Video: a deeply poetic array of cinematic images
Volume 1, Issue 4.
Part of the Library of Performing Rights (LPR) (P3041).
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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
Catalogue from the first retrospective to present the wide-ranging work of the Chicano performance and conceptual art group Asco. Exhibition held at the Los Angeles County Museum of Art (September – December 2011) and Williams College Museum of Art (February – July, 2012).
This volume examines the ways gay men have used theatre and performance to intervene in the AIDS crisis. It discusses dramatic texts and public performances–from cabarets and candlelight vigils to full-scale Broadway productions that have shaped, and been shaped by, the history of AIDS in national, regional, and local contexts.
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.
This companion book to the exhibition of the same name investigates California’s vital contributions to Conceptual art—in particular, work that emerged in the late 1960s among scattered groups of young artists.
Artist documentation.
Examination of the artistic enterprises of the past decade that reclaim the use of lived time as a material in the creation of visual art.
Part of the Pacific Standard Time project. Limited edition, 9/500
Exhibition at the Ben Maltz Gallery, Otis Art Institute Los Angeles, 1 October 2011-28 January 2012
Programme listing 11 days of performances and public works. 19-29 January 2012
A collection of Went’s early performances. (1977-1987)
Borrowing Michel Foucault concept of ‘heterotopia’ to discuss the social and cultural functions of Highways Performance Space.
Review of Oguri and Renzoku performance art work.
Through the notion of ‘multicentricity’, Cheng surveys performance art in Los Angeles from the 1960s through the 1990s.
Part of the Library of Performing Rights (LPR) (P3041).
Adopts Fernando Ortiz’s concept of ‘transculturation’ to examine the performance career of Elia Arce.