Examines the activist, participatory, coauthored aesthetic experiences being created in contemporary art. In a series of fifteen conversations, artists comment on their experiences working cooperatively, joined at times by colleagues from related fields, including social policy, architecture, art history, urban planning, and new media.
Part of the Study Room Guide on Live Art and Displacement (P3107).
In miscellaneous folder 6.
Part of the Study Room Guide on Live Art and Kids (P3091).
Key critical writings by artist and curator Ian White (1971-2013), ranging from reviews and catalogue essays to entries from his blog Lives of Performers.
The book suggests new narratives about canonical artworks of the British Black Art movement, such as Lubaina Himid’s Freedom and Change, Eddie Chambers’ Destruction of the National Front and Sonia Boyce’s Lay Back Keep Quiet and Think of What Made Britain So Great, interrogating their critical agency from an art-historical perspective.
This collection of essays sheds new light on the political, ethical and aesthetic potential of participatory artworks and tests the very latest theoretical approaches to this subject.
An article on autopbiographical perforance, including Fake It Till You Make It (Bryony Kimmings, Tim Grayburn), Elizabeth Taylor is my Mother (Suzie Hardgrave, La Mama Theatre), The Blueform (James Pratt, La Mama Theatre).
Reviews from New York: Sleep No More (Punchdrunk), The Sound and the Fury (Elevator Repair Service), Argument Sessions (Ilana Baker)
Feature on Duets on Ice, Landfall and Dirtday!.
All issues (pilot-6) of the “international cross-artform bi-monthly”.
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.