Explores how Marina Abramović has subtly incorporated the law to her economic and professional advantage.
Works against the framing of black and brown bodies as sexualized, objectified, and abject, and offers multiple ways of thinking with and through sensation and aesthetics.
Part of the Library of Performing Rights (P3041).
Considering how blackness is imagined in and through performance, the contributors address topics including flight as a persistent theme in African American aesthetics, the circulation of minstrel tropes in Liverpool and in Afro-Mexican settlements in Oaxaca, and the reach of hip-hop politics as people around the world embrace the music and dance.
Part of the Library of Performing Rights (P3041)
Draws on the experiences and expertise of a wide range of lesbian practitioners and theorists to explore the impact and influences of sexuality and gender on performance.
Part of Library of Performing Rights (P3041).
Proposes that performance is not a genre of art separate from object making but rather an attitude that has infiltrated the entire terrain of contemporary art.
Explores the ways in which contemporary artists across media continue to reinvent art that straddles both public and private spheres.
The first scholarly book to focus exclusively on theatre and learning disability as theatre, rather than advocacy or therapy.
Part of the Library of Performing Rights (LPR) (P3041).
Explores sites where the ideal of community relentlessly recurs, from debates over art and culture in the popular media, to the discourses and practices of nonprofit and nongovernmental organizations, to contemporary narratives of economic transformation or “globalization.”
Drawing on more than ten years of ethnographic research in and around New York City, the book offers a kaleidoscope of subjects and stories that address how race is negotiated in today’s world-including tales of book-vending numerologists, urban conspiracy theorists, corrupt police officers, mixed-race neo-Nazis, and gospel choirs forbidden to catch the Holy Ghost.
Part of the Library of Performing Rights (LPR) (P3041).
Book review.
Citing Howells’ permissive mantra as its title, the book includes new writing from leading scholars and artists, as well as writing by Howells himself, an extensive interview, scores, and visual materials, which together offer new insight into the artist’s ground-breaking process.
The first in-depth study of July's work provides fascinating insights into the lifestyle of the contemporary white Californian middle class.
This provocative book meets the supposedly 'live' practices of performance and the 'no-longer-live' historical past at their own dangerous crossroads. Focussing on the 'and' of the title, it addresses the tangled relations between the terms, practices, ideas, and aims embedded in these compatriot – but often oppositional – arts and acts of time.
Through detailed case-studies on the work of key international theatre companies such as the Elevator Repair Service and The Mission Business, Blake explores how the digital is providing new scope for how we think about the theatre, as well as how the theatre in turn is challenging how we might relate to the digital.
The book is an extension of the exhibition, composed of entries from each performer/artist celebrating the work of Stuart Sherman.
*currently unavailable*
One of three catalogues published for the exhibition As public as race, a series of performances organized during the summer of 1992. James Luna's performance was held on June 3. Essays by Kerri Sakamoto and Sylvie Gilbert. Includes a number of black and white illustrations.
Explores the role of the fake, the false and the faux in contemporary performance and investigates the aesthetic and political potential of re-enactments.
A show about shape-shifting, sensuality and self-regard, first performed at the RVT in August 2010
There are lots of guides for artists on how to earn a living from art or how to raise funds to support making it, but few which help us ask what the ethical implications are of the routes we choose. In this Study Room Guide, arts, social justice and environmental group Platform has selected some key texts that they think are useful in helping to position yourself ethically with regard to financing or supporting artistic practice through business or corporate sponsorship.
Trashing Performance Talks. Under- and Overwhelmed: Emotion and Performance (Part 1)- the second year of Performance Matters – 25-29th October 2011.
Addresses the multi-layered issue of camp, whose inexhaustible breadth of reference and theoretical relevance to the issues taken up by academic research in recent years have made it one of the most salient and challenging issues on the contemporary critical stage.
Adam E Mendelsohn article discussing the retrieval of history through re-enactment.
As the Chicago based performance group Goat Island draw twenty years of beginnings to a close, they open up a myriad of lenses for reflection on, and continuation of, their work through the website project The Last Performance [dot org].
Gob Squad's Kitchen takes one of Andy Warhol's films, ‘Kitchen', as its starting point. A quest for the original, the authentic, the here and now, the real me, the real you, the hidden depths beneath the shiny surfaces of modern life.
Various artists works included.
Neil Bartlett, what mainstream?, It's Queer Up North 1992 – 1996: A Catalogue of Queer Performance. This item is part of the Study Room Guide in Search of a Documentology by Marco Pustianaz (P1115)
Looking at specific instances of live performance such as theatre, rock music, sport, and courtroom testimony, Liveness offers penetrating insights into media culture, suggesting that media technology has encroached on live events to the point where many are hardly live at all.
Part of the Library of Performing Rights (LPR) (P3041).
The essential introduction to the most important texts in post-colonial theory and criticism.
This item is part of the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
Part of the Library of Performing Rights (LPR) (P3041).