Editor Chon A. Noriega collects ephemera gathered from Gamboa’s three-decade-long dadaistic career. The book includes interviews with artists, poetry, fiction, collaged images, documentation of public and staged performances, photographic portraits of Chicano men, and political writings, including an essay on public schools reflecting his son’s first year in kindergarten.
Catalogue for the 2014 Flat Time House exhibition, which comprised of elements of the many modes of Reedy’s production across decades, including video and audio works unseen and unheard since the 1970s and 80s.
The most thorough visual overview of Schneemann’s work to date. Organized by five interrelated categories—Interviews and Correspondence, Painting, Cinema, Sites, and Technological Processes—this volume brings together previously published essays and interviews by authorities on the artist’s work.
The collection concentrates on Kelley’s own work, ranging from texts in “voices” that grew out of scripts for performance pieces to expository critical and autobiographical writings.
Information about the company's work, including Near Gone, Landed, Manpower, A Journey of a Home, and Storyville.
Siona Wilson investigates the charged relationship of sex and labour politics as it played out in the making of feminist art in 1970s Britain.
This publication contains a selection of bottles from the first year of Amy Sharrocks’ Museum of Water project, with a foreword by the artist.
72-82 tells the story of the first ten years of Acme Studios and their ground breaking work providing artists’ housing and studios in London. It also features some of the pioneering exhibitions at the Acme Gallery that was based in Covent Garden from 1976-81. The film comprises visual archive materials brought to life by the voices of the artists involved. Interviewees include: Cosey Fanni Tutti, Jock McFadyen and David Critchley.
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)
The author provides a philosophical reflection on the issues of democratic bodies and citizenship in Ireland through a survey of the work artist Sandra Johnson.
Performance Art Faction (PAF) was an Arts Council England funded, nine month long holistic project made up of artist residencies, research labs, exhibitions, live performances and open platform events. PAF explored the intersections of contemporary performance art, politics and society with the aim of reawakening the innate political potential of our bodies. Contributors: Benjamin Sebastian, Francesca Lisette, Bean, Jessica Worden, Diana Damian, Robin Bale and Victoria Grey.Artists: Fabiola Paz, Jade Montserrat, Kris Grey, Amber Hawk Swanson, Hugh O’Donnell, Maria José Arjona, Arianna Ferrari, Panopoly Lab (Esther Neff and Brian McCorkle), Burmester & Feigl, Owen Parry, Carlos Salazar Lermont, Helena Walsh introducing Speaking of I.M.E.L.D.A and Aliza Shvarts. The publication is a homage to DIY print aesthetics and propaganda art, and includes: Commissioned essays from artists/academics/agitators, Film & Photographic documentation, Open Call & Research Lab roll calls, PAF memorabilia, PAF Artists' bios & photographs, ]ps[ manifesto. Shelved in Oversize publications section.