Street Art, Street Life examines the street as subject matter, venue and source of inspiration for contemporary artists and photographers from the late 1950s to the present. This unique volume includes street photography; documentation of performance, events and artworks presented in the street; works using material from the street; and examples of street culture. Through works by more than 30 world-renowned artists, including Vito Acconci, Amy Arbus, Sophie Calle, Robert Frank, Lee Friedlander, William Klein, Robin Rhode, Martha Rosler, Jamal Shabazz and Garry Winogrand, Street Art, Street Life explores a range of themes related to the street--as arena for political and cultural expression, violence and crime, gender roles in an urban context, advertising and commerce and as counterpoint to museums and other traditional art venues. This volume is published on the occasion of an exhibition of the same name organized by Lydia Yee, Curator at the Barbican Art Gallery in London and Senior Curator at the Bronx Museum of the Arts in New York. Yee contributes an essay, along with Frazer Ward and Katherine Bussard.

Street Art, Street Life: From the 1950s to Now

Ward, Frazer

Yee, Lydia

Bussard, Katherine

History

Aperture/Bronx Museum of the Arts

At a moment when performance art and performance generally are at the center of the international art world, Frazer Ward offers us insightful readings of major performance pieces by the likes of Acconci, Burden, Abramovi , and Hsieh, and confronts the twisting and troubled relationship that performance art has had with the spectator and the public sphere. Ward contends that the ethical challenges with which performance art confronts its viewers speak to the reimagining of the audience, in terms that suggest the collapse of notions like "public" and "community."A thoughtful, even urgent discussion of the relationship between art and the audience that will appeal to a broad range of art historians, artists, and others interested in constructions of the public sphere.

No Innocent Bystanders: Performance Art and Audience (Interfaces: Studies in Visual Culture)

Arts & Photography

History & Criticism

Dartmouth

At a moment when performance art and performance generally are at the center of the international art world, Frazer Ward offers us insightful readings of major performance pieces by the likes of Acconci, Burden, Abramovic, and Hsieh, and confronts the twisting and troubled relationship that performance art has had with the spectator and the public sphere. Ward contends that the ethical challenges with which performance art confronts its viewers speak to the reimagining of the audience, in terms that suggest the collapse of notions like “public” and “community.” A thoughtful, even urgent discussion of the relationship between art and the audience that will appeal to a broad range of art historians, artists, and others interested in constructions of the public sphere.

Dartmouth College Press

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