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Guerrilla Tactics : = Performance Art and the Politics of Identity in American Visual Culture, 1967-1983.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Guerrilla Tactics :/
其他題名:	Performance Art and the Politics of Identity in American Visual Culture, 1967-1983.
作者:	Gleisser, Faye Raquel.
面頁冊數:	1 online resource (331 pages)
附註:	Source: Dissertation Abstracts International, Volume: 77-10(E), Section: A.
標題:	Art history. -
電子資源:	click for full text (PQDT)
ISBN:	9781339787374

Guerrilla Tactics : = Performance Art and the Politics of Identity in American Visual Culture, 1967-1983.
Gleisser, Faye Raquel.

Guerrilla Tactics :Performance Art and the Politics of Identity in American Visual Culture, 1967-1983. - 1 online resource (331 pages)

Source: Dissertation Abstracts International, Volume: 77-10(E), Section: A.

Thesis (Ph.D.)--Northwestern University, 2016.

Includes bibliographical references

Although the notion of the "guerrilla" or "small war" initially entered the English vernacular in 1808 during the Peninsular War, by the late 1960s the term had become synonymous with the mainstream media's representation of militant groups borrowing from the theories of Che Guevara, Ho Chi Minh, and Mao Zedong. These revolutionaries promoted the use of guerrilla tactics: calculated, low-tech actions of incremental pressure designed to shift the terms of battle from brute force to psychological defeat. Amidst the media's visualizations of military intervention in Vietnam, Latin America, and Africa, and the documentation of groups like the Black Panther Party and Symbionese Liberation Army at home, artists, too, adopted guerrilla tactics in U.S.-based performance art throughout the "long" 1970s, from 1967 to 1983.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9781339787374Subjects--Topical Terms:

1180038
Art history.
Index Terms--Genre/Form:

554714
Electronic books.

Guerrilla Tactics : = Performance Art and the Politics of Identity in American Visual Culture, 1967-1983.
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500 $a Source: Dissertation Abstracts International, Volume: 77-10(E), Section: A.
500 $a Adviser: Huey G. Copeland.
502 $a Thesis (Ph.D.)--Northwestern University, 2016.
504 $a Includes bibliographical references
520 $a Although the notion of the "guerrilla" or "small war" initially entered the English vernacular in 1808 during the Peninsular War, by the late 1960s the term had become synonymous with the mainstream media's representation of militant groups borrowing from the theories of Che Guevara, Ho Chi Minh, and Mao Zedong. These revolutionaries promoted the use of guerrilla tactics: calculated, low-tech actions of incremental pressure designed to shift the terms of battle from brute force to psychological defeat. Amidst the media's visualizations of military intervention in Vietnam, Latin America, and Africa, and the documentation of groups like the Black Panther Party and Symbionese Liberation Army at home, artists, too, adopted guerrilla tactics in U.S.-based performance art throughout the "long" 1970s, from 1967 to 1983.
520 $a My dissertation offers a new approach for understanding the historical, cultural, and aesthetic significance of these artistic interventions. Through the analytic of the guerrilla tactic, I bring together unconventional pairings of artists, focusing on their use of sabotage, raid, infiltration, and misinformation to examine and rehabilitate the overlooked connections between: Adrian Piper and Jean Toche of Guerrilla Art Action Group in Boston; Asco and Chris Burden in Los Angeles; and Tehching Hsieh and William Pope.L in New York City. In linking these artists, I argue that the figure of the guerrilla---always racialized, classed, and gendered---has had a transformative impact on contemporary art and the frameworks through which radicalism, identity, and resistance have developed in ambivalent and contradictory ways in American society.
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