This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497).
From Anglo–American Exchange in Postwar Sculpture, 1945–1975, edited by Rebecca Peabody.
In misc. folder 6.
Explores the inspiration of 30 UK modern artists and how their works illuminate the homes and lives of their owners.
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.
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.
This biography tells the fascinating and controversial story of the artist’s life and work in graphic format, from her immigration to the US from Cuba to escape the dictatorial regime in 1961, to her groundbreaking artworks which lead to her being one of the only Cuban Americans to have works in museums around the world, to her controversial and tragic death.
Shiro Masuyama and Sinéad O'Donnell drive from Tokyo to Fukushima tracking the level of radiation. The hot spots are in and around regular places; highways, playgrounds and some as far out as a UFO museum.
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Sheren explores performance art and politics on the US Frontera since 1984. Beginning with a political history of the border, with an emphasis on the Chicano movement and its art production, Ila Sheren explores the forces behind the shift in thinking about the border in the late twentieth century.
Active in Moscow since 1976, the Collective Actions group played a key role in the development of conceptual and performance art in the Soviet Union. Inspired by the work of John Cage, the organizers invited audiences to take part in minimal, outdoor actions in fields and forests on the edges of the city that explored the nature of the aesthetic event. The publication concentrates on the early period of field actions when the problems of documentation—how to capture and convey ephemeral action to non-participants—were just beginning to be considered.
This companion book to the exhibition of the same name investigates California’s vital contributions to Conceptual art—in particular, work that emerged in the late 1960s among scattered groups of young artists.
A catalog of work from a 2014 exhibit by Jamie McMurry entitled “Above Snakes”