Examining a range of performances from the 1960s to the present, as well as protest actions from the lunch counter sit-ins of the US civil rights movement to protest camps in the twenty-first century, this book provides a formal account of endurance and illuminates its ethical and political significance.
Brings together a variety of essays, photographs and archival materials and on the history of early performance art in East Asia. The publication will include texts by An invaluable new research tool, the publication is available free at events and online.
Part of the Library of Performing Rights (P3041).
Shows how feminist theory is generated from everyday life and the ordinary experiences of being a feminist at home and at work.
What do we understand by collaborative artistic practices in Spain? After three years of research, this publication bears witness to the diversity of points of view and opinions by Spanish artists and key agents working in this field.
The aim in bringing these voices together in a single publication is that they will add to the already existing discussion in English and will influence future theoretical discourses more broadly.
Documentation from the DIY 12 project: can you start a University of Live Art in your front room, garden shed or local pub?
A collection of polemical writings, assaults, comments and theoretical discussions and analysis that appeared in reaction to the eponymous video, made in Belgrade, in 2007.
In Serbian and English.
Part of the Library of Performing Rights (LPR) (P3041).
On how to conduct research projects with kids and adults using Live Art strategies.
Part of the Study Room Guide on Live Art and Kids (P3091).
Drawing threads from the meta to the micro level inevitably leads to a conversation about power – who has it, who doesn’t, who should have it, how it is adjudicated. TransActions #2 picks up on this context and sets out to pose questions for the field of socially-engaged art and education practice in 2017.
Art students who experiment, think differently and take risks are often praised for their efforts. But what happens when students become interested in developing performance-based work involving risk of injury and physical pain?
Weaves together the various voices for the art collective to offer readers both an analysis and an experience of the group’s performance: the inner voice of the performance; the critical voice of the witness; and the frustrating redactions reflecting Tate and BP’s hidden contracts.