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).