Recounts Preciado’s transformation from Beatriz into Paul B., and examines other processes of political, cultural and sexual transition.
Seeking to overthrow all constraints on what can be done with and to the body, Preciado offers a provocative challenge to even the most radical claims about gender, sexuality, and desire.
Takes performance studies in exciting new directions, exploring the ways in which ethics can be used to understand the complex questions facing contemporary spectators.
Part of Library of Performing Rights (P3041)
Considered one of the most outrageous, violent and certifiably crazy tracts when it first appeared in 1968, Solanas’ text is reconsidered in Avital Ronell’s introduction, “Deviant Payback: The Aims of Valerie Solanas”.
The revival of documentary in art, considered in historical, theoretical, and contemporary contexts.
Focusing on a variety of representations, the book stimulates discussions of s/m through the exploration of censorship in the arts, the fetishization of sexual paraphernalia, recombinations of class, race and sexuality, and the politics of psychoanalysis.
Part of the Library of Performing Rights (P3041).
Examines an array of issues, including sex as a subversive activity, the “liberated orgasm,” sex advice literature, gender uncertainties, queer politics, anti-pornography campaigns and the rise of the moral right.
Offers a glimpse of new perspectives on how philosophy performs in the gaps between thinking and acting.
Combines performance analysis with contemporary political philosophy to advance new ways of understanding both political performance and the performativity of the politics of the street.
Argues that the child, understood as innocence in need of protection, represents the possibility of the future against which the queer is positioned as the embodiment of a relentlessly narcissistic, antisocial, and future-negating drive. Boldly insists that the efficacy of queerness lies in its very willingness to embrace this refusal of the social and political order.
Investigates an array of staged situations, from choreographed exhibitions, immaterial museums, theatres of negotiation, and discursive marathons, to street carnivals and subversive public-art projects, and asks how ‘theatre-like’ strategies and techniques can in fact enable ‘reality making’ situations in art, and how, as a consequence, curating itself becomes staged, dramatised, choreographed, and composed.
On three artists taking part in the Trans Time exhibition at Confluences Gallery in Paris: JJ Levine, Kama La Mackerel, and Ianna Book.
Offering an incisive rejoinder to traditional histories of modernism and postmodernism, this book examines the 1960s performance work of three New York artists who adapted modernist approaches to form for the medium of the human body.
Interrogates the age-effects generated by early twenty-first century mainstream British theatre. To analyze the complex ways in which age is played out on the British stage–which seem at once both to challenge and to reiterate long-standing assumptions about age–it examines five productions seen in the autumn/winter season of 2011/12.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
In misc folder 7.
A feminist investigation into the marginalization of women within western discourse that denies female moral agency and embodiment.
Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).
Tells the story of feminist performance theory. It explores key debates from its 40-year history, engages with the work of groundbreaking thinkers including Elin Diamond, Jill Dolan, Peggy Phelan and Elaine Aston, and includes case studies of recent performances by established and emerging feminist artists.
Anderson analyzes self-starvation as a significant mode of staging political arguments across the institutional domains of the clinic, the gallery, and the prison.
Paul B. Preciado shows the ways in which the synthesis of hormones since the 1950s has fundamentally changed how gender and sexual identity formulated, and how the pharmaceutical and pornography industries are in the business of creating desire. This riveting continuation of Foucault’s The History of Sexuality also includes Preciado’s diaristic account of his own use of testosterone every day for one year, and its mesmerizing impact on his body as well as his imagination.
In this invitation to reflect on the power of performance, Diana Taylor explores many of the ‘performance’ uses and iterations: artistic, economic, sexual, political, and technological performance; the performance of everyday life; and the gendered, sexed, and racialized performance of bodies. Images and texts interact to show how performance is at once a creative act, a means to comprehend power, a method of transmitting memory and identity, and a way of understanding the world.
From the age of Aristotle to the age of AIDS, writers, thinkers, performers and activists have wresteled with what “performance” is all about. At the same moment, “performativity”–a new concept in language theory–has become a ubiquitous term in literary studies. This volume grapples with the nature of these two key terms whose traces can be found everywhere: in the theatre, in the streets, in philosophy, in questions of race and gender, and in the sentences we speak.
Drawing on many examples from contemporary performance, this book is a provocative starting point for understanding the surprisingly complex relationship between theatre and the body. Foreword by Marina Abramovic.
A diverse group of contributors, from art historians, anthropologists, and political theorists to artists, filmmakers, and architects, considers the interaction of politics and the visual in such topics as the political consequences of a photograph taken by an Israeli soldier in a Palestinian house in Ramallah; AIDS activism; images of social suffering in Iran; the “forensic architecture” of claims to truth; and the “Make Poverty History” campaign. Transcending disciplines, they trace a broader image complex whereby politics is brought to visibility through the mediation of specific cultural forms that mix the legal and the visual, the hermeneutic and the technical, the political and the aesthetic.
This anthology traces how and why this identification of art with sexual expression or repression arose and how the terms have shifted in tandem with artistic and theoretical debates.
Examined Life explores the way we see the world and philosophy’s ability to influence it
Addresses the multi-layered issue of camp, whose inexhaustible breadth of reference and theoretical relevance to the issues taken up by academic research in recent years have made it one of the most salient and challenging issues on the contemporary critical stage.
Reviews ways in which sexuality has been explored and expressed in new forms of performance art and dance, women’s contributions to theatre history, and how theatre has represented women over the centuries.
Part of the Library of Performing Rights (LPR) (P3041).
Argues for a performative relationship between art and artist.