A collection of historical essays, critical papers, case studies, interviews, and comments from scholars and practitioners that shed new light on the field of collaborative art.
A compilation of the best of Library Juice, an e-zine that dealt with foundational questions of librarianship during a period of rapid change.
Part of the Library of Performing Rights (LPR) (P3041).
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.
Introductory note to the exhibition held at Museo Nacional de Arte Reina Sofia, 25 October 2012 – 11 March 2013.
This Article can be found in miscellenous folder 5B.
A book of photo etchings of Mendieta's Rupestrian Sculptures.
This richly illustrated catalogue presents a series of sequential color stills from each of twenty-one original Super 8 films that have been newly preserved and digitized in high definition for the 2015 exhibition, combined with related photographs, and reference still images from all of the artist's 104 filmworks; together these illustrations sample the full range of the artist's film practice from 1971 to 1981.
Exhibition dates: Katherine E. Nash Gallery, University of Minnesota: September 15 – December 12, 2015.
This publication sets out to make Mendieta's figure more public in order to secure her rightful place in the chronicle of contemporary art.
A collection of essays on the installation and performance work of Cuban artist Tania Bruguera. Contributors: Domenico Scudero, Lucrezia Cippitelli, Irma Arestizabal, Roberto Pinto, Simonetta Lux
Overview of 'unseen' works by Ana Mendieta
An overview of Mendieta's work published to accompany Galerie Lelong's exhibition 8 September – 8 October 2011. Photographs, film stills, critical texts and interviews.
Taken from banners carried in a 1992 protest outside the Guggenheim Museum, the title phrase 'Where is Ana Mendieta?' evokes not only the suspicious and tragic circumstances surrounding her death but also the conspicuous absence of women artists from high-profile exhibitions. Drawing on the work of such theorists as Judith Butler, Joseph Roach, Edward Said, and Homi Bhabha, Jane Blocker discusses the power of Mendieta's earth-and-body art to alter, unsettle, and broaden terms of identity itself.
Journal discussing Feminist Aesthetics. Key Articles: María Laura Rosa 'Our bodies, our history: Mujeres Públicas's activism in the city of Buenos Aires' Veeranganakumari Solanki 'Aesthetics and Identities: interview with Reena Saini Kallat' Eileen Legaspi-Ramirez 'Questions and Answers: interview with Lani Maestro' Anna Bunting-Branch and Rose Garrard ''Frames of Reference' Rose Garrard: Interview' Ming Turner 'Quasi-skin and post-human: Lin Pey Chwen's Eve Clone series, Bracha L. Ettinger 'Artists' Pages' Carol Archer 'Womanly Blooms: Cai Jin's Beauty Banana Plant Paintings' Marta Cenini 'Coco Fusco's Room:Rethinking Feminism after Guantanamo' Christine Conley 'Making Space for Utopia, FAG and the Aesthetics of Activism: Christine Conley interviews Allyson Mitchell and Deirdre Katy Deepwell 'Re.act Feminism: feminist, gender-critical and trans-gender performance art: Katy Deepwell interviews Bettina Knaup and Beatrice E. Stammer' Maria Photiou 'The Green Line: Greek Cypriot Women Artists' Politicised Practices, Lia Lapithi and Marianna Christofides' Women on the Verge, Duba' Women Artists at Manifesta, Genk, Women Artists at Arsenale, Kiev Women Artists at Documenta 13, Kassel.
This item is part of the 'Glimpses of before: 1970s UK Performance Art' Study Room Guide by Helena Goldwater (P2497)
Tatlin’s Whisper #6 (Havana version was a participative action at the central courtyard of the Wifredo Lam Centre (the institution that organizes the Havana Biennial). A stage with a podium, two microphones, and a huge golden-brown curtain as a background were placed at one end. The set was reminiscent of the staple set used by Fidel Castro for his speeches. The microphones were connected to an amplifier with speakers, one of them at the building’s entrance, pointing to the street. Two actors, a woman and a man dressed in Cuban military uniforms, stood at each side of the podium. The woman had a white dove in her hands. Admission to the event was free, but the space was filled with people from the Cuban art world, mainly young artists, students, writers, and Cuban and international visitors to the Biennial. Two handed disposable cameras were handed out to the public by Bruguera to document the event. Then people were summoned to speak their minds on the podium for one minute. In other art contexts this would not have any special relevance. In Cuba, it was an historic event: for the first time in half a century a free public tribune was allowed for people to express their ideas.This documentation has been presented with permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.