In Sanja Ivekovics Triangle (Trokut; 1979); four black-and-white photographs and written text capture an eighteen-minute performance from May 10; 1979. On that date; a motorcade carrying Josip Broz Tito; then president of Yugoslavia; drove through the streets of downtown Zagreb. As the Presidents limousine passed beneath her apartment; Ivokevic began simulating masturbation on her balcony. Although she could not be seen from the street; she knew that the surveillance teams on the roofs of neighboring buildings would detect her presence. Within minutes; a policeman appeared at her door ordered her inside. Not only did Ivekovics action expose government repression and call attention to the rights of women; it also called attention to the relationship of gender to power; and to the particular experience of political dissidence under communist rule in Eastern Europe. Triangle is considered one of Ivekovics key works and yet; despite Ivekovics stature as one of the leading artists of the former Yugoslavia; it has received little direct attention. With this book; Ruth Noack offers the first sustained examination of Ivekovics widely exhibited; now canonical artwork.After a detailed analysis of the works formal qualities; Noack considers its position in the context of artistic production and political history in socialist Yugoslavia. She looks closely at the genesis of the performance and its documentation as a work of art; and relates the making of the work and the politics of canon-making to issues pertaining to the former East-West divide. She discusses the artistic language and meaning-making in relation to conceptualism and performance and to the position of women in Titos Yugoslavia and in society at large; and investigates the notion that Ivekovics work of this period is participating in citizenship; shifting the focus from the artists subversive act to her capacity to shape the terms through which we order our world.
#918755 in eBooks 2013-04-30 2013-04-30File Name: B00C0UHK9M
Review
1 of 1 people found the following review helpful. Not HanonBy Timothy FrenchThis is not an adaptation of Hanon for Guitar (I do Hanon for piano and violin).Just writers adaptation of his own songs as musical exercises. Also no explanation of how to use his exercises and his notation is not standard staff and not TAB and I am not going to waste my time interpreting. I will just adapt the hanon piano material and try to sell this used and be more careful about buying Hal Leonard and Peter Deneff books. Live and learn...0 of 1 people found the following review helpful. Warning!By PubDragonLets get right to the point. This book SUCKED! There is no tab. So if you cant read music; you are SOL. If you can read; but are not FLUENT; you will spend hours finding the right frets to make these exercises work. NOT a good investment; in time or money. You are FAR better off with Speed Mechanics by Troy Stetina; an excellent book.7 of 7 people found the following review helpful. Not your first choiceBy John Schulteok.. im not a big fan of this book; but I do feel the other reviews have missed the purpose of the book. as to the guy who said that Speed Mechanics was a better book -- Maybe; but youre comparing apples and oranges. his book isnt meant to be a course in shred guitar. The author states that once you have masterd it; you will have dramtically improved the strength and independence of your fretting hand; and speed and coordination of your picking hand. I cannot verify the accuracy of that statement; since I have not mastered the book.My complaint is that there is no instruction on how to use the lessons in the book. Yes one does need to have some basic sight reading skills. But come on people! MG! You are trying to become musicians; right? If you need help here; get Music Reading for the Guitar by david oakes. while I could not be a session player from using it; it did give me the ability to read the simple "melody" lines in this book and figure out transcriptions to songs. You cant rely on tabs for the rest of your life! Plus they completely suck for giving the rhythm of a piece. OK ; back to this boook. When I first got it I could not figure out how to use it. OK... Im an idiot maybe. But it has page after page of melody lines you are to work on. each line has Roman numerals above the first bar and a series of numbers 1 -4 unedr each note beneath the staff. Ive finally figured out (I think) that the Roman numerals are the position (fret numbers) you are to play the piece in; and the arabic numbers 1-4 are the fingers to use for that particular note. It seems obvious now; but a simple explanation would have helped and also given me assurance that I am correct. I havent startd using it yet since I have so many other freaking books to work through; but it does appear to require a good deal of disipline to get through (or apparently to even get started). I do plan to use it though since its supposed to help with finger independence and the 3rd and 4th fingers on my left hand seem to be glued together. Hope that helps!