![]() ![]() ![]() The book continues with explorations of Vito Acconci and Hannah Wilke, whose practices exemplify a new kind of performance that arose in the late 1960s, one that represents a dramatic shift in the conception of the artistic subject. Moving to an examination of the reception of Jackson Pollock’s “performative” acts of painting, she argues that Pollock is a pivotal figure between modernism and postmodernism. ![]() Jones begins with a discussion of the shifting intellectual terrain of the 1950s and 1960s, focusing on the work of Ana Mendieta. In this definitive book, Amelia Jones explores body art projects from the 1960s and 1970s and relates their impact to the work of body artists active today, providing a new conceptual framework for defining postmodernism in the visual arts. Yet the roots of body art extend to the 1960s and before. With the revoking of NEA funding for such artists as Karen Finley, Tim Miller, and others, public awareness and media coverage of body-oriented performances have increased. The past few years have seen an explosion of interest in body art, in which the artist’s body is integral to the work of art. ![]()
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