Investigates the multilayered social construction of femininity in the mass culture of Weimar Germany, focusing on the photomontages of the avant-garde artist Hannah Hoch.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
Covering 21 countries and more than 250 artists, this text demonstrates the manner in which performance art in the region developed concurrently with the genre in the West, highlighting the unique contributions of Eastern European artists.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Explores how artists engaged with the sonic conditions of modernity through dramatic form, characterization, staging, technology, performance style, and other forms of interaction.
Niebisch retraces how the early Avant-Garde movements started out as parasites inhabiting and irritating the emerging mass media circuits of the press, cinema, and wired and wireless communication.
A spectacular live soundtrack to the route of the participatory live art event, curated by Tai Shani. The CD includes the songs from the walk, text by Tai Shani and walkwalkwalk and original artwork by Stephen Fowler.
Generally recognized as the most comprehensive and accurately translated collection of situationist writings in English, this book presents a rich variety of articles, leaflets, graffiti and internal documents, ranging from early experiments in “psychogeography” to lucid analyses of the Watts riot, the Vietnam War, the Prague Spring, the Chinese Cultural Revolution and other crises and upheavals of the sixties.
Elevn illustrated essays explore the structure and meaning of Duchamp's work as part of an ongoing critical enterprise that has just begun. Ranging from the Munich period and the development of the ready-mades to the last work, Etant donnes, they present the latest thinking on Duchamp and his ideas.
Rodenbeck offers a rigorous art historical reading of Kaprow’s project and related artworks. She finds that these experiential and experimental works offered not a happy communalism but a strong and canny critique of contemporary sociality. Happenings, she argues, were far more ambivalent, negative, and even creepy than they have been portrayed, either in contemporaneous accounts or in more recent efforts to connect them to contemporary art’s participatory strategies.
A comprehensive bibliography of writings on 'Action Art' in the twentieth century.
The first historical and theoretical overview of socially engaged participatory art, known in the US as ‘social practice’. Follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic.