The lone artist is a worn cliche of art history but one that still
defines how we think about the production of art. Since the 1960s,
however, a number of artists have challenged this image by
embarking on long-term collaborations that dramatically altered the
terms of artistic identity. In The Third Hand, Charles Green offers
a sustained critical examination of collaboration in international
contemporary art, tracing its origins from the evolution of
conceptual art in the 1960s into such stylistic labels as Earth
Art, Systems Art, Body Art, and Performance Art. During this
critical period, artists around the world began testing the limits
of what art could be, how it might be produced, and who the artist
is. Collaboration emerged as a prime way to reframe these
questions.
Green looks at three distinct types of collaboration: the highly
bureaucratic identities created by Joseph Kosuth, Ian Burn, Mel
Ramsden, and other members of Art & Language in the late 1960s;
the close-knit relationships based on marriage or lifetime
partnership as practiced by the Boyle Family, Anne and Patrick
Poirier, Helen Mayer Harrison and Newton Harrison; and couples --
like Christo and Jeanne-Claude, Gilbert & George, or Marina
Abramovic and Ulay -- who developed third identities, effacing the
individual artists almost entirely. These collaborations, Green
contends, resulted in new and, at times, extreme authorial models
that continue to inform current thinking about artistic identity
and to illuminate the origins of postmodern art, suggesting, in the
process, a new genealogy for art in the twenty-first century.
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