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
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).
Catalogue published in conjunction with an exhibition at the Art Gallery of York University, September 6 – October 1, 1989.
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.