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.
Adrian Piper, Eleanor Antin, Anna Deavere Smith and Nikki S Lee have all crossed racial, ethnic, gender and class boundaries in works they have concieved and performed. Cherise Smith analyses their engagements with issues of identity through close readings of perfromances by each artist.
This publication is based upon the touring exhibition project re.act.feminism #2 – a performing archive, an expanding, temporary and living performance archive that travelled through six European countries from 2011 to 2013. With essays by curators and scholars Kathrin Becker, Mathias Danbolt, Eleonora Fabião, Bettina Knaup, Laima Kreivytė, Laurence Rassel, Angelika Richter, Oxana Sarkisyan, Rebecca Schneider, Mare Tralla, Linda Valdés, Reet Varblane.
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)
Critical text with illustrations.
Critical monograph on Helen Chadwick with colour illustrations.
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)
Letters to and from Carolee Schneemann 1956-1999
Vol. 33 2014, shelved in publications.
Contemporary women artists.
Discussion of works and creative process of Helen Chadwick in relation to architecture, the body, and identity
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)
Video installation-performance of a dinner party written and directed by Monica Mayer.
Created to co-incide with Utterly Precarious: Carolee Schneeman in 5 Parts exhibition Spring 2012 at the Mutter Museum of the College of Physicians of Philadelphia. Includes booklet.
Performed at In Between Time festival, Arnolfini, Bristol, 2013.
Archive footage of Mexican feminist art collective Polvo de Gallina Negra appearance on national television in 1987.
Archive of feminist performance in Mexico collated by Monica Mayer.
Spanish-language monograph on Rosa Chillante.
Comprehensive monograph on Rose Finn-Kelcey with illustrations and essays.
This item is part of the 'Glimpses of before: 1970s UK Performance Art' Study Room Guide by Helena Goldwater (P2497)
Doyle explores emotion in art.
A history of feminist art from the 1960s.
Karen Finley interprets the last decade of popular culture
Critical text on the legacy of 1970s feminist artists.
*currently unavailable*
a collection of texts and images that respond to the dance duet O
Part of the Library of Performing Rights (LPR) (P3041).
Documentation of Jo Spence’s battle with leukaemia leading up to her death
A selection of the artist’s recent texts
theory on Lady Gaga, new feminism, gender and sexual fluidity
Judith Halberstam proposes “low theory” as a mode of thinking and writing that operates at many different levels at once.
interviews and documentation of Valie Export’s work
a collection of Karen Finley’s memoirs
Masculinity without men. Judith Halberstam takes aim at the protected status of male masculinity and shows that female masculinity has offered a distinct alternative to it for well over two hundred years.
Almost 50 years since the publication of Ono’s conceptual instructions book, Grapefruit, Acorn is a collection of conceptual instructions and dot drawings, originally written for a website event and published here for the first time.
Staging Black Feminisms sets out to challenge perceptions of black women’s theatre work as inherently feminist. Drawing on black feminist theories of identity and theories of black and feminist performance form, it analyses key themes such as migration, motherhood, sexuality, mixed race identity and interracial relationships in a range of late-twentieth and early twenty-first century black British women’s plays and performances.
In Radical Gestures, the first comprehensive history of feminist performance art in North America within the social context of the feminist movement and avant-garde art from the 1970s to 2000, Jayne Werk shows that artists drew from feminist politics to create works that, following a long period of modernist aesthetic detachment, made a unique contribution to the re-politicization of art.
Part of the Anna Birch collection ‘Fragments to Monuments’, 1 x book, 3 x DVDs
Part of the Anna Birch collection ‘Fragments to Monuments’, 1 x book, 3 x DVDs. Includes DVD
herst. Theorie Zur Praxis follows the path of the festival (21 September – 14 October 2012) in Austria, by providing reflections, portraits and interviews by or on participants of the festival.
Part of the Anna Birch collection ‘Fragments to Monuments’, 1 x book, 3 x DVDs
Point. 1: I was just listening to Radio 4 telling me about komodo dragons laying virgin birth eggs, and David Attenborough once taught me about a plant at the bottom of a sea that grows flowers, which become jellyfish, that then give birth to seeds that become plants.
Point. 2: I am a makeshift domestic goddess and my life is in a makeshift world, I’ve got all the right whisks and piping bags, but my apron is stained.
If You Want Bigger Yorkshires You Need a Bigger Tin is a show about Lucy’s ‘to trans, or not to trans’ search for her femininity.
Bilingual festival catalogue/pamphlet featuring performances, installations, films, workshops and discussions from the 18th International City of Women festival (on ageing), Slovenia.
Feminist and Queer Performance traces a rich personal, political and theatrical history. Mapping the central theoretical strategies of interpretation in feminist and queer studies, and examining the leading performance artists in the field, each chapter responds to and is situated in the lively and compelling debates of the moment.
n.paradoxa's 12 Step Guide to Feminist Art, Art History and Criticism invites readers to ask themselves difficult questions about the visibility of women artists, stereotypes of women artists in canons of art history, and to think about different theoretical approaches to a feminist art history of women artists. It offers further reading on a number of issues including: images of women; women as cultural producers; the politics of feminist art; and distinguishing between art in/of the feminine and feminist art.
This Article can be found in, Miscellaneous articles folder 5A
From a lecture given on 7 November 2011 at the Ludwig-Maximilians-Universitat Munchen, and on 1 December 2011 at the Freie Universitat Berlin, Top Girls focuses on media images, since the late 1990s, which were intended to provoke some, imagined group of (always humourless) feminists. These images appeared, in a celebratory fashion, to reverse the clock, turning it back to some earlier pre-feminist moment, while at the same time doing so in a rather tongue-in-cheek kind of way. The prevailing use of irony seemed to exonerate the culprits from the crime of offending against what was caricatured as a kind of extreme, and usually man-hating feminism, while at the same time acknowledging that other, more acceptable, forms of feminism, had by now entered into the realms of common sense and were broadly acceptable.
This article can be found in miscellaneous articles, folder 5A.
Feminist Futures? sets out to ask if and in what way feminism remains relevant to theatre and performance practice of the twenty-first century. Responding to this question is an excellent, cross-generational mix of theatre scholars and practitioners whose essays engage in lively, cutting edge critical debates on issues such as citizenship, autobiography, cultural heritage, political agency, and body/technology, as circulating in contemporary feminism and performance today.
A presentation in response to an invitation to speak for 15 minutes on Art, Activism and Feminism in the 1970s at '347 minutes… a Conference' at Conway Hall, London, 24.3.2000, held in conjunction with the Whitechapel Exhibition 'Live in Your Head' January – March 2000. Miscellaneous articles, folder 4.
Found in miscellaneous article folder #5A
This item is part of the 'Glimpses of before: 1970s UK Performance Art' Study Room Guide by Helena Goldwater (P2497)
Performance Film Installation is a new publication designed to mark five years of solo and collaborative performances, films and installations by Natasha Davis, and coinciding with the London premiere of Internal Terrains at Chelsea Theatre as part of Sacred. A diverse range of authors and artists have generously responded to an invitation to provide insights into various aspects of Natasha's practice.
Taken from banners carried in a 1992 protest outside the Guggenheim Museum, the title phrase 'Where is Ana Mendieta?' evokes not only the suspicious and tragic circumstances surrounding her death but also the conspicuous absence of women artists from high-profile exhibitions. Drawing on the work of such theorists as Judith Butler, Joseph Roach, Edward Said, and Homi Bhabha, Jane Blocker discusses the power of Mendieta's earth-and-body art to alter, unsettle, and broaden terms of identity itself.