A collection of some of the essays and lectures that have made Cage's name synonymous with all that is unpredictable and exciting in contemporary music.

50th Anniversary Edition edition.

Kaprow’s sustained inquiry into the paradoxical relationship of art to life and into the nature of meaning itself is brought into focus in this newly expanded collection of his most significant writings.

How did performance artists of the ’60s and ’70s, famous for their opposition both to lasting art and the political establishment, become the foremost monument builders of the ’80s, ’90s and today? This book argues that the centrality of performance to monuments and indeed public art in general rests not on its ephemerality or anti-authoritarian rhetoric, but on its power to build interpersonal bonds both personal and social.

Part of the Study Room Guide on Live Art and Displacement (P3107).

Shakespeare’s classic tragedy is re-imagined by mixing and repurposing Richard Burton’s 1964 Broadway production, directed by John Gielgud.

Directed by Elizabeth LeCompte. With Scott Shepherd, Ari Fliakos, Koosil-ja, Alessandro Magania, Greg Mehrten, Daniel Pettrow, Casey Spooner and Kate Valk. Songs by Fischerspooner. 2 hours, 30 minutes

This item can be found in the locked glass cabinet.

Groys explores art in the age of the thingless medium, the internet. He claims that if the techniques of mechanical reproduction gave us objects without aura, digital production generates aura without objects, transforming all its materials into vanishing markers of the transitory present.

Performing Borders: A Study Room Guide on physical and conceptual borders within Live Art.

This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)
In misc. folder 6.

A selection of key works from the first decade of artist's video practice in the UK. From early conceptual experiments exploring the parameters of the medium to works dealing with media culture and television this collection explores the range and diversity of the first years of video as new media.

DISC 1 Stories, John Adams (1982, 13 min) Eyebath Peter Anderson (1977, 8 min) In Two Minds (2 screen version) Kevin Atherton (1978, 25 min) Lenny's Documentary Ian Bourn (1978, 45 min) In the Home Ian Breakwell (1980, 10 min)

DISC 2 Pieces I Never Did (3 screen version), David Critchley (1979, 31 min) Circling, Peter Donebauer (1975, 12 min) Kensington Gore, Catherine Elwes (1981, 15 min) Time Spent, Judith Goddard (1981, 12 min) TV Interruptions (7 TV Pieces), David Hall (1971, 23 min) State of Division, Mick Hartney (1978, 5 min) The Extent of Three Bells, Steve Hawley (1981, 5 min) Flow, Brian Hoey/Wendy Brown (1977, 17 min)

DISC 3 Split Seconds, Madelon Hooykaas/ Elsa Stansfield (1979, 11 min) Clapping Songs, Tina Keane (1979, 6 min) Vanitas, Tamara Krikorian (1977, 8 min) The Heart Cycle, Mike Leggett (1973, 9 min) Mirror, Stephen Littman (1979, 5 min) Go thru the Motions, Stuart Marshall (1975, 8 min) Continuum, Chris Meigh Andrews/Gabrielle Bown (1977 5 min) 2nd and 3rd Identity, Marcelline Mori (1978, 10 min) Monitor, Stephen Partridge (1975, 6 min) Video Sketches, Clive Richardson (1972, 22 min) Drift Guitars, Tony Sinden (1975 21 min)

This book brings to light the historical significance of five women artists – Yoko Ono, Yayoi Kusama, Takako Saito, Mieko Shiomi, and Shigeko Kubota, who were among the first Japanese women to leave their country – and its male-dominated, conservative art world – to explore the artistic possibilities in New York.

The first ever monograph on the astounding 40-year career of this established, deeply daring and tirelessly experimental artist, who represented Japan at the Venice Biennale in 1993. It was published to coincide with an exhibition in 2000 at the Serpentine Gallery.

This engaging autobiography tells the story of Kusama's life and extraordinary career in her own words, revealing her as a fascinating figure and maverick artist who channels her obsessive neuroses into an art that transcends cultural barriers.

Yamamura eschews the usual critical fascination with Kusama’s biography to consider the artist in her social and cultural milieu. By examining Kusama’s art alongside that of her peers, Yamamura offers a new perspective on her career.

Generally recognized as the most comprehensive and accurately translated collection of situationist writings in English, this book presents a rich variety of articles, leaflets, graffiti and internal documents, ranging from early experiments in “psychogeography” to lucid analyses of the Watts riot, the Vietnam War, the Prague Spring, the Chinese Cultural Revolution and other crises and upheavals of the sixties.