Lizzie Fitch, Eric Fournier, and Gillian Wearing
1.4. Self-Disclosure or Verbalisation within mid-Twentieth Century Confessional Frameworks
1.5. Abandoning Privacy as a Transformative Mechanism
1.6. The Relationship between Confessional Forms and Confessional Art
2. Technologies of the Self as Confessional Art
2.1. Defining Technologies of the Self
2.2. The Self in Performance Art from the 1960s to now: A case study of the performance work of Yoko Ono, Marina Abramovic, Ana Mendieta, Elke Krystufek, Franko B, and Bob Flanagan
2.3. The Radical Origins of Early Video Art as a Political Tool: A comparative analysis of Ralph Lemon, Tino Sehgal, Lynda Benglis, Elke Krystufek, Chris Burden, and Vito Aconci
3. Re-imaging Public Spaces, Subjectivity, and Confessional Art
3.1. Early Twenty-First Century Definitions of Public and Private Spaces
3.2. Institutionalised Heteronormativity in Public Spaces in the performance work of Jaye Early
3.3. Re-imagining Public Spaces and Subjectivity as a Site of Politics and Democratisation
3.4. Subjectivity in a Postmodern Landscape
3.5. The emergence of international Video Art and Subjectivity from 1990 and Beyond in the video works of Sam Taylor-Wood, Sadie Benning, Gillian Wearing, Michael Curran, Gina Pane, Bruce Nauman, Dani Marti, and Alan Currall
Conclusion
Bibliography
Index