Reveals a tradition of queer environmentalism in contemporary literature and film from the Americas.
Based on the results of an anonymous survey sent to more than 8,000 galleries in the US, UK, and Germany, this is an insightful examination of the business of selling art.
It examines the ‘performance of extremity’ as practices at the limits of the histories of performance and art, in performance art’s most fertile and prescient decade, the 1970s. Dominic Johnson recounts and analyses game-changing performance events by six artists: Kerry Trengove, Ulay, Genesis P-Orridge, Anne Bean, the Kipper Kids, and Stephen Cripps.
Part of the Library of Performing Rights (P3041)
Examining a range of performances from the 1960s to the present, as well as protest actions from the lunch counter sit-ins of the US civil rights movement to protest camps in the twenty-first century, this book provides a formal account of endurance and illuminates its ethical and political significance.
What can we do when arms manufacturers sponsor museums and some of the world’s most valuable artworks are used as a fictional currency in a global futures market that has nothing to do with the works themselves? Can we distinguish between creativity and the digital white noise that bombards our everyday lives?
Berlin is once more capital of queer arts and tourism. Queerness is more visible today than it has been for decades, but at what cost? This book argues that queer subjects have become a lovely sight only through being cast in the shadow of the new folk devil, the ‘homophobic migrant’ who is rendered by society as hateful, homophobic and disposable.
Part of the Library of Performing Rights (P3041)
Performance video: The Marlborough Pub and Theatre, Brighton, 2015 (42mins)
For a digital copy see EF5286.
An extraordinary response to the artist's experiences within the mental health system. Published in an edition of 200, with each copy personalised by Lucy.
Anthology of interdisciplinary essays which critically examines the interlocking themes of artistic authorship, authenticity, and legacy from legal, art market, and art historical perspective.
How much of what we understand of ourselves as “human” depends on our physical and mental abilities—how we move (or cannot move) in and interact with the world? And how much of our definition of “human” depends on its difference from “animal”?
Part of the Library of Performing Rights (P3041)