Pleading in the Blood: The Art and Performances of Ron Athey presents the first critical overview of this major artist’s work. It demonstrates how Athey foresaw and precipitated the central place afforded they body and identity politics in art and critical theory in the 1990s and beyond.
A collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2015 and December 2017. Selected through recommendations and an open call for submissions, Volume 5 reflects the dynamic, international contexts that Live Art and radical performance practices occupy.
Part of Library of Performing Rights (P3041).
Resonating with the ethos of open dialogue and the experimentation of women artists’ collectives in the 1970s and 1980s, the publication constructs a dynamic, open, and collaborative arena that foregrounds practices of resistance, collectivity, and self-organization. Exhibition catalogue: Cooper Gallery, 28 October 2016 – 16 December 2016.
Part of Library of Performing Rights (P3041).
Examining a range of performances from the 1960s to the present, as well as protest actions from the lunch counter sit-ins of the US civil rights movement to protest camps in the twenty-first century, this book provides a formal account of endurance and illuminates its ethical and political significance.
This article gives examples of a number of initiatives by individual writers, artist collectives, and festivals that test forms of critical writing that are as experimental as the practices to which they relate.
Contributes to the ongoing critical discussions of performance and its disappearance, of the ephemeral and its reproduction, of archives and mediatised recordings of liveness.
Explores the agency and materiality of the archival document through a collection of critical writings and original artworks,
The first book bringing together writing and documentation on Martin O’Brien and marking ten years of his work.
Part of the Library of Performing Rights (LPR) (P3041).
From Surrealist selfies to feminist self-portraiture, the ISelf Collection explores identity and the human condition through the central themes of birth, death, sexuality, love, pain and joy. Taking the display of the collection at Whitechapel Gallery as its springboard, this book looks generally at the question of the self in modern and contemporary art, and the ways in which artists are thinking about being and identity as an individual, in relation to others, to society and the wider world.
Catalogue of the first-ever major overview of the works of the artist; includes photographs, performance art pieces, and works that Ulay has kept private for years and which are now being made public for the first time. Schirn Kunsthalle Frankfurt, 13, October 2016 to 8, January 2017. In German and English.
Catalogue from the first retrospective to present the wide-ranging work of the Chicano performance and conceptual art group Asco. Exhibition held at the Los Angeles County Museum of Art (September – December 2011) and Williams College Museum of Art (February – July, 2012).
This first historical and critical analysis of the artist's work by prominent scholars and the artist herself brings nearly forty years of creative output into focus by tracking the development of her constant themes through each medium. The essays range from formal to theoretical to psychological to poetical analyses. Includes a DVD.
A comprehensive survey of the artist's practice, including in-depth analysis of Nedregård's performances Vertigo of the Mind, and You, Me and The Other.
The book is based on an ongoing, long-term, extensive photographic project spanning over a five-year period, which follows a group of women (artists) through their pregnancies into motherhood.
A small selection of study boxes curated by Live Art Development Agency for the Live Collision Festival in Dublin, April 2014. Boxes were based around live art history, disability, activism, bodily functions, race, queer performance.
Documents and critically examines one of the most fecund periods in the history of live art.
Bringing together contributors from dance, theatre, visual studies, and art history, the publication addresses the conundrum of how Live Art is positioned within history.
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.
How do feminism and visual culture intersect? The think-piece delves into this mystery via the analogy of a pond with floating colours.
This item is referenced in the Dreams for an Institution Guide (P2313).
Collection of texts concerning a diversity of issues relating to feminism and visual cultures, arranged thematically and introduced by the editor. This item is part of the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
In what ways does the experience of live art counter the ideological readings of place, context and significantly, gendered codification?
Found in miscellaneous article folder #5
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)
This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195) and the Study Room Guide on One to One Performance by Rachel Zerihan (P1320)
Collection of texts. The project one side is set to explore art practices which perform the subject and others and on another side to examine ways in which performance offers new models for interpreting contemporary art.
Drawn from papers and discussions first heard at one day conference held at the Birmingham Institute of Art and Design, University of Central England, 5 June 1999.
Part of the Library of Performing Rights (LPR) (P3041).
Exhibition catalogue.
Leading artists and thinkers assess the relevance of live art now, its impact within the visual arts and the broader cultural sphere.
This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195) and the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)
Survey of key work by artists who have used their own body to create their art, from the 1940s to the 1990s. With introductory essays by Tracey Warr and Amelia Jones. Includes biographical information on contributors.
This item is part of the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)