In Radical Gestures, the first comprehensive history of feminist performance art in North America within the social context of the feminist movement and avant-garde art from the 1970s to 2000, Jayne Werk shows that artists drew from feminist politics to create works that, following a long period of modernist aesthetic detachment, made a unique contribution to the re-politicization of art.
This journal can be found in ‘Miscellaneous’.
Feminist Futures? sets out to ask if and in what way feminism remains relevant to theatre and performance practice of the twenty-first century. Responding to this question is an excellent, cross-generational mix of theatre scholars and practitioners whose essays engage in lively, cutting edge critical debates on issues such as citizenship, autobiography, cultural heritage, political agency, and body/technology, as circulating in contemporary feminism and performance today.
This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)
There was once a sleeping woman. She was betrothed at birth, unknowingly. She hid in the forest until she was a true woman. At first glance she fell in love with a noble man. Her heart was taken. A witch tried to kill her and her love. A spell was put on her family and her castle. They all slept for over a hundred years. At last, the noble prince understood and at true love’s kiss she awoke.
Swandown is a film-diary travelogue of two artists' journey on a swan-shaped pedalo through the English waterways.
An unconventional participatory performance.
Performance documentation.