Frazer Ward
Biographic Data
| ID | 3750540 |
|---|---|
| NAME | Frazer Ward |
| GIVEN NAMES | Frazer |
| FAMILY NAME | Ward |
| SIGNATURE | WARD F |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1967 |
| LATEST PUBLICATION YEAR | 2007 |
| H-INDEX | 1 |
Not the Usual Dirt
Alien Duration
Between 1978 and 1986, Tehching Hsieh performed a series of five One Year Performances in New York.1 These were: Cage Piece (1978-79), in which he inhabited an eleven-and-a-half-by-nine-by-eight-foot cage inside his apartment for a year, neither conversing, reading, writing, listening to the radio, nor watching television, while a friend took charge of his food, clothing, and waste; Time Piece (1980-81), in which he punched a time clock, on the h…
Revising Men
Barney, Matthew
Burden, Chris(topher)
The Haunted Museum
The 1980s saw not only the elaboration of various critical aesthetic practices, but a resurgence of interest in traditional modes of aesthetic experience and models of artistic subjectivity. This was accompanied by a frankly ideological disavowal of the historical specificity of conditions of cultural production and reception. On the other hand, in the wake of Conceptual art, critics, perhaps especially on the left, were quick to suppose that wha…
Dirt & Domesticity
Accompanying a presentation of works (including video works) by 35 artists and collectives, this catalogue contains three essays that interrogate the relationship between represented femininity and dirt or cleanliness. Ward's essay inspects the documentary tradition and contrasts modernist with contemporary practices. Haug traces the role of the Black mammy in domesticity. Mertes views in the historical context a process of legitimation through n…
Universal Higher Education
The Haunted Museum
The 1980s saw not only the elaboration of various critical aesthetic practices, but a resurgence of interest in traditional modes of aesthetic experience and models of artistic subjectivity. This was accompanied by a frankly ideological disavowal of the historical specificity of conditions of cultural production and reception. On the other hand, in the wake of Conceptual art, critics, perhaps especially on the left, were quick to suppose that wha…
Universal Higher Education
Dirt & Domesticity
Accompanying a presentation of works (including video works) by 35 artists and collectives, this catalogue contains three essays that interrogate the relationship between represented femininity and dirt or cleanliness. Ward's essay inspects the documentary tradition and contrasts modernist with contemporary practices. Haug traces the role of the Black mammy in domesticity. Mertes views in the historical context a process of legitimation through n…
The Haunted Museum
The 1980s saw not only the elaboration of various critical aesthetic practices, but a resurgence of interest in traditional modes of aesthetic experience and models of artistic subjectivity. This was accompanied by a frankly ideological disavowal of the historical specificity of conditions of cultural production and reception. On the other hand, in the wake of Conceptual art, critics, perhaps especially on the left, were quick to suppose that wha…
Barney, Matthew
Burden, Chris(topher)
Alien Duration
Between 1978 and 1986, Tehching Hsieh performed a series of five One Year Performances in New York.1 These were: Cage Piece (1978-79), in which he inhabited an eleven-and-a-half-by-nine-by-eight-foot cage inside his apartment for a year, neither conversing, reading, writing, listening to the radio, nor watching television, while a friend took charge of his food, clothing, and waste; Time Piece (1980-81), in which he punched a time clock, on the h…
Revising Men
Not the Usual Dirt
Art (4 works) · Psychology (4 works) · Political science (3 works) · Sociology (3 works) · Aesthetics (2 works) · Archaeology (2 works) · Art, Politics, and Modernism (2 works) · Cartography (2 works) · Cinema and Media Studies (2 works) · Dirt (2 works)