The 'do-it-yourself' Artwork
Participation from Fluxus to New Media

What happens when you touch or enter an artwork instead of looking at it? As artists since the 1950s have increasingly sought to involve viewers more actively in their artworks, this critical anthology sheds light on the nature of these new forms of participation and their historical, social and political significance.

The more general critical essays in Part III map out a range of theoretical approaches to the 'do-it-yourself' artwork. Together, the three sections provide invaluable historical perspectives and theoretical tools for scholars, students, artists and readers interested in contemporary art. Rather than a specialist topic in the history of twentieth- and twenty-first century art, the 'do-it-yourself' artwork raises broader issues concerning the role of the viewer in art, the status of the artwork, and the socio-political relations between art and its contexts.

PART I: PARTICIPATION IN CONTEXT Anna Dezeuze:
Open work,A"
do-it-yourself artwork,A" and bricolage Judith Rodenbeck:
creative acts of consumptionA" or, death in Venice Arnauld Pierre: Instability: the visual/bodily perception of space in kinetic environments Guy Brett: 3 Pioneers PART II: PERFORMING PARTICIPATION Catherine Wood: The rules of engagement: Displaced figuration in Robert Morris's sculpture Frazer Ward: Marina Abramovic: Approaching zero Amelia Jones: Space, body and the self in the work of Bruce Nauman Janet Kraynak: Tiravanija's liability Jennifer Gonzalez: the face and the public: Race, secrecy and digital art practice PART III: ANALYSING PARTICIPATION Anna Dezeuze: Play, ritual and politics: Transitional artworks in the 1960s Christian Kravagna: Working on the community: Models of participatory practice Miwon Kwon: Exchange and reciprocity in some art of the 1960s and after Claire Bishop: Antagonism and Relational Aesthetics Beryl Graham: What kind of participative system? Critical vocabularies from new media art Index