Discourse, Band 14Indiana University Press, 1992 |
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Seite 40
... artists pause . While preserving the expres- sionist gesture , the younger artists wanted a form that would not be fair game for capitalist appropriation . The most important strategy was a shift from product or process - in - product ...
... artists pause . While preserving the expres- sionist gesture , the younger artists wanted a form that would not be fair game for capitalist appropriation . The most important strategy was a shift from product or process - in - product ...
Seite 94
... artists were able to break through the dissociative behavior of both artists and critics , to release the numbing I described in the beginning of this paper that characterizes the emotions of the survivor , and , yes , to " wallow in ...
... artists were able to break through the dissociative behavior of both artists and critics , to release the numbing I described in the beginning of this paper that characterizes the emotions of the survivor , and , yes , to " wallow in ...
Seite 144
... artist as for the spectator ) , performance art reached its peak in the 1970s . The artists , who came from very different perspectives ( plastic arts , music , architecture ) , at first enthusiastically embraced this new art form that ...
... artist as for the spectator ) , performance art reached its peak in the 1970s . The artists , who came from very different perspectives ( plastic arts , music , architecture ) , at first enthusiastically embraced this new art form that ...
Inhalt
Domesticity at | 3 |
Gender Postmodernism | 23 |
An Interview with Edward Soja | 41 |
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