@article{ART003351129},
author={박준혜},
title={Clifford Owens’s Anthology (2011): A Field of Relational Dynamics Constituted through Score-Based Performance and Photography},
journal={Journal of History of Modern Art},
issn={1598-7728},
year={2026},
number={59},
pages={239-275}
TY - JOUR
AU - 박준혜
TI - Clifford Owens’s Anthology (2011): A Field of Relational Dynamics Constituted through Score-Based Performance and Photography
JO - Journal of History of Modern Art
PY - 2026
VL - null
IS - 59
PB - 현대미술사학회
SP - 239
EP - 275
SN - 1598-7728
AB - This article examines how African American artist Clifford Owens addressed the structural absence of Black performance art in art history in his 2011 solo exhibition Clifford Owens: Anthology at MoMA PS1 in New York. For this project, Owens solicited performance scores from twenty-six Black artists and activated them with live performances as well as photographic and video documentation. In doing so, he produced a collaborative and open-ended structure through which questions of agency, embodiment, historical memory, and representation were renegotiated. Drawing on Diana Taylor’s concepts of archive and repertoire and Miwon Kwon’s account of the gift economy, this study explores how Owens renders visible the tension between liveness and documentation while foregrounding the relational and intersubjective dynamics that shape the production, presentation, and circulation of Anthology. By invoking multiple subject positions with score-based performance and photography, Owens extablishes a performative site in which the Black body serves as a locus where public discourse, the ethics of representation, and the politics of affect converge. This article argues that Anthology does not recover a lost history in linear form, but instead constitutes a relational field in which archive and repertoire overlap, enabling Black performance to be repositioned, reactivated, and rewritten.
KW - Clifford Owens;Anthology;performance;score;gift economy;archive;repertoire;photography;representation
DO -
UR -
ER -
박준혜. (2026). Clifford Owens’s Anthology (2011): A Field of Relational Dynamics Constituted through Score-Based Performance and Photography. Journal of History of Modern Art, 59, 239-275.
박준혜. 2026, "Clifford Owens’s Anthology (2011): A Field of Relational Dynamics Constituted through Score-Based Performance and Photography", Journal of History of Modern Art, no.59, pp.239-275.
박준혜 "Clifford Owens’s Anthology (2011): A Field of Relational Dynamics Constituted through Score-Based Performance and Photography" Journal of History of Modern Art 59 pp.239-275 (2026) : 239.
박준혜. Clifford Owens’s Anthology (2011): A Field of Relational Dynamics Constituted through Score-Based Performance and Photography. 2026; 59 : 239-275.
박준혜. "Clifford Owens’s Anthology (2011): A Field of Relational Dynamics Constituted through Score-Based Performance and Photography" Journal of History of Modern Art no.59(2026) : 239-275.
박준혜. Clifford Owens’s Anthology (2011): A Field of Relational Dynamics Constituted through Score-Based Performance and Photography. Journal of History of Modern Art, 59, 239-275.
박준혜. Clifford Owens’s Anthology (2011): A Field of Relational Dynamics Constituted through Score-Based Performance and Photography. Journal of History of Modern Art. 2026; 59 239-275.
박준혜. Clifford Owens’s Anthology (2011): A Field of Relational Dynamics Constituted through Score-Based Performance and Photography. 2026; 59 : 239-275.
박준혜. "Clifford Owens’s Anthology (2011): A Field of Relational Dynamics Constituted through Score-Based Performance and Photography" Journal of History of Modern Art no.59(2026) : 239-275.
