One-man homage to the defiant life and work of pre-Raphaelite painter Simeon Solomon.
Includes performance video and a post-show discussion.
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.
Depicts a history of demonstrations, sit-ins and similar steps taken by ACT UP and other groups.
Part of the Library of Performing Rights (LPR) (P3041).
Interviewing DJs, party hosts, producers, musicians, artists, and dancers, Lawrence illustrates how the relatively discrete post-disco, post-punk, and hip hop scenes became marked by their level of plurality, interaction, and convergence. He also explains how the shifting urban landscape of New York supported the cultural renaissance before gentrification.
Links avant-garde performance practices with religious histories in the United States, setting contemporary performances of endurance art within a broader context of prophetic, religious discourse in the United States
The first comprehensive overview and reconsideration of 30 years of art made in response to the AIDS epidemic in the United States. This book foregrounds the role of HIV/AIDS in shifting the development of American art away from the cool conceptual foundations of postmodernism and toward a new, more insistently political and autobiographical voice.
Published on the occasion of the exhibition at the Tacoma Art Museum (October 2015 – January 2016)
Exploring theater works created for, by, and with refugees, this hybrid collection of essays combines newly commissioned scholarly work with examples of writing by refugees themselves.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Review of Athey’s Messianic Remains at the Performance studies International symposium.
This is the first anthology to bring together artist’s writings and conversations about queer practice, describing and examining the ways in which they have used the concept of queer as a site of political and institutional critique, as a framework to develop new families and histories, as a spur to action and as a basis from which to declare inassimilable difference.
Published in conjunction with a major retrospective of the artist’s work at the New Museum of Contemporary Art, New York, January – April 1999. Includes excerpts from Wojnarowicz’s writings and essays by Dan Cameron, Mysoon Rizk, C. Carr and John Carlin.