Tracing a dynamic genealogy of performance from the nineteenth to the twenty-first century, Uri McMillan contends that black women artists practiced a purposeful self- objectification, transforming themselves into art objects.
A monograph documenting the artist's life and work; includes photographs which have never before been reproduced, a selection of his short texts and poems, which reflect his feelings on the open question of the relationship between art and life, and two newly commissioned essays by Guy Brett and Nick Sawyer.
This item is part of the 'Glimpses of before: 1970s UK Performance Art' Study Room Guide by Helena Goldwater (P2497)
Current British art selected by Helen Chadwick, Paul Chowdhury, James Faure Walker, John Hilliard and Nicholas Pope. Exhibition catalogue. Includes art, statements and interviews by Genesis P-Orridge, Cosey Fanni Tutti of Throbbing Gristle and COUM Transmissions, Bruce McLean, Tony Sinden, Jim Whiting, Gilbert & George, Bobby Baker and Garth Evans
This item is part of the 'Glimpses of before: 1970s UK Performance Art' Study Room Guide by Helena Goldwater (P2497)
In a series of letters composed to each other and delivered to camera, artist Tim Etchells and writer Adrian Heathfield examine what underlies their shared interest in the notion and forms of Variety.
73 minutes. 2006.
The collection concentrates on Kelley’s own work, ranging from texts in “voices” that grew out of scripts for performance pieces to expository critical and autobiographical writings.
Siona Wilson investigates the charged relationship of sex and labour politics as it played out in the making of feminist art in 1970s Britain.
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.
Rodenbeck offers a rigorous art historical reading of Kaprow’s project and related artworks. She finds that these experiential and experimental works offered not a happy communalism but a strong and canny critique of contemporary sociality. Happenings, she argues, were far more ambivalent, negative, and even creepy than they have been portrayed, either in contemporaneous accounts or in more recent efforts to connect them to contemporary art’s participatory strategies.
In association with the Royal College of Art, Exit Strategies situates new generation of artists alongside specially commissioned texts by international novelists, artists, academics and philosophers.
*currently unavailable*
A catalogue of new writing on performance including essays and dialogues around emergency.