Ruminates on the significance of physical and mental roaming for black freedom.
Part of the Library of Performing Rights (P3041).
A series of written artists’ instructions, each of which is interpreted anew every time it is enacted. Instructions here were part of the Manchester International Festival at the Manchester Art Gallery, 2013.
Newspaper format catalogue. White Columns, New York, 13 September – 20 October 2002.
Tracing a dynamic genealogy of performance from the nineteenth to the twenty-first century, Uri McMillan contends that black women artists practiced a purposeful self- objectification, transforming themselves into art objects.
A detailed study of the role women artists played in the develpment and expansion of performance art
Investigates sound art and its various manifestations through historical, theoretical, polemical and critical analyses of artistic, musical and literary works
Adrian Piper's Mythic Being performances critically engaged wtih popular representations of race, gender, sexuality and class; confronting viewers and forcing them to reconsider assumptions about the social construction of identity. An in-depth analysis of Piper's work.
Adrian Piper, Eleanor Antin, Anna Deavere Smith and Nikki S Lee have all crossed racial, ethnic, gender and class boundaries in works they have concieved and performed. Cherise Smith analyses their engagements with issues of identity through close readings of perfromances by each artist.
Publication to coincide with 2013 Exhibition in Houston, US.
Publication to coincide with exhibition at ZKM | Center for Art and Media Karlsruhe, Germany, 2012
Catalogue of an exhibition exploring the changing perceptions of African-American masculinity as interpreted in painting, sculpture, photography, and mixed-media work, as well as in film and video. Essays by leading voices in African-American art criticism and cultural studies: Elizabeth Alexander bell hooks, Isaac Julien and Kobena Mercer, Tricia Rose, Andrew Ross, and Greg Tate.
Documents of Contemporary Art series.
The ‘do-it-yourself’ artwork: Participation from Fluxus to new mediaThis volume consists of fifteen essays by art historians, critics and curators, which are divided into three sections. Part 1 addresses the emergence of spectator participation in the 1960s, whilst Part 2 brings together in-depth case studies of specific participatory practices in the 1960s, 1970s and 1990s, analysing the issues that they raise in their very modes of operation. The more general critical essays in Part 3 map out a range of theoretical approaches to the ‘do-it-yourself’ artwork.
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)
Anthology of voices of key contemporary artists concerned with feminism, from the 1960s to the 1990s/beginning of 2000s, with text by Reckitt and Phelan. Includes biographical information. This item is part of the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
See accompanying lecture notes (A0205)Compiled for the Long Table on Performance and Human Rights, April 2005 for PSi 12. Partnership between EEC, Queen Mary Univerity of London and the Live Art Development Agency
An anthology from High Performance Magazine 1978 – 1998.
A Study Room Guide on eating and dining as explored in performance