For 12 days in November 2002, Marina Abramovic lived on three open platforms in the Sean Kelly Gallery in New York. She did not eat or speak, nor did have any privacy: the rooms were open and spectators were even invited to observe the artist through a high-powered telescope. This volume presents documentation of The House With the Ocean View alongside essays by the artist, her gallerist Sean Kelly, art historian Thomas McEvilley, curator Chrissie Iles, Cindy Carr, RoseLee Goldberg and Peggy Phelan.
Amanda Coogan collaborates with 13 performers to explores the Church Street disaster of 1913 and its parallel with contemporary Irish society.
The performance took place in the Hugh Lane Gallery over 12 hours. It was captured in this video using timelapse photography, the entire 12 hours resulting in a new 8 minute film.
Film: Paddy Cahill
Sound Design/Composition: Mike Glennon
On Monday 28 May 2012, Noëmi Lakmaier undertook a slow and exhausting test of endurance – an attempt to crawl from Toynbee Studios towards ‘The Gherkin’.
Film: Hydar Dewachi. 14:39
Across a series of twelve in-depth interviews with a diverse range of major artists, Dominic Johnson presents a new oral history of performance art.
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)
Investigates sound art and its various manifestations through historical, theoretical, polemical and critical analyses of artistic, musical and literary works
Sarah Lehrer-Graiwer explores one of Lee Lozano’s most challenging and elusive works, ‘Dropout Piece’.
This volume, published in conjunction with the opening of the MAI – Marina Abramović Institute for the Preservation of Performance Art – the only venue of its kind for the conservation, production and enjoyment of long-duration performances – is not only a celebration of the project, but also a summary of Abramović career
Essay commissioned by ArtsAdmin for Noemi Lakmaier’s piece ‘One Morning in May’. Located in Miscellaneous Articles folder 4.
Documentation of Yann Marussich’s performances between 2011 and 2012. Text in French.
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)