The first anthology to chronicle the global critical reception of Aboriginal Art since the early 1980s, when the art world began to understand it as contemporary art.
Part of Library of Performing Rights (P3041)
The art of sloth and reverie as oppositional (in)activities.
Commissioned by Newlyn Art Gallery to mark their extension and the opening of The Exchange Gallery in Penzance, in 2007. The book is the outcome of an extensive process of cataloging and extracting repeated words and phrases from the gallery visitors book from a three year period.
What is seriousness exactly, and where does it reside? Is it a desirable value in contemporary culture? Or is it bound up with elite class and institutional cultures?
Where does our current obsession for interactivity stem from? After the consumer society and the communication era, does art still contribute to the emergence of a rational society? Bourriaud attempts to renew our approach toward contemporary art by getting as close as possible to the artists works, and by revealing the principles that structure their thoughts: an aesthetic of the inter-human, of the encounter; of proximity, of resisting social formatting.
In this follow-up to his influential 2010 book, Dark Matter: Art and Politics in the Age of Enterprise Culture, Sholette engages in critical dialogue with artists' collectives, counter-institutions, and activist groups to offer an insightful, firsthand account of the relationship between politics and art in neoliberal society.
This collection of essays considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms.
*currently unavailable*
Takes as a starting point the premise that art is best understood in dialogue with the social sphere, and examines how the exchange between art, knowledge and use has historically been set up and played out.
Seeks to show how a clear understanding of class makes sense of what is at stake in a broad number of contemporary art's most persistent debates, from definitions of political art, to the troubled status of “outsider” and street art, to the question of how we maintain faith in art itself in a dysfunctional world.
Part of the Study Room Guide on Live Art and class and cultural privilege. (P3152)
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).
Book published alongside the eponymous exhibition (La BOX, Bourges); includes essays by the three authors, in English, Serbian and French.
Part of the Study Room Guide on Live Art and Displacement (P3107).
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.
Catalogue for the exhibition held at the Koldo Mitxelena Cultural Centre in San Sebastian. 3/12/1998 – 6/2/1999. In Spanish, Basque and English.
An overview of Poro: Brazilian company engaged in poetic, ironic and political actions. In Portuguese and English.
The publication explores art created in public spaces in Brazil, since 2000. In Portuguese and English. Published under the Creative Commons licence.
The first comprehensive collection of writings by American artist and critic Martha Rosler. Best known for her videos and photography, Rosler has also been an original and influential cultural critic and theorist for over twenty-five years.
*currently unavailable*
Join John and Susan on their exciting journey through the art exhibition, where, with Mummy's help, they will discover the real meaning of all the contemporary art works – from empty rooms, to vagina paintings or giant inflatable dogs.
Formatted and designed like a children's board book, Baby Ikki at the Museum features the eighteen-month-old character posing in front of works of art in the Whitney Museum of American Art. He acts as a wide-eyed explorer wandering in a new world, examining and responding to works in the Museum's collection by pointing, staring, or offering quizzical looks.
The first major book on the more than 20-year history of Beaconsfield, an important artists association in London founded by two trained painters David Crawforth and Naomi Siderfin.
Includes a list of performance art journals and resources, further reading, and glossary of terms explored in the ‘What is…?’ series.
Intervention at the Museum of Contemporary Art, Sydney, about the lack of local live art in the curatorial vision of one of Australia’s foremost contemporary art institutions.
Part of the Library of Performing Rights (LPR) (P3041).
Poster for the campaign Land of Human Rights, a project by ,association for contemporary art in Graz, questioning European human rights issues. Printed and distributed between 2007 and 2009, the front side of the posters presents works of artists on current human rights issues. The back side features short texts of human rights activists, theorists or people affected by human rights. Text in English, German, Turkish and Serbian.
A large format and graphically bold publication that goes to the very heart of contemporary debate about the responsibility and function of the arts and of artists in society today.
Platform Study Room Guide (P1820). This item is referenced in the Dreams for an Institution Guide (P2313) and the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
Part of the Library of Performing Rights (LPR) (P3041).