000			05690cam a22007934a 4500
001			musev2_75409
003			MdBmJHUP
005			20240815120826.0
006			m o d
007			cr||||||||nn|n
008			200303s2020 ncu o 00 0 eng d
010			_z 2019041828
020			_a9781478012085
020			_z9781478007920
020			_z9781478008446
020			_z9781478090298
035			_a(OCoLC)1141022488
040			_aMdBmJHUP _cMdBmJHUP
100	1		_aWoodruff, Lily, _d1981- _eauthor.
245	1	0	_aDisordering the Establishment : _bParticipatory Art and Institutional Critique in France, 1958–1981 / _cLily Woodruff.
264		1	_aDurham : _bDuke University Press, _c2020.
264		3	_aBaltimore, Md. : _bProject MUSE, _c2020
264		4	_c©2020.
300			_a1 online resource (336 pages): _billustrations (some color)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
490	0		_aArt history publication initiative
505	0		_aThe Groupe de Recherche d'Art Visuel's social abstractions -- Daniel Buren's instrumental invisibility -- Andre Cadere's calligrams of institutional authority -- The Collectif d'Art Sociologique's sociological realism.
506	0		_aOpen Access _fUnrestricted online access _2star
520			_a"DISORDERING THE ESTABLISHMENT tells the story of the generation of French artists who used new aesthetic forms to critique artistic and political institutions in the years leading up to and following May '68. Daniel Buren, Andre Cadere and other artists brought art to the streets, using it to question assumptions of what art should be, and where it should be seen. Focusing on four artists - or art groups - Lily Woodruff gives a nuanced account of how artists employed participatory and collective projects in varying but complementary attempts to question and redefine their historical moment. The book has four chapters. Chapter 1 describes the 1966 Groupe de Recherche d'Art Visuel (GRAV), a collective that created works asking viewers to perpetually negotiate with illusions constructed by artists, while resisting mystification. Social engineers within the context of the art world, GRAV constructed instability against the technocrats through street action that ambiguously reproduced the Establishment's techniques from a Marxian perspective. Chapter 2 highlights Daniel Buren's early gallery and street installations, which worked to decenter the viewer and critique French cultural policy through camouflage. By adopting the visual language of his environment, Buren's work played between visibility and invisibility, provocatively alienating viewers. In chapter 3, Woodruff explains how Andre Cadere's work developed on the theme of artistic autonomy in tension with avant-garde artistic strategies of the time. A migrant who relocated to Western Europe to escape persecution in communist Romania, Cadere produced a single type of iconic work based on systematically repeated formulas that were intended to neutralize his own subjectivity and the significance of the viewer's interpretation. Similar to Buren, his work was produced in both everyday and institutional spaces. Chapter 4 is about the Collectif d'Art Sociologique's (CAS) Social Realism. Rejecting traditional painting and sculpture, CAS shifted the emphasis onto the audience and made the reality of social relations appear concretely where they had otherwise been obscured by dominant ideology, making space for the constant renewal that defines democratic participation. This book will be of interest to scholars in art history, criticism and theory, and French cultural history and to readers interested in the global sixties"-- _cProvided by publisher
588			_aDescription based on print version record.
600	1	7	_aCadere, Andre, _d1934-1978. _2fast _0(OCoLC)fst00427374
600	1	7	_aBuren, Daniel. _2fast _0(OCoLC)fst00057132
600	1	1	_aBuren, Daniel.
600	1	1	_aCadere, Andre, _d1934-1978.
600	1	0	_aCadere, Andre, _d1934-1978.
600	1	0	_aBuren, Daniel.
610	2	7	_aCollectif d'art sociologique. _2fast _0(OCoLC)fst00529651
610	2	0	_aCollectif d'art sociologique.
650		7	_aInteractive art. _2fast _0(OCoLC)fst00975979
650		7	_aGroupe de recherche d'art visuel. _2fast _0(OCoLC)fst00948542
650		7	_aArts, Modern. _2fast _0(OCoLC)fst00818137
650		7	_aArts and society. _2fast _0(OCoLC)fst00817856
650		7	_aArt _xPolitical aspects. _2fast _0(OCoLC)fst00815309
650		7	_aArt criticism. _2fast _0(OCoLC)fst00815492
650		7	_aART _xHistory _xContemporary (1945- ) _2bisacsh
650		6	_aArts _y20e siecle.
650		6	_aArt français _xPolitique gouvernementale _zFrance.
650		6	_aCritique d'art _zFrance _xHistoire _y20e siecle.
650		6	_aArt _xAspect politique _zFrance.
650		6	_aArt interactif _zFrance.
650		6	_aArts et societe _zFrance.
650		6	_aGroupe de recherche d'art visuel.
650		0	_aArts, Modern.
650		0	_aArts, Modern _y20th century.
650		0	_aArt, French _xGovernment policy _zFrance.
650		0	_aArt criticism _zFrance _xHistory _y20th century.
650		0	_aArt _xPolitical aspects _zFrance.
650		0	_aInteractive art _zFrance.
650		0	_aArts and society _zFrance.
650		0	_aGroupe de recherche d'art visuel.
651		7	_aFrance. _2fast _0(OCoLC)fst01204289
655		7	_aHistory. _2fast _0(OCoLC)fst01411628
655		7	_aElectronic books. _2local
710	2		_aProject Muse. _edistributor
830		0	_aBook collections on Project MUSE.
856	4	0	_zFull text available: _uhttps://muse.jhu.edu/book/75409/
999			_c233965 _d233964