rdf-syntax-grammar
mods:
  schema location: http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-2.xsd
  title info:
    title: Art as demonstration
    sub title: a revolutionary recasting of knowledge
  name:
    name part: Spieker, Sven
    role:
      role term: creator
    role:
      role term: author.
  type of resource: text
  genre: bibliography
  origin info:
    place:
      place term: mau
    date issued: 2024
    copyright date: 2024
    issuance: monographic
  language:
    language term: eng
  physical description:
    form: print
    extent: vi, 352 pages : illustrations ; 24 cm.
  abstract: Demonstration, in short, says see here. It is the practice of pointing to something in order to explain or contest it. As such, Sven Spieker argues that demonstration has helped reshape art from the height of the Cold War to the late twentieth century, reformatting our understanding of how art and political engagement relate to each other. Focusing on western Europe (especially Germany), eastern Europe and the United States, Art as Demonstration expands on contemporary discussions of art-as-protest, activism and resistance. Spieker shows how a closer, more historical look at art's connection with demonstration reconnects us with earlier efforts, notably by the early twentieth-century avantgarde, to marshal art for the purpose of instruction and engagement. Art as Demonstration reconceives the history of postwar art in eastern and western Europe from the perspective of demonstration, understood formally (as a technique for showing and pointing) as well as politically (as protest, resistance, etc.). Close analyses of individual artworks reveal how the deployment of demonstration has changed over time. Spieker shows how 'protest' and 'resistance' organize art and artists not only politically but also and especially formally and aesthetically, a development of particular importance in the Cold War art and politics of eastern Europe. The book illustrates how from the 1960s onward demonstration radically changed the way artists thought about art: no longer as an object but as a form of education.
  table of contents: Introduction: Art-as-demonstration in the 1960s and beyond -- Ostentatious neutrality (Bernar Venet, Daniel Buren, Adrian Piper) -- Burlesque lecture demonstration (Robert Morris, Walter Benjamin) -- Film as operation (Harun Farocki, Paweł Kwiek) -- Taking to the street : Eastern European art demonstrations (Milan Knížák, Jiří Kovanda, Endre Tót, Mladen Miljanović, Ciprian Homorodean) -- Learning from the situation (Ulrike Meinhof, Clemens von Wedemeyer) -- Instructions for seeing (Bazon Brock, Włodzimierz Borowski) -- Teaching what does not exist (Gnezdo, Ilya Kabakov) -- Demonstration in Soviet and post-Soviet space (Extra-Governmental Control Commission, Radek Community, Chto Delat -- Postscript: The migrant's hands : between demonstration and archive in Sylvain George's Qu'ils reposent en révolte (Des figures de guerre).
  note: Sven Spieker.
  note: Includes bibliographical references and index.
  subject:
    geographic code: ew-----
    geographic code: ee-----
    geographic code: n-us---
  subject:
    topic: Arts
    topic: Political aspects
  subject:
    topic: Artists
    topic: Political activity
  subject:
    topic: Political art
  subject:
    topic: Art and social action
  classification: NX180.P64 S65 2024
  classification: 701/.03
  identifier: 9780262048712
  identifier: 026204871X
  identifier: 9780262377553
  identifier: 9780262377546
  identifier: 2023015505
  record info:
    record content source: DLC
    record creation date: 230724
    record change date: 20250311143404.1
    record identifier: in00005466014