Bodies move freely through an ambiguous urban “utopia”…or do they? Shot on 16mm film and digital video.
7 mins
A popular lesbian ‘commercial,’ 110 images of sensual touching montages in A, B, C, D rolls of ‘kinaesthetic’ editing.
4 mins.
The first major survey of the artist’s interdisciplinary practices. Bringing together newly commissioned and other writings by major thinkers in and beyond visual and performance studies, and extensive documentation of the artist’s work from two decades of practice, it navigates through and between performance, biotechnical practices, image-making, and writing.
On Kollwitz's reception in America, 1900-1960
Liquid damage on publication.
An interview with The Guerrilla Girls. Liquid damage on publication.
Part of The Library of Performing Rights (P3041).
On female photographers who photograph men.
Liquid damage on publication.
On Mendieta's late 70s series, in which the artist trekked into the woods and marked the outlines of her body agains the earth.
An interview with women at the forefront of art and technology.
Liquid damage on publication.
Resonating with the ethos of open dialogue and the experimentation of women artists’ collectives in the 1970s and 1980s, the publication constructs a dynamic, open, and collaborative arena that foregrounds practices of resistance, collectivity, and self-organization. Exhibition catalogue: Cooper Gallery, 28 October 2016 – 16 December 2016.
Part of Library of Performing Rights (P3041).
Carolee Schneemann in conversation with Bonnie Marranca and Claire MacDonald
Includes a document with translations and the following performances:
1. En un fist fast
2. La caida del ser
3. Vigilia sex
4. Varios perfos expo
5. De docta ignor lombrices
6. De docta ignor desentarrarme
7. Pepafono 3 versiones
8. Ponme la mano aquí macorina
9. Sea anemone and the hermit crab
10. Embajadora de la buena voluntad
11. ¡Ah no!
12. Violence and tenderness
13. Cagandola a diestra y siniestra
14. Sweet sixteen
15. Times goes by and I can not forget you
Catalogue published in conjunction with an exhibition at the Art Gallery of York University, September 6 – October 1, 1989.
Draws on the experiences and expertise of a wide range of lesbian practitioners and theorists to explore the impact and influences of sexuality and gender on performance.
Part of Library of Performing Rights (P3041).
Publication focuses on Grau's practice, and specifically videos created between 1994-2008.
In German and English.
From Acker's earliest interviews–filled with playful, evasive, and counter-intuitive responses–to the last interview before her death where she reflects on the state of American literature, these interviews capture the writer at her funny and surprising best.
Examines sexuality, gender and race in Australia’s vibrant independent theatre and performance culture.
Part of Library of Performing Rights (P3041)
Considered one of the most outrageous, violent and certifiably crazy tracts when it first appeared in 1968, Solanas' text is reconsidered in Avital Ronell's introduction, “Deviant Payback: The Aims of Valerie Solanas”.
Cataloguing Pfahler's recent projects for the 2008 Whitney Biennial, the volume also features her most notorious body-art performances and pieces. Numerous full-bleed photographs capture the making of the Biennial artworks, the preparation for her live show, the performance itself and the aftermath.
A programme of events exploring blood in performance for BLOOD: Life Uncut, a season of work for the new Science Gallery, London. Includes:
Janez Janša: Ron’s Story (5 minutes, 2001)
Ernst Fischer and Nicola Hunter: Passion/Flower (2012, 4 minutes)
Regina Jose Galindo: Who Can Erase the Traces (2003, 2 minutes), La
Sangre del Cerdo (2016, 8 minutes)
Franko B: I Miss You! (2003, 2 minutes)
Marisa Carnesky: Dr Carnesky’s Incredible Bleeding Woman (2016, 3 minutes)
jamie lewis hadley: this rose made of leather (2012, 10 minutes)
Kira O’Reilly: Wet Cup (2000, 3 minutes)
Martin O’Brien: If It Were The Apocalypse I’d Eat You To Stay Alive (2015, 8 minutes)
La Ribot: Another Bloody Mary (2000, 10 minutes)
Rocio Boliver: Times Go By and I Can’t Forget You: Between Menopause and Old Age (2013, 4 minutes)
The second issue of The Magazine of the Artist’s Institute, dedicated to Carolee Schneemann
On performing feminist values for children.
A selection of texts on the festival, its topics and atmosphere.
Examines how Hannah Wilke explored the relationship between sexual and gustatory taste in her performance Super-T-Art (1974), which she created for Jean Dupuy’s event Soup & Art held at the Kitchen in New York Cit
On Das Stück mit dem Schiff and Amor constante mas alla de la muerte.
Newspaper format catalogue. White Columns, New York, 13 September – 20 October 2002.
Illustrated catalogue accompanying the exhibition; Cornerhouse (3 March – 22 April 2001), Arnolfini (18 March – 13 May 2001), Mead Gallery (6 October – 1 December 2001).
The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women's art practices provide a fascinating instance of women's eccentric experiences of the myriad effects of globalization.
Explores the agency of the pseudonym over a sustained period of time through two case studies in particular: the Guerrilla Girls, an all-female collective working anonymously, and Marvin Gaye Chetwynd, the first British performance artist to be nominated for the Turner Prize.
A dual catalogue and archival exposé that explores the pivotal exhibition, Coming to Power: 25 Years of Sexually X-Plicit Art By Women, originally curated by the late artist, Ellen Cantor, in 1993, along with its re-staging in 2016 by curator Pati Hertling and artist Julie Tolentino.
Part of the Library of Performing Rights (LPR) (P3041).
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.
Since its inception nearly 25 years ago, the feminist art movement has transformed the art world. Now, two professors of art history bring together 18 influential historians, critics, and artists to create this landmark volume.
Part of the Library of Performing Rights (LPR) (P3041).
The first book-length introduction to and critical analysis of contemporary feminist performance, from Madonna to Karen Finley to Cherrie Moraga.
Part of the Library of Performing Rights (LPR) (P3041).
Does art have a sex? A study of Lucas's famous assemblage of objects that suggest male and female body parts.
A anguage, a tool to articulate a series of ideas: how outrage and prejudices can be performed; perceptions of the savage and barbaric heathens; tribal nuances and thinking about the Paris of the 1920s as a site of inequality; the spate of negrophilia there; how a change of circumstance for women was reinforced by the war; cultural diversity and tolerance; exoticism and anti-colonial; therefore, transgressive behaviours.
Documentation from the DIY13 project: a collective process of devising and then performing a public action, over the course of a weekend.
Part of the Library of Performing Rights (LPR) (P3041).
Abjection builds awareness of post-porn power, which breaks away from the outdated distinction between eroticism and pornography.
The artist's body is spit on and punished by an indigenous Guatemalan woman.
Part of the Library of Performing Rights (LPR) (P3041)
A one hour reading of testimonies from the survivors of the armed conflict in Guatemala.
Part of the Library of Performing Rights (LPR) (P3041).
Guatemalan artist carvs the letters P-E-R-R-A (bitch) into her thigh, the same word carved onto the many victims of her country’s feminicide crisis.
Part of the Library of Performing Rights (LPR) (P3041).
What happens when you give a live artist the keys to the library?
Publicaition in honor of the 10th anniversary of FemLink-Art.
Part of the Library of Performing Rights (LPR) (P3041).
Publication accompanying a multi-layered interactive performance for self-reflection on the issue of female gender, for “The Gender Under Reflection” at New Zero Art Space, Yangon, Myanmar, 22-26 September 2012.
Part of the Something Human Study Room Guide on Southeast Asian performance (P3334).
Documenting the event which invited 19 female performance artists from 10 countries to engage with performance art workshops, open lectures and a presentation of performances.
Part of the Something Human Study Room Guide on Southeast Asian performance (P3334).
Publication for Womanifesto-II including documentation and artist profiles.
Part of the Something Human Study Room Guide on Southeast Asian performance (P3334).
A performance for video, shot in one take; features the artist being cut out of a corset by her mother.
4mins/silent/single play or loop/4:3
Part of the Library of Performing Rights (LPR) (P3041).
From Surrealist selfies to feminist self-portraiture, the ISelf Collection explores identity and the human condition through the central themes of birth, death, sexuality, love, pain and joy. Taking the display of the collection at Whitechapel Gallery as its springboard, this book looks generally at the question of the self in modern and contemporary art, and the ways in which artists are thinking about being and identity as an individual, in relation to others, to society and the wider world.