In 2016, two artists embarked a cargo ship and retraced a route of the Transatlantic Slave Triangle – Europe, Africa, the Caribbean – all the while contemplating the notion of home. Both real and imagined, it was a journey to the bottom of the Atlantic Ocean, propelled by questions and grief; a journey backwards in order to go forwards, a diaspora. This show is what they brought back.
Part of the Library of Performing Rights (P3041).
Proposes that performance is not a genre of art separate from object making but rather an attitude that has infiltrated the entire terrain of contemporary art.
Explicitly addresses significant issues, such as the oppression of women and Eurocentric standards of beauty, the historical rise of the idea of whiteness, and the abridgement of democracy along race, class, and gender lines.
Each essay shares two fundamental premises. First, that the oppression of gays and lesbians is not an isolated case, and therefore their struggle is necessarily part of a larger movement for social liberation. And, second, that the experience of gays and lesbians uphold the basic tenets of a foundational Marxism, and that they are uniquely placed to contribute to a revitalisation of Marxist theory.
After the leading organisations of radical sexual politics imploded or dissolved, the Gay Left Collective formed a research group to make sense of the changing terrain of sexuality and politics. Its goal was to formulate a rigorous Marxist analysis of sexual oppression, while linking the struggle against homophobia with a wider array of struggles, all under the banner of socialism.
A sweeping account of the way lesbian, gay, and bisexual people have challenged and changed society.
A provocative history of live art traces the precedents of contemporary multi-media events to Bauhaus experimentalism and surveys the Futurists' manifesto-like events, the Dadaists' cabarets, and later “happenings” and “spectacles.”
Combining the energy of the early seventies feminist movement with the perceptive analyses of the trained theorist, this is one of the most influential socialist feminist statements of its time.
Contributes to the ongoing critical discussions of performance and its disappearance, of the ephemeral and its reproduction, of archives and mediatised recordings of liveness.
Rrelates the history of La MaMa through its performance posters, capturing the irreverence and the aesthetic of La MaMa over five decades.
A collection of three radically poetic works for live performance. Includes JARMAN, Carthage/Cartagena), and The Orphan Sea.
The second issue of The Magazine of the Artist’s Institute, dedicated to Carolee Schneemann
For the 11th edition of DRAF Curators’ Series, guest curator Victor Wang 王宗孚 launches the Institute of Asian Performance Art (IAPA), an international network to deepen the awareness and understanding of the history of early performance art in Japan, Korea, China and Taiwan.
When students at Oxford University called for a statue of Cecil Rhodes to be removed, following similar calls by students in Cape Town, the significance of these protests was felt across continents. This was not simply about tearing down an outward symbol of British imperialism – a monument glorifying a colonial conqueror – but about confronting the toxic inheritance of the past, and challenging the continued underrepresentation of people of colour at universities.
Part of the Library of Performing Rights (P3041).
Drawing on over five years worth of her own published and unpublished writing, the author has produced a sustained argument about the way in which history writing belongs to the currents of thought shaping the modern world.
This major survey charts the development of live art across six continents since the turn of the twenty- first century, revealing how it has become an increasingly essential vehicle for communicating ideas across the globe in the new millennium.
Archive and essay on the artistic exploration of exorcism. Includes a dissertation, CDs, DVDs, and objects.
In the glass cabinet.
Seventh issue in the Urban Pamphleteer series, gathering perspectives, provocations and vignettes on London’s LGBTQ+ night-time spaces
A research into the genealogy of political practice among different feminist movements from the 1970s to the present in Europe and Australia, resulting in a six-element film installation and accompanying exhibition catalog/reader.
A book about the music, the individual, and the creativity of a worldwide community rather than theoretical definitions of a subculture, Some Wear Leather, Some Wear Lace considers a subject not often covered by academic books.
A collection of black and white photographs of the wooded area between the Fire Island communities of Cherry Grove and The Pines.
Analyzes the cultural work of spectacular suffering in late-medieval France and the twenty-first century, reading recent dramatizations of torture and performances of self-mutilating conceptual art against late-medieval saint plays.
Part of the Library of Performing Rights (P3041)
Nigel Spivey takes on one of the greatest taboos in Western culture in this original work of cultural history: why is so much pain depicted in the art of the West?
Explores the agency and materiality of the archival document through a collection of critical writings and original artworks,
A comprehensive resource of key writings on early cinema, addressing filmmaking practice, film form, style and content, and the ways in which silent films were exhibited and understood by their audiences, from the beginnings of film in the late nineteenth century to the coming of sound in the late 1920s.
Reflects on CAPP (Collaborative Arts Partnership Programme), which took place 2015-2018.
From 2008 to 2010, AA Bronson and Peter Hobbs collaborated to convene small groups of men in various locations in a secret group ritual titled “Invocation of the Queer Spirits.” The publication explores all five performances.
Traces the many ways in which museums have approached performance works from the 1960s onwards, considering the unique challenges of documenting live events.
The first ever clear, extensive, concise and informative account of conceptual art.
The first of its kind in English, this book is more than a city guide to Hong Kong through the medium of film; it is a unique exploration of the relationship between location and place and genre innovations in Hong Kong cinema.
Collects scripts, interviews, and commentary to trace the riotous first decade of WOW.
Part of the Library of Performing Rights (LPR) (P3041).
From the special collaborative issue Rambert at the Big Top.
The author's concerns – which include the social meaning of illusion and the cultural manifestation of power – take the reader from Eleanora Duse to Laurie Anderson; from the puppet theatre of Kleist to Kantor's theatre of the dead; and from the Kutiyattam temple dancers in Kerala to Womanhouse in Los Angeles.
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.
Sets out to protect the present and the future of life in Britain from their most dangerous enemy: a creeping takeover by the past. While the real economy crumbles, a new force is taking over: the Heritage Industry, a movement dedicated to turning the British Isles into one vast open-air museum.
In each annual volume, contributors document works made in the previous year. By including performances regardless of their country of origin, genre, aims, or popularity, INDEX reveals the breathtaking variety of practices used in performance work today.
Captures a series of remarkable collaborative art works instigated by visual artist Janine Antoni, in alliance with preeminent dance-maker and community activist Anna Halprin and pioneer choreographer Stephen Petronio.
Documentation from the DIY 14 project, exploring how personal documents and performance can animate each other within a specific context of travelling and migration.
The essential reader for today's creative leaders and cultural practitioners, including original contributions by artists, scholars, activists, critics, curators and writers who examine the historical precedent of South Africa; the current cultural boycott of Israel; freedom of speech and self-censorship; and long-distance activism. It is about consequences and causes of cultural boycott.
Exhibition catalogue; Hirshhorn Museum and Sculpture Garden, Smithsonian (24 October – 26 May 2014); Musée d'art moderne Grand-Duc Jean (5 July – 12 October 2014); Kunsthaus Graz (15 November 2014 – 15 March 2015).
Analyzes artistic performances, social performances, archival remains, and memoirs of the underground theater scene in 1960s New York.
nitially galvanized by the sweeping obliteration of architecture and art under the Communist regimes of the Soviet Union and eastern bloc countries, Gamboni investigates other instances of destroyed art and architecture around the globe, uncovering a disquieting and surprisingly widespread phenomenon.
Illustrates the black political ideas that radicalized the artistic endeavors of musicians, playwrights, and actors beginning in the 1960s.
Twenty two 3 minute shorts directed by international filmmakers to mark the 60th Anniversary of the Universal Declaration of Human Rights.
Part of the Library of Performing Rights (LPR) (P3041).
The dancers develop movements in response to a photo – creating in real time.
Part of the Library of Performing Rights (LPR) (P3041).
To celebrate the inclusion of Simeon Solomon’s work in the Queer British Art 1861-1967 exhibition, Bartlett revived the piece for one night only, performing it amidst the masterpieces of the nineteenth century gallery of Tate Britain. July 2017.
Includes video of the performance and the postshow discussion with Dominic Johnson.
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).
A kitsch video featuring the artist as a Mexican gunslinger arriving in Bethlehem for a duel with the Israeli Wall. Wearing a big sombrero and a scarf, the artist walks the streets of Bethlehem and greets the locals before taking off for her final showdown.
Part of the Library of Performing Rights (LPR) (P3041).