Explores how sex in art is as diverse as sex in everyday life.
Charts the history of this American culture war through detailed analysis of the work of artists who fought on the front lines, often finding themselves personally vilified.
Presents photographically based artworks – portraits, self-portraits, and photomontages in which the gender of the subjects is highlighted through performance for the camera as well as through technical manipulation of the image.
This book is the printed extension of Janez Jan a’s installation Life [in Progress]. Complete with photo cards and carry bag.Life [in Progress] is composed of written, photo, and video instructions. The spectators are the actors; walking past the instructions they create the performance according to their own rhythm, sensibility, belief and (non-) activity.
Shelved in Oversize publications section.
PromisesJoe Kelleher, Giulia Palladini, Silvia Bottiroli9th October 2010, 3.30pm Toynbee StudiosThe dialogue has already begun. It begins with the appearance of the work. A 39 year-old theatre festival, for example, in a town without a theatre; a festival that breaks with four decades of tradition in order to re-examine and renew that tradition; that addresses the urban texture not as a void that needs filling but a space of generation; that imagines a spectator in motion, whose trajectory is governed, as curator Chiara Guidi writes, by a sensation of lost powers, and by tiredness perhaps, but who may be capable of conjuring from this trajectory ‘a place filled with promises.’ Or else the emergence of a new practice, work still in its nascence, work being done with the young, for example a company dedicated to the non-spectacular rigours of collective dance, and to mining the minimum pause, tracing the presence of a rhythm, as director Claudia Castellucci puts it, between one beat and another. But also then the channels, the forums, the platforms of exchange through which events and practices such as these and many others are debated over and contested and sustained, by a self-reflexive critical writing, and also by a commitment, as the editors of the journal Art’O: culture and politics of the scenic arts put it, to the idea of a future of performance even in those spaces most emptied out by current ideology.Joe Kelleher’s dialogue for Performing Idea is being pursued through an engagement with events, practices, and platforms such as these, and with the people doing this work, artists, curators, arts administrators, writers and other spectators, who have taken into their care and are mapping out, sustaining, and re-inventing the promises of performance in the Italy of the early twenty-first century.
On Societas Raffaello Sanzio’s Inferno, Purgatorio, and Paradiso.
Catalogue published on the occasion of the homonymous exhibition at the San Francisco Museum of Modern Art on view 8 November 2008 – 8 February 2009.
Offers a provocative and personal interpretation of the theme of sex and sexuality in art.
Pulls together a diverse selection of artists whose work embraces the possibilities of personality and appearance, racial and sexual stereotype, role-playing and reality.