Considering how blackness is imagined in and through performance, the contributors address topics including flight as a persistent theme in African American aesthetics, the circulation of minstrel tropes in Liverpool and in Afro-Mexican settlements in Oaxaca, and the reach of hip-hop politics as people around the world embrace the music and dance.
Part of the Library of Performing Rights (P3041)
Examines the significance of the transgender body and presents a series of case studies focused on the meanings of masculinity in its dominant and alternative forms – especially female and trans-masculinities as they exist within subcultures, and are appropriated within mainstream culture.
Part of the Library of Performing Rights (P3041)
Examines five performance/artworks: The Artist is Present (2010) by Marina Abramović; The Deer Shelter Skyscape (2007) by James Turrell; CAT (1998) by Ansuman Biswas; Journey to the Lower World by Marcus Coates (2004); and the work with pollen by Wolfgang Laib.
An anthology of Edward’s creative practice-led projects. Through the innovative practice of ‘mesearch’, in which the author is both theoriser and theorised, this study delivers a personal, creative narration, combining reflections and emotions in relation to self and performance.
A collection of 14 essays by international scholars and practitioners from across the disciplines of Philosophy, Literature and Theatre and Performance Studies, addressing the nature of the relationship between philosophy and performance.
On Multimediales, at ZKM, Germany.
The first scholarly book to focus exclusively on theatre and learning disability as theatre, rather than advocacy or therapy.
Part of the Library of Performing Rights (LPR) (P3041).
On brest cancer and resistance.
Part of PSI 12.
Part of the Library of Performing Rights (LPR) (P3041).
The first book to provide a collection of key writings about the process of documenting performance, focused not on questions of liveness or the artistic qualities of documents, but rather on the professional approaches to recovering, preserving and disseminating knowledge of live performance.
Offering an incisive rejoinder to traditional histories of modernism and postmodernism, this book examines the 1960s performance work of three New York artists who adapted modernist approaches to form for the medium of the human body.
Explores how artists engaged with the sonic conditions of modernity through dramatic form, characterization, staging, technology, performance style, and other forms of interaction.
A LADA screening programme for the 2016 Venice International Performance Art Week: a collection of documentation and artists’ films looking at pain and performance.
Includes:
Marina Abramovic – On ‘Rhythm O’, 1974, 2013, 3’07” ; Ron Athey – Ron’s Story, 2001, 4’44”; Marcel.Li Antunez Roca – Epizoo, 1994, 8’29; Franko B – Don’t Leave Me This Way, 2009, 5’03”; Wafaa Bilal – On ‘Shoot An Iraqi’, 2007, 2’21”; Rocio Boliver – Times Go By and I Can’t Forget You: Between Menopause and Old Age, 2013, 4’18”; Cassils – The Powers That Be, 2016, 2’24”; Bob Flanagan – Cystic Fibrosis Song, 1990’s 1’32”; Regina Jose Galindo – Lucha, 2002, 3’37”; jamie lewis Hadley – this rose made of leather, 2012, 9’10”; Nicola Hunter & Ernst Fischer – Passion/Flower, 2012, 4’02”; Oleg Kulik – Dog House 1996, 4’10”; Martin O’Brien – Taste of Flesh, 2015, 2’59”; Kira O’Reilly – Wet Cup, 2000, 2’29”; ORLAN – Successful Operation, 1990, 6’16”; Petr Pavlensky – Radical Artist In Court – Ukraine Today News Item, 2015, 1’57”
Transcript from a performance; Live Art and Performance Art sessions, School of Arts, Oxford Brookes University
The first work to critically examine the dilemmas and promises of representing feminist motherhood in contemporary art and visual culture.
Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).
All performance depends upon our abilities to create, perceive, remember, imagine and empathize. This book provides an introduction to the evolutionary and cognitive foundations of theatrical performing and spectating and argues that this scientific perspective challenges some of the major assumptions about what takes place in the theatre.
This provocative book meets the supposedly ‘live’ practices of performance and the ‘no-longer-live’ historical past at their own dangerous crossroads. Focussing on the ‘and’ of the title, it addresses the tangled relations between the terms, practices, ideas, and aims embedded in these compatriot – but often oppositional – arts and acts of time.
Published to coincide with the 1997 showing at the Art Gallery of New South Wales in Sydney, Australia, of works featuring nudes by around 100 modern and contemporary artists. Includes essays, artists’ bios, bibliography.
Tracing a dynamic genealogy of performance from the nineteenth to the twenty-first century, Uri McMillan contends that black women artists practiced a purposeful self- objectification, transforming themselves into art objects.
Lois Keidan discusses “Anniversary – an act of memory”, Monica Ross’s most recent series of work that took the form of a series of recitations of the Universal Declaration of Human Rights (UDHR) from 2005 until her death in 2013. of Acts of Memory.
The author reflects on the “Monica Ross: A Symposium” that took place at the British Library, London, on Friday 28 November 2014, in celebration of the institution’s acquisition of Ross’s digital archive.
This essay extracted from Études Irlandaises (n° 39-1) examines “Redress” (2010-2012), a series of performances by artist Áine Phillips that interrogate the legacy of abuse perpetrated in Irish residential institutions in the 20th century.
Adrian Piper's Mythic Being performances critically engaged wtih popular representations of race, gender, sexuality and class; confronting viewers and forcing them to reconsider assumptions about the social construction of identity. An in-depth analysis of Piper's work.
An exchange between the live body and ubiquitously distributed data-driven systems
Artist’s introduction to new media practice and its implicit body of performance
Documents of Contemporary Art series.
Explores technology’s influence on artistic performance practices in the twentieth and twenty-first centuries.
This article analyzes the question of where the dominant mode of production lies – on the screen, where action and a singular character identity cohere, or behind the screen, where the embodied difference of the actors is continually prioritized.
Offers a critical study of the intimate relations between performance art and media production in contemporary culture.
Considers what sustained attention to the affective force of trauma might yield for critical theory.
Analyses the tension between a fragmented and holistic body concept in performance art, popular culture, new media arts, and architecture.
Edited collection on performance practice and analysis that engages with medical and biomedical sciences.