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“The book by the author Amelia Jones is one of the first thorough studies of the body art and performance phenomena, which have experienced an unbelievable swing at the end of the century, after their pioneer period in the 60s and 70s. Body art and performance have become the most exposed art forms of the last decade, and the interest wasn’t only limited to the artistic public, but also to a wider humanistic public. The main topic of sociological and humanistic studies in the last decade is the status of the body in different sociological, psychological, capitalist and media dimensions. Body art and performance have exposed the problems of the contaminated body, the ill body, the body of diverse sexual practices, the tortured body, artificial bodies, prefabricated bodies, bodies of the beauty industry … The author Amelia Jones produces an important distinction between body art and performance: ‘Some contemporary writers called the works, created from the 60s to the middle 70s, ‘body art’ or ‘body works’, in order to separate them from the notion of ‘the art of performance’, that was simultaneously more ample (in that it was reaching back to dadaism and comprised the theatricalised performances of all sorts, made by fine arts people) and narrower (in that it implicated that a performance must actually be performed in front of the audience, in most cases on a explicitly theatrical scene, based on the proscenium). I am interested in works that were either played in front of the audience or not; works…, that unwind with the actualization of the artist’s body, whether there is a ‘performance’ scene or a relative privacy of a studio; that is documented, so that the event can be subsequently experienced through photography, film, video and/or text.”
Bojana Kunst, Ph.D., Faculty of Letters

“Amelia Jones describes the remarkable history of body art in the last three decades with great originality and knowledge, and installs it into the theoretical territory of post-modernism. The result is a wonderful and open space that the spectator/ reader travels through, guided by not only his own will and desire, but also the splendid cartography of Amelia Jones.”Moire Roth, professor of history of art at the Mills College  

“It is a most touching and important study – not only the best book on the subject, but one of the most excellent books from any field of the history of art that has appeared lately. Body Art – Performing the Subject newly confirms the opinion that Amelia Jones is one of the most perceptive and original voices of her generation when contemporary history of art, theory and critic is in question.” 
Donald Preziosi, University of California, Los Angeles 

About the author

Amelia Jones is an associate professor of the history of art at the University of California in Riverside. She is the author of the work Postmodernism and the En-Gendering of Marcel Duchamp (1994) and a curator of numerous exhibitions. She has edited a collection of articles Performing the Body. Performing the Text (1998) and is a co-author of a retrospective monograph Artist Body (2000). 


International chiasmus (introduction to the Slovenian translation)
Postmodernism, subjectivity and body art: a curve
”Pollock’s performative” and the revision of the modernist subject
Body in action: Vito Acconci and the “coherent” male art subject
Rhetoric of the pose: Hannah Wilke and the radical narcissism of the feminist body art
Dispersed subject and the end of “individual”: bodies of the nineties of the 20th century in art/as art
Afterword by Bojana Kunst: Radical dramatic effects of subjectivity - Amelia Jones and the interpretation strategies of the body



Slovene edition.

Publication description

424 pages, 160 x 230 mm format, 63 b&w reproductions, paperback 

Special remark 

The book is distributed and sold by Študentska založba!