MIXING ART AND LIFE: The Conundrum of the Avant‐Garde's Autonomous Status in the Performance Art World of Los Angeles
Identifieur interne : 000882 ( Main/Exploration ); précédent : 000881; suivant : 000883MIXING ART AND LIFE: The Conundrum of the Avant‐Garde's Autonomous Status in the Performance Art World of Los Angeles
Auteurs : Jacqualine Pagani [États-Unis]Source :
- Sociological Quarterly [ 0038-0253 ] ; 2001-03.
English descriptors
- Teeft :
- Angeles performance, Artist, Arts funding, Arts organization, Arts organizations, Autonomous, Autonomous status, Bourgeois, Bourgeois society, Broad spectrum, Burger, Burnham, California press, Carol becker, Chicago press, Collective activity, Content restrictions, Cultural democracy, Cultural policies, Cultural policy, Curating, Democratic society, Discussion group, Early days, Emotional response, Endowment, Everyday life, Federal government, Fleck, Fringe artists, Funding, Funding cuts, Gender, Government funding, Helms amendment, Historical analysis, Holly hughes, Identity politics, Individual works, Industrial area, Internal structure, John fleck, Jurgen habermas, Karen finley, Lace, Large institutions, Legal arguments, Lesbian, Life praxis, Macrolevel forces, Mainstream, Many venues, Many years, Minority group, Moral decay, Mulcahy, National endowment, National renown, Nineteenth century, Other fringe artists, Other hand, Other issues, Other words, Participant, Particular group, Particular purpose, Performance artists, Political right, Popular culture, Praxis, Prominent performance artists, Public funding, Public funds, Public money, Quotidian praxis, Same time, Santa monica, Small group, Social access, Social consciousness, Social content, Social diversity, Social issues, Social relations, Social service, Social spheres, State support, Studio space, Support system, Survival strategy, Technical support, Twentieth century, Venue, Wide range, World participants.
Abstract
Performance art, the quintessential avant‐garde art form, flourished and gained national renown in Los Angeles during the last three decades of the twentieth century. In 1989, however, pivotal changes occurred within the performance art world and in the national attitude toward art, as seen in upheavals in the National Endowment for the Arts, that drastically altered not only the form and content of performance art but also its means of production and its status as an autonomous avantgarde art world. An historical analysis of the transformation of this performance art world from the mid‐1970s to its manifestation in the 1990s is presented by analyzing ethnographic and archival data and by noting the circumstances affecting the autonomy of this art world and its relationship to external social and cultural spheres. Minerva's owl only begins its flight as dusk emerges.G. W. F. Hegel, Philosophy of Law
Url:
DOI: 10.1111/j.1533-8525.2001.tb00030.x
Affiliations:
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In 1989, however, pivotal changes occurred within the performance art world and in the national attitude toward art, as seen in upheavals in the National Endowment for the Arts, that drastically altered not only the form and content of performance art but also its means of production and its status as an autonomous avantgarde art world. An historical analysis of the transformation of this performance art world from the mid‐1970s to its manifestation in the 1990s is presented by analyzing ethnographic and archival data and by noting the circumstances affecting the autonomy of this art world and its relationship to external social and cultural spheres. Minerva's owl only begins its flight as dusk emerges.G. W. F. 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