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011			_aMARC Score : 10950(24600) : OK
011			_aDirect Search Result
011			_aBIB MATCHES WORLDCAT
020			_a0816637121 _qacid-free paper
020			_a9780816637126 _qacid-free paper
020			_a081663713X
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035			_a(OCoLC)44868829
040			_aDLC _beng _erda _cDLC _dCAD _dC#P _dVVC _dUKM _dLVB _dBAKER _dBTCTA _dYDXCP _dSTF _dIG# _dSBM _dUKTTE _dHEBIS _dZWZ _dS4S _dUKMGB _dBDX _dOCLCF _dATU
042			_apcc
050	0	0	_aN6490.6 _b.G74 2001
082	0	0	_a700.904 _221
100	1		_aGreen, Charles, _d1953- _eauthor. _9402389
245	1	4	_aThe third hand : _bcollaboration in art from conceptualism to postmodernism / _cCharles Green.
246	3		_a3rd hand
264		1	_aMinneapolis : _bUniversity of Minnesota Press, _c[2001]
264		4	_c©2001
300			_axvii, 246 pages : _billustrations ; _c26 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_aIncludes bibliographical references (pages 201-234) and index.
505	0		_aArt by long distance: Joseph Kosuth -- Conceptual bureaucracy: Ian Burn, Mel Ramsden, and art and language -- Memory, ruins, and archives: Boyle family -- Memory storage: Anne and Patrick Poirier -- Memory and ethics: Helen Mayer Harrison and Newton Harrison -- Negotiated identity: Christo and Jeanne-Claude -- Eliminating personality: Gilbert and George -- Missing in action: Marina Abramović and Ullay -- Doubles, Doppelgängers, and the third hand.
520	8		_aAnnotation _bThe lone artist is a worn cliche of art history but one that still defines how we think about the production of art. Since the 1960s, however, a number of artists have challenged this image by embarking on long-term collaborations that dramatically altered the terms of artistic identity. In The Third Hand, Charles Green offers a sustained critical examination of collaboration in international contemporary art, tracing its origins from the evolution of conceptual art in the 1960s into such stylistic labels as Earth Art, Systems Art, Body Art, and Performance Art. During this critical period, artists around the world began testing the limits of what art could be, how it might be produced, and who the artist is. Collaboration emerged as a prime way to reframe these questions. Green looks at three distinct types of collaboration: the highly bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel Ramsden, and other members of Art & Language in the late 1960s; the close-knit relationships based on marriage or lifetime partnership as practiced by the Boyle Family, Anne and Patrick Poirier, Helen Mayer Harrison and Newton Harrison; and couples -- like Christo and Jeanne-Claude, Gilbert & George, or Marina Abramovic and Ulay -- who developed third identities, effacing the individual artists almost entirely. These collaborations, Green contends, resulted in new and, at times, extreme authorial models that continue to inform current thinking about artistic identity and to illuminate the origins of postmodern art, suggesting, in the process, a new genealogy for art in the twenty-first century.
588			_aMachine converted from AACR2 source record.
650		0	_aArtistic collaboration _vCase studies _9701652
650		0	_aArtist couples _vCase studies _9701656
650		0	_aConceptual art _9315929
650		0	_aModernism (Art) _9320992
650		0	_aPostmodernism. _9322618
856	4	2	_3Contributor biographical information _uhttp://catdir.loc.gov/catdir/enhancements/fy1310/00010820-b.html
907			_a.b1048002x _b10-06-19 _c27-10-15
942			_cB
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