10 10 2141 https://s3.amazonaws.com/lynnbook/original/f418cc031f6cd66bb39d7399a238fa69.jpg 63352ea9be6a341c7003182d0f3d10b7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Advance and Stack, 1978-80 Description An account of the resource This series began as a single artwork titled, “Advance and Stack” in 1978 by Lynn Book.  Originally conceived of as a 5-day durational, site-specific piece as a meditation on labor. Book designed the project for 4 performers to be carried out in the surrounding park and grounds of the Memphis College of Art.  By the spring of 1979, Book created another work on the theme of labor that was realized by an audience attending a larger event called, “An Evening of Performance Pieces”, conceived of by Book and co-created with Katherine Mitchell and Margo Adams involving over 50 students, faculty and others from the larger Memphis arts community.  A third “Advance and Stack” iteration was another durational, site-specific work for 4 performer-laborers that was commissioned by the fledgling Memphis in May Festival located on the bluff of the Mississippi River. Focusing again on aspects of labor not visible, of art itself being a labor, Book devised an extended walking map for each performer along 4 parallel arteries in downtown Memphis including Union and Madison.  Informed by art historical depictions of laborers in 19th century European paintings, Book constructed perishable objects that referenced haystacks that each performer wore on their backs.  The walking action terminated at the bluff where the festival was taking place, but the performers, unperturbed, made their way past the festivities, down to the river’s edge to ritually toss the objects of their labor into it.  This Collection is comprised primarily of black and white photographs shot by Tim Glover, color slides shot by Chuck Book, project notes, and in the case of “Advance and Stack II” a short black and white video, shot by Mose Person who documented fragments of “An Evening of Performance Pieces”. Advance and Stack I, 1978, Mphs-MCA, durational site specific performance: Initially, “Advance and Stack” was a 5-day durational performance work, conceived of as a meditation on labor by Lynn Book, who was particularly interested in how ‘work’ - its materials and means - was often invisible.  Enacted by 4 art students in November, 1978 from Monday - Friday at noon, it was designed to be viewed from a second floor open atrium of the architecturally significant art school building.  This vantage point afforded perspectives that were both casual (a passer-by might catch a glance) and powerful (the remote view gave one a sense of observing formations that might not otherwise be noticed).  The large flexible planes that the ‘laborers’ carried and placed in varying arrangements on the large portico entrance to the school were thick foam rubber pads.  Each day’s action was mapped from a different starting point and involved a distinct ritual placement of the planes and their bodies.  The first 4 days were devised with more formal intention, however, the 5th and final day of the action was directly influenced by my learning of the mass suicide in Jonestown, Guyana occurring earlier in the week.  Given that most of the 900 people who died were from the U.S. I arranged for another student to drive her Volkswagen ‘beetle’ (representing ‘America’) with performers and pads piled inside. Parking on the sidewalk, the group ‘poured’ out of the tiny car and solemnly made their way up the long staircase.  The performers were directed to arrange their pads in sequence, lie face down on them, place one arm around the next person and remain motionless for as long as they could tolerate the icy rain that was coming down. It felt like an eternity. Advance and Stack II, 1979, Mphs-MCA, audience participatory work: In the spring of 1979, Lynn Book created another work on the theme of labor that was realized by an audience attending a larger event called, “An Evening of Performance Pieces”, conceived of by Book and co-created with Katherine Mitchell and Margo Adams involving over 50 students, faculty and others and attended by approximately 250 people from the larger Memphis arts community.  In this iteration of what was now becoming a series, “Advance and Stack II” was devised as an audience participatory work.  Book gathered dozens of everyday objects, from people, from thrift stores, from her own home that she organized into large boxes stationed outside of the auditorium doors of the MCA.  The audience was invited to select one and hold onto it for several ensuing performances before being invited to “advance towards the stage with the objects… and stack it with the others.  Book was interested in the hidden life of feeling states in object relations as having equal value as the culminating assemblage of material goods that the audience members arranged on the stage, gaining status as a kind of performance of labor and affect. Advance and Stack III, 1980, Mphs-MphsMayFest, durational, multi-site specific performance: The third and final iteration of this series by Lynn Book pushed further into durational, geographical and historical aspects of labor.  In “Advance and Stack III”, the artist investigated labor contained in the urban fabric itself where the inner workings of buildings, businesses and people’s histories were inflected.  Commissioned by the fledgling Memphis in May Festival located on the bluff of the Mississippi River, Book devised an extended walking map for 4 performer-laborers along 4 parallel streets in downtown Memphis (an area that has since been razed to build a baseball stadium).  The walkers carried ‘haystacks’ on their backs to signify both effort in their work, but also a reference to ‘forgotten’ labor of workers and gleaners in surrounding fields and pastures.  The walking action terminated at the bluff where the festival was taking place, but the performers, unperturbed, made their way past the festivities, down to the river’s edge to ritually toss the objects of their labor into it. <a href="https://lynnbook.archive.wfu.edu/collections/show/31">RETURN TO EARLY WORKS - PERFORMANCE ART</a> Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Advance and Stack I, 1978, Mphs, Memphis College of Art, site specific performance, photo documentation 11 Identifier An unambiguous reference to the resource within a given context AdvStackI_1978_Mphs-MCA_siteperf_photodoc11 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource image;still image Relation A related resource Early Works - Performance Art Creator An entity primarily responsible for making the resource Book, Lynn Rights Information about rights held in and over the resource In Copyright - Educational Use Allowed Date A point or period of time associated with an event in the lifecycle of the resource 1978 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant US -- Tennessee -- Shelby -- Memphis -- Memphis College of Art Language A language of the resource eng; https://s3.amazonaws.com/lynnbook/original/d67e7d26aa50503c1f451b173cec3803.jpg 53a53baa59af4897c332b116fa0bafb8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Early Works - Performance Art, 1978-83 Description An account of the resource This collection of early performance art projects by Lynn Book, were expansive in their conceptual and material play and drew from the art historical moment of the late 70s, as well as from Book’s intrinsic physicality developed in her modern dance practice and study (including the boundary breaking postmodern experiments of ‘Judson Church’ dancers).  The term “Performance Art” had only been coined in the early 70s to describe artists engaged with the process of engaging with material forms; performing material manipulations with their bodies.  Book was in tune with these shifts in the landscape of art making having honed in on this new territory as a space for her, as a young woman, to freely explore her creative ideas that were already crossing disciplinary borders.  From site-specific performance works, such as the “Advance and Stack” series to staged multimedia performances to performance installation works like those in the Up Front exhibition (1980-81).  Book was also developing a nascent understanding of how women were mostly excluded from the larger art historical canon and created works that critiqued that paradigm, as in “Recent Paintings by Lynn Book”, a performance installation project at the short lived, but influential Randy Toy Gallery in Memphis. Because of the border crossing works, many of the works represented here, will also be found in the Early Works - Sculpture Collection as Book as creator and/or co-creator of the material constructions of the installations that would be performed in, and continue beyond the performance, its residue playing a central role in the experience of an installation site throughout an exhibition, such as “Build Up Break Down”, Up Front (1980-81). <ul style="font-size: 12px;"> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/39">Advance and Stack, 1978-80</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/40">An Evening of Performance Pieces, 1979</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/41">Hair Piece, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/42">3 on a couch, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/68">ABDK, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/70">Build Up Break Down, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/71">Count Up Count Down, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/69">That Which is Below, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/44">Recent Paintings by Lynn Book, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/45">Black and White and In Between, 1981</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/46">Weekly Calendar, 1982</a></li> </ul> Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Advance and Stack I, 1978, Mphs, Memphis College of Art, site specific performance, photo documentation 12 Identifier An unambiguous reference to the resource within a given context AdvStackI_1978_Mphs-MCA_siteperf_photodoc12 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource image;still image Relation A related resource Early Works - Performance Art Creator An entity primarily responsible for making the resource Book, Lynn Rights Information about rights held in and over the resource In Copyright - Educational Use Allowed Date A point or period of time associated with an event in the lifecycle of the resource 1978 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant US -- Tennessee -- Shelby -- Memphis -- Memphis College of Art Language A language of the resource eng; https://s3.amazonaws.com/lynnbook/original/c05babbf98564f3a3aa4ddfff7dbb8e4.jpg 53a53baa59af4897c332b116fa0bafb8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Advance and Stack, 1978-80 Description An account of the resource This series began as a single artwork titled, “Advance and Stack” in 1978 by Lynn Book.  Originally conceived of as a 5-day durational, site-specific piece as a meditation on labor. Book designed the project for 4 performers to be carried out in the surrounding park and grounds of the Memphis College of Art.  By the spring of 1979, Book created another work on the theme of labor that was realized by an audience attending a larger event called, “An Evening of Performance Pieces”, conceived of by Book and co-created with Katherine Mitchell and Margo Adams involving over 50 students, faculty and others from the larger Memphis arts community.  A third “Advance and Stack” iteration was another durational, site-specific work for 4 performer-laborers that was commissioned by the fledgling Memphis in May Festival located on the bluff of the Mississippi River. Focusing again on aspects of labor not visible, of art itself being a labor, Book devised an extended walking map for each performer along 4 parallel arteries in downtown Memphis including Union and Madison.  Informed by art historical depictions of laborers in 19th century European paintings, Book constructed perishable objects that referenced haystacks that each performer wore on their backs.  The walking action terminated at the bluff where the festival was taking place, but the performers, unperturbed, made their way past the festivities, down to the river’s edge to ritually toss the objects of their labor into it.  This Collection is comprised primarily of black and white photographs shot by Tim Glover, color slides shot by Chuck Book, project notes, and in the case of “Advance and Stack II” a short black and white video, shot by Mose Person who documented fragments of “An Evening of Performance Pieces”. Advance and Stack I, 1978, Mphs-MCA, durational site specific performance: Initially, “Advance and Stack” was a 5-day durational performance work, conceived of as a meditation on labor by Lynn Book, who was particularly interested in how ‘work’ - its materials and means - was often invisible.  Enacted by 4 art students in November, 1978 from Monday - Friday at noon, it was designed to be viewed from a second floor open atrium of the architecturally significant art school building.  This vantage point afforded perspectives that were both casual (a passer-by might catch a glance) and powerful (the remote view gave one a sense of observing formations that might not otherwise be noticed).  The large flexible planes that the ‘laborers’ carried and placed in varying arrangements on the large portico entrance to the school were thick foam rubber pads.  Each day’s action was mapped from a different starting point and involved a distinct ritual placement of the planes and their bodies.  The first 4 days were devised with more formal intention, however, the 5th and final day of the action was directly influenced by my learning of the mass suicide in Jonestown, Guyana occurring earlier in the week.  Given that most of the 900 people who died were from the U.S. I arranged for another student to drive her Volkswagen ‘beetle’ (representing ‘America’) with performers and pads piled inside. Parking on the sidewalk, the group ‘poured’ out of the tiny car and solemnly made their way up the long staircase.  The performers were directed to arrange their pads in sequence, lie face down on them, place one arm around the next person and remain motionless for as long as they could tolerate the icy rain that was coming down. It felt like an eternity. Advance and Stack II, 1979, Mphs-MCA, audience participatory work: In the spring of 1979, Lynn Book created another work on the theme of labor that was realized by an audience attending a larger event called, “An Evening of Performance Pieces”, conceived of by Book and co-created with Katherine Mitchell and Margo Adams involving over 50 students, faculty and others and attended by approximately 250 people from the larger Memphis arts community.  In this iteration of what was now becoming a series, “Advance and Stack II” was devised as an audience participatory work.  Book gathered dozens of everyday objects, from people, from thrift stores, from her own home that she organized into large boxes stationed outside of the auditorium doors of the MCA.  The audience was invited to select one and hold onto it for several ensuing performances before being invited to “advance towards the stage with the objects… and stack it with the others.  Book was interested in the hidden life of feeling states in object relations as having equal value as the culminating assemblage of material goods that the audience members arranged on the stage, gaining status as a kind of performance of labor and affect. Advance and Stack III, 1980, Mphs-MphsMayFest, durational, multi-site specific performance: The third and final iteration of this series by Lynn Book pushed further into durational, geographical and historical aspects of labor.  In “Advance and Stack III”, the artist investigated labor contained in the urban fabric itself where the inner workings of buildings, businesses and people’s histories were inflected.  Commissioned by the fledgling Memphis in May Festival located on the bluff of the Mississippi River, Book devised an extended walking map for 4 performer-laborers along 4 parallel streets in downtown Memphis (an area that has since been razed to build a baseball stadium).  The walkers carried ‘haystacks’ on their backs to signify both effort in their work, but also a reference to ‘forgotten’ labor of workers and gleaners in surrounding fields and pastures.  The walking action terminated at the bluff where the festival was taking place, but the performers, unperturbed, made their way past the festivities, down to the river’s edge to ritually toss the objects of their labor into it. <a href="https://lynnbook.archive.wfu.edu/collections/show/31">RETURN TO EARLY WORKS - PERFORMANCE ART</a> Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Advance and Stack I, 1978, Mphs, Memphis College of Art, site specific performance, photo documentation 12 Identifier An unambiguous reference to the resource within a given context AdvStackI_1978_Mphs-MCA_siteperf_photodoc12 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource image;still image Relation A related resource Early Works - Performance Art Creator An entity primarily responsible for making the resource Book, Lynn Rights Information about rights held in and over the resource In Copyright - Educational Use Allowed Date A point or period of time associated with an event in the lifecycle of the resource 1978 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant US -- Tennessee -- Shelby -- Memphis -- Memphis College of Art Language A language of the resource eng; https://s3.amazonaws.com/lynnbook/original/f5311351968e2dc86d83529362570120.jpg 26ce1ea87162d5a25cb301f0589997e5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Early Works - Performance Art, 1978-83 Description An account of the resource This collection of early performance art projects by Lynn Book, were expansive in their conceptual and material play and drew from the art historical moment of the late 70s, as well as from Book’s intrinsic physicality developed in her modern dance practice and study (including the boundary breaking postmodern experiments of ‘Judson Church’ dancers).  The term “Performance Art” had only been coined in the early 70s to describe artists engaged with the process of engaging with material forms; performing material manipulations with their bodies.  Book was in tune with these shifts in the landscape of art making having honed in on this new territory as a space for her, as a young woman, to freely explore her creative ideas that were already crossing disciplinary borders.  From site-specific performance works, such as the “Advance and Stack” series to staged multimedia performances to performance installation works like those in the Up Front exhibition (1980-81).  Book was also developing a nascent understanding of how women were mostly excluded from the larger art historical canon and created works that critiqued that paradigm, as in “Recent Paintings by Lynn Book”, a performance installation project at the short lived, but influential Randy Toy Gallery in Memphis. Because of the border crossing works, many of the works represented here, will also be found in the Early Works - Sculpture Collection as Book as creator and/or co-creator of the material constructions of the installations that would be performed in, and continue beyond the performance, its residue playing a central role in the experience of an installation site throughout an exhibition, such as “Build Up Break Down”, Up Front (1980-81). <ul style="font-size: 12px;"> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/39">Advance and Stack, 1978-80</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/40">An Evening of Performance Pieces, 1979</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/41">Hair Piece, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/42">3 on a couch, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/68">ABDK, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/70">Build Up Break Down, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/71">Count Up Count Down, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/69">That Which is Below, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/44">Recent Paintings by Lynn Book, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/45">Black and White and In Between, 1981</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/46">Weekly Calendar, 1982</a></li> </ul> Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Advance and Stack I, 1978, Mphs, Memphis College of Art, site specific performance, photo documentation 13 Identifier An unambiguous reference to the resource within a given context AdvStackI_1978_Mphs-MCA_siteperf_photodoc13 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource image;still image Relation A related resource Early Works - Performance Art Creator An entity primarily responsible for making the resource Book, Lynn Rights Information about rights held in and over the resource In Copyright - Educational Use Allowed Date A point or period of time associated with an event in the lifecycle of the resource 1978 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant US -- Tennessee -- Shelby -- Memphis -- Memphis College of Art Language A language of the resource eng; https://s3.amazonaws.com/lynnbook/original/7ad8cc74c18a5512985a7cae2c918730.jpg 26ce1ea87162d5a25cb301f0589997e5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Advance and Stack, 1978-80 Description An account of the resource This series began as a single artwork titled, “Advance and Stack” in 1978 by Lynn Book.  Originally conceived of as a 5-day durational, site-specific piece as a meditation on labor. Book designed the project for 4 performers to be carried out in the surrounding park and grounds of the Memphis College of Art.  By the spring of 1979, Book created another work on the theme of labor that was realized by an audience attending a larger event called, “An Evening of Performance Pieces”, conceived of by Book and co-created with Katherine Mitchell and Margo Adams involving over 50 students, faculty and others from the larger Memphis arts community.  A third “Advance and Stack” iteration was another durational, site-specific work for 4 performer-laborers that was commissioned by the fledgling Memphis in May Festival located on the bluff of the Mississippi River. Focusing again on aspects of labor not visible, of art itself being a labor, Book devised an extended walking map for each performer along 4 parallel arteries in downtown Memphis including Union and Madison.  Informed by art historical depictions of laborers in 19th century European paintings, Book constructed perishable objects that referenced haystacks that each performer wore on their backs.  The walking action terminated at the bluff where the festival was taking place, but the performers, unperturbed, made their way past the festivities, down to the river’s edge to ritually toss the objects of their labor into it.  This Collection is comprised primarily of black and white photographs shot by Tim Glover, color slides shot by Chuck Book, project notes, and in the case of “Advance and Stack II” a short black and white video, shot by Mose Person who documented fragments of “An Evening of Performance Pieces”. Advance and Stack I, 1978, Mphs-MCA, durational site specific performance: Initially, “Advance and Stack” was a 5-day durational performance work, conceived of as a meditation on labor by Lynn Book, who was particularly interested in how ‘work’ - its materials and means - was often invisible.  Enacted by 4 art students in November, 1978 from Monday - Friday at noon, it was designed to be viewed from a second floor open atrium of the architecturally significant art school building.  This vantage point afforded perspectives that were both casual (a passer-by might catch a glance) and powerful (the remote view gave one a sense of observing formations that might not otherwise be noticed).  The large flexible planes that the ‘laborers’ carried and placed in varying arrangements on the large portico entrance to the school were thick foam rubber pads.  Each day’s action was mapped from a different starting point and involved a distinct ritual placement of the planes and their bodies.  The first 4 days were devised with more formal intention, however, the 5th and final day of the action was directly influenced by my learning of the mass suicide in Jonestown, Guyana occurring earlier in the week.  Given that most of the 900 people who died were from the U.S. I arranged for another student to drive her Volkswagen ‘beetle’ (representing ‘America’) with performers and pads piled inside. Parking on the sidewalk, the group ‘poured’ out of the tiny car and solemnly made their way up the long staircase.  The performers were directed to arrange their pads in sequence, lie face down on them, place one arm around the next person and remain motionless for as long as they could tolerate the icy rain that was coming down. It felt like an eternity. Advance and Stack II, 1979, Mphs-MCA, audience participatory work: In the spring of 1979, Lynn Book created another work on the theme of labor that was realized by an audience attending a larger event called, “An Evening of Performance Pieces”, conceived of by Book and co-created with Katherine Mitchell and Margo Adams involving over 50 students, faculty and others and attended by approximately 250 people from the larger Memphis arts community.  In this iteration of what was now becoming a series, “Advance and Stack II” was devised as an audience participatory work.  Book gathered dozens of everyday objects, from people, from thrift stores, from her own home that she organized into large boxes stationed outside of the auditorium doors of the MCA.  The audience was invited to select one and hold onto it for several ensuing performances before being invited to “advance towards the stage with the objects… and stack it with the others.  Book was interested in the hidden life of feeling states in object relations as having equal value as the culminating assemblage of material goods that the audience members arranged on the stage, gaining status as a kind of performance of labor and affect. Advance and Stack III, 1980, Mphs-MphsMayFest, durational, multi-site specific performance: The third and final iteration of this series by Lynn Book pushed further into durational, geographical and historical aspects of labor.  In “Advance and Stack III”, the artist investigated labor contained in the urban fabric itself where the inner workings of buildings, businesses and people’s histories were inflected.  Commissioned by the fledgling Memphis in May Festival located on the bluff of the Mississippi River, Book devised an extended walking map for 4 performer-laborers along 4 parallel streets in downtown Memphis (an area that has since been razed to build a baseball stadium).  The walkers carried ‘haystacks’ on their backs to signify both effort in their work, but also a reference to ‘forgotten’ labor of workers and gleaners in surrounding fields and pastures.  The walking action terminated at the bluff where the festival was taking place, but the performers, unperturbed, made their way past the festivities, down to the river’s edge to ritually toss the objects of their labor into it. <a href="https://lynnbook.archive.wfu.edu/collections/show/31">RETURN TO EARLY WORKS - PERFORMANCE ART</a> Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Advance and Stack I, 1978, Mphs, Memphis College of Art, site specific performance, photo documentation 13 Identifier An unambiguous reference to the resource within a given context AdvStackI_1978_Mphs-MCA_siteperf_photodoc13 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource image;still image Relation A related resource Early Works - Performance Art Creator An entity primarily responsible for making the resource Book, Lynn Rights Information about rights held in and over the resource In Copyright - Educational Use Allowed Date A point or period of time associated with an event in the lifecycle of the resource 1978 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant US -- Tennessee -- Shelby -- Memphis -- Memphis College of Art Language A language of the resource eng; https://s3.amazonaws.com/lynnbook/original/7542f7475b07184570ae6a4321cf5475.jpg 806a8d9fda930f5d673e532b0460b8ea Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Early Works - Performance Art, 1978-83 Description An account of the resource This collection of early performance art projects by Lynn Book, were expansive in their conceptual and material play and drew from the art historical moment of the late 70s, as well as from Book’s intrinsic physicality developed in her modern dance practice and study (including the boundary breaking postmodern experiments of ‘Judson Church’ dancers).  The term “Performance Art” had only been coined in the early 70s to describe artists engaged with the process of engaging with material forms; performing material manipulations with their bodies.  Book was in tune with these shifts in the landscape of art making having honed in on this new territory as a space for her, as a young woman, to freely explore her creative ideas that were already crossing disciplinary borders.  From site-specific performance works, such as the “Advance and Stack” series to staged multimedia performances to performance installation works like those in the Up Front exhibition (1980-81).  Book was also developing a nascent understanding of how women were mostly excluded from the larger art historical canon and created works that critiqued that paradigm, as in “Recent Paintings by Lynn Book”, a performance installation project at the short lived, but influential Randy Toy Gallery in Memphis. Because of the border crossing works, many of the works represented here, will also be found in the Early Works - Sculpture Collection as Book as creator and/or co-creator of the material constructions of the installations that would be performed in, and continue beyond the performance, its residue playing a central role in the experience of an installation site throughout an exhibition, such as “Build Up Break Down”, Up Front (1980-81). <ul style="font-size: 12px;"> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/39">Advance and Stack, 1978-80</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/40">An Evening of Performance Pieces, 1979</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/41">Hair Piece, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/42">3 on a couch, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/68">ABDK, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/70">Build Up Break Down, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/71">Count Up Count Down, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/69">That Which is Below, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/44">Recent Paintings by Lynn Book, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/45">Black and White and In Between, 1981</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/46">Weekly Calendar, 1982</a></li> </ul> Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Advance and Stack I, 1978, Mphs, Memphis College of Art, site specific performance, photo documentation 14 Identifier An unambiguous reference to the resource within a given context AdvStackI_1978_Mphs-MCA_siteperf_photodoc14 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource image;still image Relation A related resource Early Works - Performance Art Creator An entity primarily responsible for making the resource Book, Lynn Rights Information about rights held in and over the resource In Copyright - Educational Use Allowed Date A point or period of time associated with an event in the lifecycle of the resource 1978 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant US -- Tennessee -- Shelby -- Memphis -- Memphis College of Art Language A language of the resource eng; https://s3.amazonaws.com/lynnbook/original/62ad0d4c23c5b7121f7770704e24d86d.jpg 806a8d9fda930f5d673e532b0460b8ea Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Advance and Stack, 1978-80 Description An account of the resource This series began as a single artwork titled, “Advance and Stack” in 1978 by Lynn Book.  Originally conceived of as a 5-day durational, site-specific piece as a meditation on labor. Book designed the project for 4 performers to be carried out in the surrounding park and grounds of the Memphis College of Art.  By the spring of 1979, Book created another work on the theme of labor that was realized by an audience attending a larger event called, “An Evening of Performance Pieces”, conceived of by Book and co-created with Katherine Mitchell and Margo Adams involving over 50 students, faculty and others from the larger Memphis arts community.  A third “Advance and Stack” iteration was another durational, site-specific work for 4 performer-laborers that was commissioned by the fledgling Memphis in May Festival located on the bluff of the Mississippi River. Focusing again on aspects of labor not visible, of art itself being a labor, Book devised an extended walking map for each performer along 4 parallel arteries in downtown Memphis including Union and Madison.  Informed by art historical depictions of laborers in 19th century European paintings, Book constructed perishable objects that referenced haystacks that each performer wore on their backs.  The walking action terminated at the bluff where the festival was taking place, but the performers, unperturbed, made their way past the festivities, down to the river’s edge to ritually toss the objects of their labor into it.  This Collection is comprised primarily of black and white photographs shot by Tim Glover, color slides shot by Chuck Book, project notes, and in the case of “Advance and Stack II” a short black and white video, shot by Mose Person who documented fragments of “An Evening of Performance Pieces”. Advance and Stack I, 1978, Mphs-MCA, durational site specific performance: Initially, “Advance and Stack” was a 5-day durational performance work, conceived of as a meditation on labor by Lynn Book, who was particularly interested in how ‘work’ - its materials and means - was often invisible.  Enacted by 4 art students in November, 1978 from Monday - Friday at noon, it was designed to be viewed from a second floor open atrium of the architecturally significant art school building.  This vantage point afforded perspectives that were both casual (a passer-by might catch a glance) and powerful (the remote view gave one a sense of observing formations that might not otherwise be noticed).  The large flexible planes that the ‘laborers’ carried and placed in varying arrangements on the large portico entrance to the school were thick foam rubber pads.  Each day’s action was mapped from a different starting point and involved a distinct ritual placement of the planes and their bodies.  The first 4 days were devised with more formal intention, however, the 5th and final day of the action was directly influenced by my learning of the mass suicide in Jonestown, Guyana occurring earlier in the week.  Given that most of the 900 people who died were from the U.S. I arranged for another student to drive her Volkswagen ‘beetle’ (representing ‘America’) with performers and pads piled inside. Parking on the sidewalk, the group ‘poured’ out of the tiny car and solemnly made their way up the long staircase.  The performers were directed to arrange their pads in sequence, lie face down on them, place one arm around the next person and remain motionless for as long as they could tolerate the icy rain that was coming down. It felt like an eternity. Advance and Stack II, 1979, Mphs-MCA, audience participatory work: In the spring of 1979, Lynn Book created another work on the theme of labor that was realized by an audience attending a larger event called, “An Evening of Performance Pieces”, conceived of by Book and co-created with Katherine Mitchell and Margo Adams involving over 50 students, faculty and others and attended by approximately 250 people from the larger Memphis arts community.  In this iteration of what was now becoming a series, “Advance and Stack II” was devised as an audience participatory work.  Book gathered dozens of everyday objects, from people, from thrift stores, from her own home that she organized into large boxes stationed outside of the auditorium doors of the MCA.  The audience was invited to select one and hold onto it for several ensuing performances before being invited to “advance towards the stage with the objects… and stack it with the others.  Book was interested in the hidden life of feeling states in object relations as having equal value as the culminating assemblage of material goods that the audience members arranged on the stage, gaining status as a kind of performance of labor and affect. Advance and Stack III, 1980, Mphs-MphsMayFest, durational, multi-site specific performance: The third and final iteration of this series by Lynn Book pushed further into durational, geographical and historical aspects of labor.  In “Advance and Stack III”, the artist investigated labor contained in the urban fabric itself where the inner workings of buildings, businesses and people’s histories were inflected.  Commissioned by the fledgling Memphis in May Festival located on the bluff of the Mississippi River, Book devised an extended walking map for 4 performer-laborers along 4 parallel streets in downtown Memphis (an area that has since been razed to build a baseball stadium).  The walkers carried ‘haystacks’ on their backs to signify both effort in their work, but also a reference to ‘forgotten’ labor of workers and gleaners in surrounding fields and pastures.  The walking action terminated at the bluff where the festival was taking place, but the performers, unperturbed, made their way past the festivities, down to the river’s edge to ritually toss the objects of their labor into it. <a href="https://lynnbook.archive.wfu.edu/collections/show/31">RETURN TO EARLY WORKS - PERFORMANCE ART</a> Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Advance and Stack I, 1978, Mphs, Memphis College of Art, site specific performance, photo documentation 14 Identifier An unambiguous reference to the resource within a given context AdvStackI_1978_Mphs-MCA_siteperf_photodoc14 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource image;still image Relation A related resource Early Works - Performance Art Creator An entity primarily responsible for making the resource Book, Lynn Rights Information about rights held in and over the resource In Copyright - Educational Use Allowed Date A point or period of time associated with an event in the lifecycle of the resource 1978 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant US -- Tennessee -- Shelby -- Memphis -- Memphis College of Art Language A language of the resource eng; https://s3.amazonaws.com/lynnbook/original/10ec35db43b5756f00142d7b5cc01e9e.jpg b2eb088ee7e055852f9876e6a3357ef5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Early Works - Performance Art, 1978-83 Description An account of the resource This collection of early performance art projects by Lynn Book, were expansive in their conceptual and material play and drew from the art historical moment of the late 70s, as well as from Book’s intrinsic physicality developed in her modern dance practice and study (including the boundary breaking postmodern experiments of ‘Judson Church’ dancers).  The term “Performance Art” had only been coined in the early 70s to describe artists engaged with the process of engaging with material forms; performing material manipulations with their bodies.  Book was in tune with these shifts in the landscape of art making having honed in on this new territory as a space for her, as a young woman, to freely explore her creative ideas that were already crossing disciplinary borders.  From site-specific performance works, such as the “Advance and Stack” series to staged multimedia performances to performance installation works like those in the Up Front exhibition (1980-81).  Book was also developing a nascent understanding of how women were mostly excluded from the larger art historical canon and created works that critiqued that paradigm, as in “Recent Paintings by Lynn Book”, a performance installation project at the short lived, but influential Randy Toy Gallery in Memphis. Because of the border crossing works, many of the works represented here, will also be found in the Early Works - Sculpture Collection as Book as creator and/or co-creator of the material constructions of the installations that would be performed in, and continue beyond the performance, its residue playing a central role in the experience of an installation site throughout an exhibition, such as “Build Up Break Down”, Up Front (1980-81). <ul style="font-size: 12px;"> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/39">Advance and Stack, 1978-80</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/40">An Evening of Performance Pieces, 1979</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/41">Hair Piece, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/42">3 on a couch, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/68">ABDK, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/70">Build Up Break Down, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/71">Count Up Count Down, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/69">That Which is Below, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/44">Recent Paintings by Lynn Book, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/45">Black and White and In Between, 1981</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/46">Weekly Calendar, 1982</a></li> </ul> Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Advance and Stack I, 1978, Mphs, Memphis College of Art, site specific performance, photo documentation 15 Identifier An unambiguous reference to the resource within a given context AdvStackI_1978_Mphs-MCA_siteperf_photodoc15 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource image;still image Relation A related resource Early Works - Performance Art Creator An entity primarily responsible for making the resource Book, Lynn Rights Information about rights held in and over the resource In Copyright - Educational Use Allowed Date A point or period of time associated with an event in the lifecycle of the resource 1978 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant US -- Tennessee -- Shelby -- Memphis -- Memphis College of Art Language A language of the resource eng; https://s3.amazonaws.com/lynnbook/original/8406656f8d6a0f674580578e4498c272.jpg b2eb088ee7e055852f9876e6a3357ef5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Advance and Stack, 1978-80 Description An account of the resource This series began as a single artwork titled, “Advance and Stack” in 1978 by Lynn Book.  Originally conceived of as a 5-day durational, site-specific piece as a meditation on labor. Book designed the project for 4 performers to be carried out in the surrounding park and grounds of the Memphis College of Art.  By the spring of 1979, Book created another work on the theme of labor that was realized by an audience attending a larger event called, “An Evening of Performance Pieces”, conceived of by Book and co-created with Katherine Mitchell and Margo Adams involving over 50 students, faculty and others from the larger Memphis arts community.  A third “Advance and Stack” iteration was another durational, site-specific work for 4 performer-laborers that was commissioned by the fledgling Memphis in May Festival located on the bluff of the Mississippi River. Focusing again on aspects of labor not visible, of art itself being a labor, Book devised an extended walking map for each performer along 4 parallel arteries in downtown Memphis including Union and Madison.  Informed by art historical depictions of laborers in 19th century European paintings, Book constructed perishable objects that referenced haystacks that each performer wore on their backs.  The walking action terminated at the bluff where the festival was taking place, but the performers, unperturbed, made their way past the festivities, down to the river’s edge to ritually toss the objects of their labor into it.  This Collection is comprised primarily of black and white photographs shot by Tim Glover, color slides shot by Chuck Book, project notes, and in the case of “Advance and Stack II” a short black and white video, shot by Mose Person who documented fragments of “An Evening of Performance Pieces”. Advance and Stack I, 1978, Mphs-MCA, durational site specific performance: Initially, “Advance and Stack” was a 5-day durational performance work, conceived of as a meditation on labor by Lynn Book, who was particularly interested in how ‘work’ - its materials and means - was often invisible.  Enacted by 4 art students in November, 1978 from Monday - Friday at noon, it was designed to be viewed from a second floor open atrium of the architecturally significant art school building.  This vantage point afforded perspectives that were both casual (a passer-by might catch a glance) and powerful (the remote view gave one a sense of observing formations that might not otherwise be noticed).  The large flexible planes that the ‘laborers’ carried and placed in varying arrangements on the large portico entrance to the school were thick foam rubber pads.  Each day’s action was mapped from a different starting point and involved a distinct ritual placement of the planes and their bodies.  The first 4 days were devised with more formal intention, however, the 5th and final day of the action was directly influenced by my learning of the mass suicide in Jonestown, Guyana occurring earlier in the week.  Given that most of the 900 people who died were from the U.S. I arranged for another student to drive her Volkswagen ‘beetle’ (representing ‘America’) with performers and pads piled inside. Parking on the sidewalk, the group ‘poured’ out of the tiny car and solemnly made their way up the long staircase.  The performers were directed to arrange their pads in sequence, lie face down on them, place one arm around the next person and remain motionless for as long as they could tolerate the icy rain that was coming down. It felt like an eternity. Advance and Stack II, 1979, Mphs-MCA, audience participatory work: In the spring of 1979, Lynn Book created another work on the theme of labor that was realized by an audience attending a larger event called, “An Evening of Performance Pieces”, conceived of by Book and co-created with Katherine Mitchell and Margo Adams involving over 50 students, faculty and others and attended by approximately 250 people from the larger Memphis arts community.  In this iteration of what was now becoming a series, “Advance and Stack II” was devised as an audience participatory work.  Book gathered dozens of everyday objects, from people, from thrift stores, from her own home that she organized into large boxes stationed outside of the auditorium doors of the MCA.  The audience was invited to select one and hold onto it for several ensuing performances before being invited to “advance towards the stage with the objects… and stack it with the others.  Book was interested in the hidden life of feeling states in object relations as having equal value as the culminating assemblage of material goods that the audience members arranged on the stage, gaining status as a kind of performance of labor and affect. Advance and Stack III, 1980, Mphs-MphsMayFest, durational, multi-site specific performance: The third and final iteration of this series by Lynn Book pushed further into durational, geographical and historical aspects of labor.  In “Advance and Stack III”, the artist investigated labor contained in the urban fabric itself where the inner workings of buildings, businesses and people’s histories were inflected.  Commissioned by the fledgling Memphis in May Festival located on the bluff of the Mississippi River, Book devised an extended walking map for 4 performer-laborers along 4 parallel streets in downtown Memphis (an area that has since been razed to build a baseball stadium).  The walkers carried ‘haystacks’ on their backs to signify both effort in their work, but also a reference to ‘forgotten’ labor of workers and gleaners in surrounding fields and pastures.  The walking action terminated at the bluff where the festival was taking place, but the performers, unperturbed, made their way past the festivities, down to the river’s edge to ritually toss the objects of their labor into it. <a href="https://lynnbook.archive.wfu.edu/collections/show/31">RETURN TO EARLY WORKS - PERFORMANCE ART</a> Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Advance and Stack I, 1978, Mphs, Memphis College of Art, site specific performance, photo documentation 15 Identifier An unambiguous reference to the resource within a given context AdvStackI_1978_Mphs-MCA_siteperf_photodoc15 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource image;still image Relation A related resource Early Works - Performance Art Creator An entity primarily responsible for making the resource Book, Lynn Rights Information about rights held in and over the resource In Copyright - Educational Use Allowed Date A point or period of time associated with an event in the lifecycle of the resource 1978 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant US -- Tennessee -- Shelby -- Memphis -- Memphis College of Art Language A language of the resource eng; https://s3.amazonaws.com/lynnbook/original/f101cbdf6aa44c00430efd6baf06c2c8.jpg 93060d197e81d3f99d8a892aa14e15da Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Early Works - Performance Art, 1978-83 Description An account of the resource This collection of early performance art projects by Lynn Book, were expansive in their conceptual and material play and drew from the art historical moment of the late 70s, as well as from Book’s intrinsic physicality developed in her modern dance practice and study (including the boundary breaking postmodern experiments of ‘Judson Church’ dancers).  The term “Performance Art” had only been coined in the early 70s to describe artists engaged with the process of engaging with material forms; performing material manipulations with their bodies.  Book was in tune with these shifts in the landscape of art making having honed in on this new territory as a space for her, as a young woman, to freely explore her creative ideas that were already crossing disciplinary borders.  From site-specific performance works, such as the “Advance and Stack” series to staged multimedia performances to performance installation works like those in the Up Front exhibition (1980-81).  Book was also developing a nascent understanding of how women were mostly excluded from the larger art historical canon and created works that critiqued that paradigm, as in “Recent Paintings by Lynn Book”, a performance installation project at the short lived, but influential Randy Toy Gallery in Memphis. Because of the border crossing works, many of the works represented here, will also be found in the Early Works - Sculpture Collection as Book as creator and/or co-creator of the material constructions of the installations that would be performed in, and continue beyond the performance, its residue playing a central role in the experience of an installation site throughout an exhibition, such as “Build Up Break Down”, Up Front (1980-81). <ul style="font-size: 12px;"> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/39">Advance and Stack, 1978-80</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/40">An Evening of Performance Pieces, 1979</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/41">Hair Piece, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/42">3 on a couch, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/68">ABDK, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/70">Build Up Break Down, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/71">Count Up Count Down, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/69">That Which is Below, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/44">Recent Paintings by Lynn Book, 1980</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/45">Black and White and In Between, 1981</a></li> <li><a href="https://lynnbook.archive.wfu.edu/collections/show/46">Weekly Calendar, 1982</a></li> </ul> Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Advance and Stack I, 1978, Mphs, Memphis College of Art, site specific performance, photo documentation 16 Identifier An unambiguous reference to the resource within a given context AdvStackI_1978_Mphs-MCA_siteperf_photodoc16 Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource image;still image Relation A related resource Early Works - Performance Art Creator An entity primarily responsible for making the resource Book, Lynn Rights Information about rights held in and over the resource In Copyright - Educational Use Allowed Date A point or period of time associated with an event in the lifecycle of the resource 1978 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant US -- Tennessee -- Shelby -- Memphis -- Memphis College of Art Language A language of the resource eng;