Calls out to freedom in the capitalist commons, within the cultural production of the high street.
Part of Library of Performing Rights (P3041).
Brings together established and emerging practitioners who work with light, as material or subject.
Explores the ways in which contemporary artists across media continue to reinvent art that straddles both public and private spheres.
A new collection of images and texts depicting the artist's recent activities and project with Live Art Bistro, East Street Arts and Leeds Beckett University.
Explores the agency and materiality of the archival document through a collection of critical writings and original artworks,
Brings together artists, curators and producers, writers and critics to think through their relationship with criticism, revealing passionately held and often conflicting opinions on what criticism is and where it resides. Follows Steakhouse: Live Writing, a pilot project undertaken as part of the 2016 Steakhouse Live Festival of Live Art and Performance.
Highlights the various aspects of particular interest and activity which make the British scene distinctive and exciting.
An assessment of experimental work in the early years of Dance Umbrella (1978-1983).
The contributors to this book, writing from a variety of subject disciplines and interests, explore a range of the uses of autobiography from the nineteenth-century to the present day, and from Africa, USA, the Middle East, France, New Zealand, as well as Britain.
Part project part catalogue: split into three distinct sections the book brings together artists and academics to explore the impact of gentrification and the possibility of resistance.
Explores the role of philanthropy in public collections across the UK.
Publication on the group exhibition exploring current international developments in socially engaged art practices. CAA, 28 January – 12 March 2017.
Four interviews and ten essays, case studies, manifestos and anti-manifestos by theatre makers, curators, critics, and scholars, presenting various examples of audience participation in theatre and linking them to problems of participation in democracy and to socially engaged art.
Drawn from empirical and extensive experience and research, the book provides a curriculum and framework for thinking about the complexity of socially engaged practices. Locating the methodologies of this work in between disciplines, Helguera draws on histories of performance, pedagogy, sociology, ethnography, linguistics, community and public practices.
Part of the Study Room Guide on Live Art and class and cultural privilege. (P3152)
Review from New Wave – a biennial project comissioning and developing work by young artists.
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.
A limited edition publication exploring a series of innovative live performances and events.
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.
An overview of the first 10 years of the VERBO festival, featuring texts by Brazilian and foreign authors.
In Portuguese and English; some text in Spanish.
This is the first book on Mexican artist’s broad range of production, bringing together two- and three-dimensional works, records of actions, sound and film recordings and archival materials, enabling a reading of Mayer’s place in the construction of feminist practice in Mexico. In Spanish and English.
Exhibition catalogue; Los Angeles Institute of Contemporary Art, June-August 1984. Artists: John Davis, John Dunkley-Smith, Marr Grounds, Lyndal Jones, John Nixon, Mike Parr, Redback Graphix, Stelarc
Exhibition catalogue. Original exhibition: Graz, Künstlerhaus, October – November 1976. Further exhibitions: Innsbruck, Vienna, Bochum. In English and German.
In this new English edition of the handbook over sixty curators, art historians, and artists take a critical look at the theme of the significance and potential of public art.
Published on the fifth anniversary of the BP Deepwater Horizon disaster, Artwash is an intervention into the unsavoury role of the Big Oil company’s sponsorship of the arts in Britain.
The first publication to address queer feminist politics, methods and theories in relation to the visual arts, including new media, installation and performance art. Despite the crucial contribution of considerations of 'queer' to feminism in other disciplines of the humanities, and the strong impact of feminist art history on queer visual theory, a visible and influential queer feminist art history has remained elusive.
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.
A a set of reflections and annotations on the eponomous performance and exhibition project by preeminent British sculptor, Bruce McLean.
The perceived rules of the development and running of alternative spaces, and where those rules came from, are among the questions answered by the authors. The underlying message in the publication is the importance of critical thinking as well as the need for alternative thinking.
Special Issue: The politics, processes, and practices of editing. Also includes sections on commissioning, authoring, submission, curation, production, and dissemination.
The Disagree. magazine is a result of the cooperation between a changing group of artists, curators, and theoreticians operating fully independently. They join forces under the name of the Disagree. Art assembly. Those who write for the Disagree. magazine automatically become part of the editing team and thus of the assembly. The editors of the first issue are Jeff Poak, Jean Gotthard, Harald Pogel, Nazim Besikci, Jana Tupivic, Anna Siegel.
The author discusses new vocabularies and methodologies around curating disability and access. In Miscellaneous Articles folder 4.
In this article, Tom Sellar begins to define the mercurial role of the performance curator that has been emerging at the intersections of theatrical practice and the visual arts and their presentation.
Part of a DVD collection collection to curatorial practices and exhibition history called Archives. This film by Jef Cornelis constitutes an accounts of the exhibition DOCUMENTA 4.
Do you remember it – or weren’t you there? was an exhibition of work by artists and writers whose starting point was live performance. It was curated by Philip Lee and Cally Trench and presented at the London Gallery West, University of Westminster in 2013.
How do artists and curators imagine the audience in their work? How do they weave a picture of the individual viewer’s mental, physical, and emotional experience into the production of art events and what impact do these conceptions have on the finished artworks or exhibitions? Which new perspectives are useful in explaining the changes that have occurred in the art field and the concomitant new viewing positions? These are some of the questions that are the basis for Imagining the Audience.
Text in Swedish and English.
Writings around the incorporation of pedagogy into art and curatorial practice.
Interviews with artists by students from the MA Curating Contemporary Art at the Royal College of Art
A look back on the challenges encountered by the curators of VITAL and Vital Signs, a three-month contemporary arts festival and a one-day symposium held in Nottingham.
Documenting exhibitions at the LAB Gallery.
A series of events held at East Street Arts.
Performance Matters: Performing Idea – Performative Writing
8th October 3.00-7.30pm