Newspaper format catalogue. White Columns, New York, 13 September – 20 October 2002.
Since its inception nearly 25 years ago, the feminist art movement has transformed the art world. Now, two professors of art history bring together 18 influential historians, critics, and artists to create this landmark volume.
Part of the Library of Performing Rights (LPR) (P3041).
From Surrealist selfies to feminist self-portraiture, the ISelf Collection explores identity and the human condition through the central themes of birth, death, sexuality, love, pain and joy. Taking the display of the collection at Whitechapel Gallery as its springboard, this book looks generally at the question of the self in modern and contemporary art, and the ways in which artists are thinking about being and identity as an individual, in relation to others, to society and the wider world.
A critical approach towards images of identity and femininity currently circulating in Japanese popular culture.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
The book examines three distinct strands of photographic practice – the documentation of performance works, how performers and photographers have worked collaboratively, and the work of photographers who have a strong performative element to their practice – as well as the construction of self-identity and playful, innovative approaches to portraiture.
On the occasion of the eponymous exhibition, February-June 2016, Tate Modern.
Artists in this DVD collection capture the sensibility of our age by satirizing society and reinventing icons of literature, art history, and popular culture. Audio languages: English and Italian.
This book examines the rise of women artists in the late 20th century, viewed through the work of 12 key figures.
Catalogue comprising of the work of more than 65 artists, featuring a variety of media, from the exhibition at the Museum of Contemporary Art San Diego
Published to coincide with exhibition, 2013
A Bigger Splash: Painting After Performance takes a new look at the dynamic relationship between performance and painting from 1950 to the present day. Published on the occasion of the exhibition of the same title at the Tate Modern, 14 November 2012 – 1 April 2013.
Explores the role of the fake, the false and the faux in contemporary performance and investigates the aesthetic and political potential of re-enactments.
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.
An analysis of the fraught relation between political and representational visibility in contemporary culture.
This item is part of the Study Room Guide On (W)Reading Performance Writing by Rachel Lois Clapham (P1433) and the Study Room Guide in Search of a Documentology by Marco Pustianaz (P1115) and the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
Pulls together a diverse selection of artists whose work embraces the possibilities of personality and appearance, racial and sexual stereotype, role-playing and reality.