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About this book
Kristine Stiles has played a vital role in establishing trauma studies within the humanities. A formidable force in the art world, Stiles examines the significance of traumatic experiences both in the individual lives and works of artists and in contemporary international cultures since World War II. In Concerning Consequences, she considers some of the most notorious art of the second half of the twentieth century by artists who use their bodies to address destruction and violence.
The essays in this book focus primarily on performance art and photography. From war and environmental pollution to racism and sexual assault, Stiles analyzes the consequences of trauma as seen in the works of artists like Marina Abramovic, Pope.L, and Chris Burden. Assembling rich intellectual explorations on everything from Paleolithic paintings to the Bible's patriarchal legacies to documentary images of nuclear explosions, Concerning Consequences explores how art can provide a distinctive means of understanding trauma and promote individual and collective healing.
The essays in this book focus primarily on performance art and photography. From war and environmental pollution to racism and sexual assault, Stiles analyzes the consequences of trauma as seen in the works of artists like Marina Abramovic, Pope.L, and Chris Burden. Assembling rich intellectual explorations on everything from Paleolithic paintings to the Bible's patriarchal legacies to documentary images of nuclear explosions, Concerning Consequences explores how art can provide a distinctive means of understanding trauma and promote individual and collective healing.
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Yes, you can access Concerning Consequences by Kristine Stiles in PDF and/or ePUB format, as well as other popular books in Art & Art General. We have over one million books available in our catalogue for you to explore.
Information
Index
abjection, 374n144
Abramović, Marina, 15, 21, 211, 213–14, 226, 393n32, 401n32, 413n1, 413n17, 414n43, 415n48, 415n61, 415n66, 416n75, 417n99, 418n107, 418n119, 419n136, 419n139, 422n23; background of, 215–16; body, presentation of, 212, 223; body art, as pioneer of, 212, 239, 242; commissure, function of, 234–37, 240; cosmic transconsciousness, 243; and double bind, 220; and dreams, 227; escape, invoking of, 231; father, relationship with, 218, 220, 225, 231; hybridity of, 242; “jealousy attack” of, 216; manifesto of, 235; mental healing, indications of, 233–34; mother, relationship with, 218, 221–22, 231; as object, 228; Oedipal metaphors, 222, 231; pain, use of, to dissociate, 230; and performance art, 232; performances of, as autobiographical, 217–18; and repetition, 241; and “self,” 229, 234; self-harming practices, 230–33; solitude of, 221–22, 229; spiritualism of, 243; star symbol, significance of to, 224–26; subtext of, 216–17; Tito, adoration of, 225; tragic theater, work, as exemplar of, 223; Ulay, trust in, 236–37
Abramović, Velimir, 221
Abramović, Vojin, 215–16
Abstract Expressionism, 290, 300–301
Abu Ghraib Prison, 202
Acconci, Vito, 184, 240, 377n32
Action Concert for Al Hansen, 275
action painting, 42
Adam, Edith, 274–75, 279–80, 427n15, 427n22
Adjaye, David, 354
Adorno, Theodor, 22, 261
Adreansens, Alex, 38
Aerial View of a School Bus (Misrach), 78
aesthetic: action-aesthetic, 281; actions, 247; aggression of, 200; ...
Table of contents
- Cover
- Title Page
- Copyright Page
- Dedication
- Contents
- Acknowledgments
- Introduction
- I. Cultures of Trauma
- II. Doubles
- III. Shooting Range
- IV. Corpora Vilia
- V. Terminal Culture
- Notes
- Index