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.
A survey of performance history of women Mexican artists. Spanish language.
Review of Amelia Jones and Adrian Heathfield’s edited volume “Perform, Repeat, Record: Live Art in History” (2012).
The catalogue ifrom The Abramović Method exhibition in Milan 2012
The catalogue ifrom The Abramovic Method exhibition in Milan 2012
Publication accompanying the homonymous symposium: a collaboration between Plymouth Arts Centre and artist Marina Abramovic to produce a performance event that explored the history and future of the artist’s work. Newspaper-style publication in large folder.
Feature-length documentary film following Marina Abramovic as she prepares for a major retrospective of her work, taking place at the Museum of Modern Art in New York.
Documents and critically examines one of the most fecund periods in the history of live art.
See also D0342 for still images, and P1002 essays and catalogue.
A comprehensive history of this remarkable organisation from its conception to the present.
Shown at The Lowry Theatre at Manchester International Festival 2011
An article about cabaret: is it entertainment or performance art?
Jeni Walwin – Performance Art in Britain 1985 – 1987.THIS PUBLICATION BELONGS TO LOIS KEIDAN
Adrien Sina Illustrated Lectures Part 3:, Josephine Baker, Valentine de St-Point, Vaslav Nijinski, Isadora Duncan, Rudolf von Laban, Mary Wigman, Valeska Gert, Martha Graham, Bertolt Brecht, Kurt Jooss, Tadeusz Kantor, Hijikata, Josef Beuys, Günter Brus, Hermann Nitsch, John Lennon, Yoko Ono, Martin Scorsese, Adrian Piper, Ana Mendieta, Chris Burden, Michel Journiac, Gina Pane, Henri Maccheroni, Pier Paolo Pasolini, Valie Export, William Kentridge, Jean-Michel Bruyère, Krzystof Wodiczko, Zhang Huan, Liu Jin, Marina Abramovic, Guerrilla Girls, Yinka Shonibare, Mona Hatoum, Shirin Neshat, Fred Forest, Sigalit Landau, Franko B, Sasha Waltz… (T1, Tramway, Glasgow, 10 Feb 2008, 14.00 – 15.00).Futurism
Adrien Sina Illustrated Lectures Part 2:, Josephine Baker, Valentine de St-Point, Vaslav Nijinski, Isadora Duncan, Rudolf von Laban, Mary Wigman, Valeska Gert, Martha Graham, Bertolt Brecht, Kurt Jooss, Tadeusz Kantor, Hijikata, Josef Beuys, Günter Brus, Hermann Nitsch, John Lennon, Yoko Ono, Martin Scorsese, Adrian Piper, Ana Mendieta, Chris Burden, Michel Journiac, Gina Pane, Henri Maccheroni, Pier Paolo Pasolini, Valie Export, William Kentridge, Jean-Michel Bruyère, Krzystof Wodiczko, Zhang Huan, Liu Jin, Marina Abramovic, Guerrilla Girls, Yinka Shonibare, Mona Hatoum, Shirin Neshat, Fred Forest, Sigalit Landau, Franko B, Sasha Waltz… (T1, Tramway, Glasgow, 10 Feb 2008, 14.00 – 15.00).Futurism
The architect, artist, curator and theoretician Adrien Sina offers an overview of twentieth-century artists on Politics, Ethics & Human Rights, Part 1: Josephine Baker, Valentine de St-Point, Vaslav Nijinski, Isadora Duncan, Rudolf von Laban, Mary Wigman, Valeska Gert, Martha Graham, Bertolt Brecht, Kurt Jooss, Tadeusz Kantor, Hijikata, Josef Beuys, Günter Brus, Hermann Nitsch, John Lennon, Yoko Ono, Martin Scorsese, Adrian Piper, Ana Mendieta, Chris Burden, Michel Journiac, Gina Pane, Henri Maccheroni, Pier Paolo Pasolini, Valie Export, William Kentridge, Jean-Michel Bruyère, Krzystof Wodiczko, Zhang Huan, Liu Jin, Marina Abramovic, Guerrilla Girls, Yinka Shonibare, Mona Hatoum, Shirin Neshat, Fred Forest, Sigalit Landau, Franko B, Sasha Waltz… (T1, Tramway, Glasgow, 10 Feb 2008, 14.00 – 15.00).
Showcases the work of photographers who documented a selection of seminal performances from the 1950s to the present in Europe, the United States and Japan and exhibits contemporaneous examples of their practice alongside their performance photographs.
Explores contemporary approaches which have sought to renew criticism’s energies in the wake of a ‘theatrical turn’ in recent visual arts practice, and the emergence of a ‘performative’ arts writing over the past decade or so.
This item is part of the Study Room Guide: On Falling by Amy Sharrocks (P2249) and the Study Room Guide On (W)Reading Performance Writing by Rachel Lois Clapham (P1433)