The first major survey of the artist’s interdisciplinary practices. Bringing together newly commissioned and other writings by major thinkers in and beyond visual and performance studies, and extensive documentation of the artist’s work from two decades of practice, it navigates through and between performance, biotechnical practices, image-making, and writing.
In 2014, artist Gustaf Broms composed a list of nine questions that he started to circulate to fellow performance artists. The responses collected are as diverse and wide-ranging as the artists and their own approaches.
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.
Since its inception nearly 25 years ago, the feminist art movement has transformed the art world. Now, two professors of art history bring together 18 influential historians, critics, and artists to create this landmark volume.
Part of the Library of Performing Rights (LPR) (P3041).
Post-event hard cover catalogue documenting the exhibition and live performances presented at the III Venice International Performance Art Week. 10-17 December 2016.
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
Endurance was a three-day programme of screenings, performances and exhibition exploring the physical and mental limits of human experience (24 April – 26 June 2008 at VIVID, Birmingham). This forder includes flyers, programme and booklet with programme notes and texts by Tracey Warr, Kay Winwood, Deborah Kermode.
Provides a historical record of the performance art movement during the 1980s and ‘90s, and captures the essence of creative expression that is free of – and often challenging – the strictures of the established art industry.
Special issue on time. The essays and artist pages assembled here are re-articulations of work presented at PSI 19: Performance and Temporality (25-30 June 2013).
A detailed study of the role women artists played in the develpment and expansion of performance art
An overview of Mendieta’s work published to accompany Galerie Lelong’s exhibition 8 September – 8 October 2011. Photographs, film stills, critical texts and interviews.
Ana Mendieta. She Got Love gathers over 130 works by this Cuban-American artist, created between 1972 and 1985 and chosen from among the most significant in the prolific production of her brief life.
Brings together Carr’s writings to offer a detailed and insightful history of performance from the late 70s to today.
This item is part of the Study Room Guide On Disability and New Artistic Models by Aaron Williamson (P1529)
Amsterdam readings on the Arts and Arts Education. Drawing on contemporary practice and scholarship in the fields of dance, performance and installation art, theatre/archaeology, ethnography, holistic bodywork and the history of medicine, the collection provides insights into the body as a problematic site of performance and suggests a ‘new authenticity’ which equates both its phenomenological and representational aspects. This item is part of the Study Room Guide: On Falling by Amy Sharrocks (P2249).
Pulls together a diverse selection of artists whose work embraces the possibilities of personality and appearance, racial and sexual stereotype, role-playing and reality.
An anthology from High Performance Magazine 1978 – 1998.
Includes a reading list on women and performance art.
A Study Room Guide on eating and dining as explored in performance
Oreet Ashery, Larissa Sansour Ashery, Paul Wolf, Melissa Wolf