Short description:

From Object to Performance identifies, analyses, and critically contemplates the advent of a ?performance mentality? and the gradual maturation of a ?performative turn? in Israeli art.

Long description:

From Object to Performance identifies, analyses, and critically contemplates the advent of a ?performance mentality? and the gradual maturation of a ?performative turn? in Israeli art.

Manifested in the transition from object-oriented art to performance-based art, this cultural moment reflected both the exposure and responsiveness of young Israeli artists to experimental currents in North American and Western European art and these artists? need to respond to acute social and political conditions, questioning Israeli national myths and collectivist ideals. From Object to Performance offers the first comprehensive exploration of the origins of action and performance art in Israel, contributes an important component to unravelling the global enigma of performance art histories, and considers the historiographic challenges encountered when studying the emergence and early years of performance-based practices. 

This book will appeal to students and scholars of performance studies, art history, cultural studies, and Israel studies, as well as to curators of contemporary art and performance, and artists. The book should also be of interest to the growing number of theater and art historians who research the beginnings and development of action and performance art.

Table of Contents:

Introduction

1. Documented, Undocumented, Lost: On Writing the History of Past Israeli Performance Art

2. The 1960s: The Emergence of a Performative Mentality and Practice

3. Outdoor Art Activities, 1970-1974: In Search of a ?New Earth?

4. Engaging the Body, Contesting Collective Identity: Performance Art after the Yom Kippur War of 1973

5. Site-Specificity and Identity Politics: Pinchas Cohen Gan?s 1970s Critical Art Activities

6. The Emergence of Performance Art at Bezalel: Pedagogy, Actions, and Protest

7. Yona Fischer: Curatorship and the Transition from Object to Performance

8. Epilogue: 76, 79? and Onwards