The reading, like the book, will trace the changing
role of the spectator in art and exhibitions from Minimalism to Relational Art, and New Institutionalism to the present.
Voorhies traces the
changing role of the spectator in art and exhibitions over the past 50 years from Minimalism to Relational Art, and New Institutionalism to the present.
He also says there are relaxation techniques athletes use that can be applied to a parent's
role of spectator at a youth sports event.
His work reflects on the spectacle, the transformation of the position of the artist in the visual system, and the
future role of the spectator in art.
In his 2017 publication, Beyond Objecthood: The Exhibition as a Critical Form Since 1968 (MIT Press), he charts an insightful and relevant curatorial and exhibition history of the past 50 years that frames our contemporary moment within the increasingly
changing role of the spectator in relation to their involvement and participation in art.
In his new book Beyond Objecthood: The Exhibition as a Critical Form since 1968 (MIT Press, 2017), Voorhies traces the changing
role of the spectator in art and exhibitions over the past 50 years from Minimalism to Relational Art, and New Institutionalism to the present.
Was McCabe's God a loving participant in the historical process, or was he restricted primarily to
the roles of spectator, referee, and cosmic manager, who must repair the damage left by men failing their probations?
Video games are uniquely positioned to provide experiences that do all of these things, because in most games, the player occupies both the role of participant, and
the role of spectator to their own actions.
Far too often a gamer will reach moments in a game where control is ripped away from us and we watch a video of our character doing super awesome things we would love to be a part of, but instead are now regulated to
the role of spectator.
John Baldessari, in his installation Blue Line (Holbein)(1988), inserts a hidden camera that produces stolen images of visitors inside an adjoining space, calling into question
the role of the spectator.
She often plays
the role of both spectator and active participant in the lives of her subjects.
Thus was «Pittura Analitica» born 1974, identifying an exclusive number of European painters who worked on a limited number of themes: the creative process, the operative method, the choice of materials,
the role of the spectator, the absence of autobiography, the lack of references to any pictorial tradition, the importance of seriality.
Other important trends in contemporary sculpture include an increasing use of mixed media and the creation of works that draw their meaning and impact from their architectural context and also emphasize
the role of the spectator.
Placed in the gallery and outside of the diegetic world of the film, the visitors to the gallery transcend
the role of spectator and become active participants in the installation.
The five artists each uniquely examine
the role of the spectator, the object and the reading of the object.
Bonvicini's art establishes a critical connection within the space where it is exhibited, the materials that define it, and
the roles of spectator and creator.
«Maybe Asbestos is playing
the role of spectator and is waiting to see what the Internet will make of the extreme quantity of work» — VICE, The Creators Project
«This is Art for the social media age» The Stylist «Maybe Asbestos is playing
the role of spectator and is waiting to see what the Internet will make of the extreme quantity of work» VICE