All appointment negatives and notes from the first year of the Vorticist project (Oct 2007 – Dec 2008) printed in a cloth bound and embossed book.
Signed and numbered edition of 100 (77/100).
Includes original footage of The American Moon (1960) and Flower (1963), a recent performance of Prune Flat (1965), and Ghost, Whitman’s recent theater work, as well as short documentaries about the works.
Exhibition catalogue. Ivan Dougherty Gallery, Sydney, June-July 1994; Institute of Modern Art, August 1994, Perth Institute of Contemporary Arts, November-December 1995, Experimental Art Foundation, Adelaide, February-March 1995, ACCA, April May 1995.
Pulls together rich elements of music, physical space, visual arts, text and movement; contemplates violence, without relying on sensational anecdote.
Passion takes up the theme of sacrifice that plays through all the work of the company, leading its audience into a re-enactment of the Stations of the Cross.
In the glass cabinet.
The audience is divided. Those who can afford it are escorted to their private viewing area, to be served champagne and smoked salmon throughout the show. The rest risk the edges of the performance space, clad only in black lingerie. In the glass cabinet.
The audience mingle with the performers on the performance floor, which might be a kind of soirée or Don Giovanni’s ball. In the glass cabinet.
Presents images of a theatre struggling to move beyond the exchange of desires, beyond even the carnal itself. The performers attempt to break the endless cycle of impersonation and to submit themselves to the supreme gaze. In the glass cabinet.
A frenzied meditation on theatrical obsession, a festive overture of histrionic suffering and flapping genitalia. In the glass cabinet.
Against the background of the disembodied voice a visceral and sado-masochistic exchange between bodies makes voyeurs of its audience. In the glass cabinet.
A single row of audience members around the edge of a performance space A curtain sometimes running across it cutting the space (and the audience’s view) in two. In glass cabinet.
The first anthology to chronicle the global critical reception of Aboriginal Art since the early 1980s, when the art world began to understand it as contemporary art.
Part of Library of Performing Rights (P3041)
Sheds light on a range of practices in the area of contemporary performance in Australia.
Focuses on the intersection of social and public projects, and the possibilities of art practice in public space.
Part of Library of Performing Rights (P3041)
Examines sexuality, gender and race in Australia’s vibrant independent theatre and performance culture.
Part of Library of Performing Rights (P3041)
Features images from Yang’s personal archive and explores his self-portraiture across photography, performance and documentary.
Part of Library of Performing Rights (P3041)
Explores performance art through live manifestations and reiterations in photographs, film and video.
Explores the links between race, sovereignty, and possession through themes of property: owning property, being property, and becoming propertyless.
An important addition to the current body of scholarly material on contemporary performance and theatre; it provides both a detailed focus on a number of important performance works as well as developing a framework for the interpretation of contemporary performance.
Part of the Library of Performing Rights (P3041).
Brings the fields of performance studies and trauma studies together in conversation where they inform crucial themes such as trauma, testimony, witness, and spectatorship.
The first book to explore the various ways the human body has been both an inspiration and a medium for artists over hundreds of thousands of years.
Contemplates the interactions of humans with many kinds of critters, especially with those called domestic.
Speculates on the possibility and implications of selling back the remains of the British Empire in London today. Based on a public installation in London in the fall of 2016, the book catalogues and develops the installation’s critical program of discussions, performances, dinners, installations, and screenings hosted at 91-93 Baker Street.
Part of the Library of Performing Rights (LPR) (P3041).
Interrogates the often fraught endeavours of activists from colonial backgrounds seeking to be politically supportive of Indigenous struggles.
Part of the Library of Performing Rights (LPR) (P3041).
Catalogue published for the exhibition featuring Lynn Lu; photos and an essay by John Mateer.
Part of the Something Human Study Room Guide on Southeast Asian performance (P3334).
Exhibtion publication; Perth Institute of Contemporary Arts, 8 Sept – 21 Oct 2012
Part of the Something Human Study Room Guide on Southeast Asian performance (P3334).
Documentation from two performances, presented at Brisbane Arts (2007) and MAJU JAYA Performance Art Festival (2007).
Part of the Library of Performing Rights (LPR) (P3041).
Exhibition catalogue; Monash University Museum of Art, 13 October – 17 December, 2011
Part of the Library of Performing Rights (LPR) (P3041).
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Exhibition catalogue; Arts Centre Melbourne, 11 February – 21 May 2017
The first book to provide a collection of key writings about the process of documenting performance, focused not on questions of liveness or the artistic qualities of documents, but rather on the professional approaches to recovering, preserving and disseminating knowledge of live performance.
Publication exploring the possibilities of collaboration and conversation between visual art and writing. Featuring written works by fifteen emerging writers, responding to exhibitions presented between June 2011 and January 2012.
Exploring theater works created for, by, and with refugees, this hybrid collection of essays combines newly commissioned scholarly work with examples of writing by refugees themselves.
Part of the Study Room Guide on Live Art and Displacement (P3107).
A series on Performance and the Creative Transformation of Conflict, describing peacebuilding performances in regions beset by violence and internal conflicts. The first volume emphasizes the role theatre and ritual play both in the midst and in the aftermath of direct violence.
Part of the Study Room Guide on Live Art and Displacement (P3107).
An article on autopbiographical perforance, including Fake It Till You Make It (Bryony Kimmings, Tim Grayburn), Elizabeth Taylor is my Mother (Suzie Hardgrave, La Mama Theatre), The Blueform (James Pratt, La Mama Theatre).
A vibrant introduction to theatre that engages with stories, conditions and experiences of migration.
How are hybrid and diasporic identities performed in increasingly diverse societies? How can we begin to think differently about theatrical flow across cultures?
Documentation from Bowery’s 1988 performance.
27:18
Now in paperback and with a new preface by Susan Bennett, the book explores an interdisciplinary range of topics, including: theatre and urban policy development; architecture, trauma, and memory; urban performance history; site-specific performance and urban politics; sexuality and nationality in urban performance; and environmental performance theory.
Exhibition catalogue; Los Angeles Institute of Contemporary Art, June-August 1984. Artists: John Davis, John Dunkley-Smith, Marr Grounds, Lyndal Jones, John Nixon, Mike Parr, Redback Graphix, Stelarc
Lucy R. Lippard documents the chaotic network of ideas that has been labeled conceptual art. The book is arranged as an annotated chronology into which is woven a rich collection of original documents–including texts by and taped discussions among and with the artists involved.
A biography and tribute to a colourful unique and larger than life character, written by his close friend.
Belgian festival director and curator Frie Leysen challenges Australian artists and arts organisations to be bold, and to challenge an increasingly ossified status quo in her closing keynote address at the 2015 Australian Theatre Forum (ATF). Miscellaneous folder #5A.
Review of the exhibition Performance Now, Queensland University of Technology (QUT) Art Museum, 6 Dec 2014-1 March 2015, Brisbane.
Review of Proximity Festival 2014, Fremantle Arts Centre, Fremantle, 22 Oct-2 Nov.
The author discusses with Laurie Anderson her musical collaboration with Kronos Quartet featured in the Adelaide Festival 2013.
Information pack, press reviews, photographs and marketing material from Back to Back Theatre’s performance piece Small Metal Objects (2005)
Pod3 is an experimental performance installation developed over four days by participants of the Awakenings Festival in collaboration with Back to Back Theatre. Running time 5 minutes.