{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/manifest.json","@type":"sc:Manifest","label":"Reperformance: Re-creating and Reinterpreting Performance Art's History","metadata":[{"label":"dc.description.sponsorship","value":"This work is sponsored by the Stony Brook University Graduate School in compliance with the requirements for completion of degree."},{"label":"dc.format","value":"Monograph"},{"label":"dc.format.medium","value":"Electronic Resource"},{"label":"dc.identifier.uri","value":"http://hdl.handle.net/11401/76882"},{"label":"dc.language.iso","value":"en_US"},{"label":"dc.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.abstract","value":"This dissertation analyzes the history and theory of reperformance, arguing it as a mode of reproduction for the dissemination and institutionalization of performance art practices. In four chapters, I draw together sources in art history, performance studies, sociology, and anthropology to frame how performances of the past are re-created and reinterpreted, specifically within the context of museums and the art historical canon. While reperformance has been integral to the development of performance art since its inception in the early decades of the 20th century, my focus will turn to how post-World War II practices have been engaged with in recent exhibitions and retrospectives, specifically in the work of Allan Kaprow, Alison Knowles, and Marina Abramovic."},{"label":"dcterms.available","value":"2017-09-20T16:51:22Z"},{"label":"dcterms.contributor","value":"Higgins, Hannah."},{"label":"dcterms.creator","value":"Weil, Harry Jacob"},{"label":"dcterms.dateAccepted","value":"2017-09-20T16:51:22Z"},{"label":"dcterms.dateSubmitted","value":"2017-09-20T16:51:22Z"},{"label":"dcterms.description","value":"Department of Art History and Criticism."},{"label":"dcterms.extent","value":"176 pg."},{"label":"dcterms.format","value":"Application/PDF"},{"label":"dcterms.identifier","value":"http://hdl.handle.net/11401/76882"},{"label":"dcterms.issued","value":"2015-08-01"},{"label":"dcterms.language","value":"en_US"},{"label":"dcterms.provenance","value":"Made available in DSpace on 2017-09-20T16:51:22Z (GMT). No. of bitstreams: 1\nWeil_grad.sunysb_0771E_11499.pdf: 1044137 bytes, checksum: d2d502ce3eb4bade7b7893600baa9650 (MD5)\n  Previous issue date: 2013"},{"label":"dcterms.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.subject","value":"Art history"},{"label":"dcterms.title","value":"Reperformance: Re-creating and Reinterpreting Performance Art's History"},{"label":"dcterms.type","value":"Dissertation"},{"label":"dc.type","value":"Dissertation"}],"description":"This manifest was generated dynamically","viewingDirection":"left-to-right","sequences":[{"@type":"sc:Sequence","canvases":[{"@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/canvas/page-1.json","@type":"sc:Canvas","label":"Page 1","height":1650,"width":1275,"images":[{"@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/98%2F52%2F65%2F98526584332641774808562166524053786291/full/full/0/default.jpg","@type":"dctypes:Image","format":"image/jpeg","height":1650,"width":1275,"service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/98%2F52%2F65%2F98526584332641774808562166524053786291","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/canvas/page-1.json"}]}]}]}