The Fables of la Fontaine 5 (2007)
Walking Around Planet (2005)
Suspended Moments (2007)
Toubabou… Toubabou… (2007)
Farafin a ni Toubabou (2007)
The Small Clouds Crossing the Sky of the Soul (2007)
Presents Woodman’s work from his entire career, including artists’ portraits, studios, exhibitions, installations and performances, collaborations with artists, social documentation and more recent and personal works.
In exploring the human-animal relationship from the early modern period to the nineteenth century, this publication questions what it means for an animal to “perform,” examines how conceptions of this relationship have evolved over time, and explores whether and how human understanding of performance is changed by an animal’s presence.
On 26 December 2003 an earthquake destroyed over 90% of one of the most ancient cities of Iran, Bam. Nearly half of the inhabitants lost their lives and the impressive citadel was turned into dust. It also destroyed the most famous photo studios located in the old parts of the city. Iranian art historian and photographer Parisa Damandan decided to pay tribute to the victims by excavating, collecting and restoring the archives of five studios, supported by the Prince Claus Fund and AIDA Nederland. She was able to save at least 30,000 negatives, all memories of life in Bam before the city was ruined.
nitially galvanized by the sweeping obliteration of architecture and art under the Communist regimes of the Soviet Union and eastern bloc countries, Gamboni investigates other instances of destroyed art and architecture around the globe, uncovering a disquieting and surprisingly widespread phenomenon.
From Surrealist selfies to feminist self-portraiture, the ISelf Collection explores identity and the human condition through the central themes of birth, death, sexuality, love, pain and joy. Taking the display of the collection at Whitechapel Gallery as its springboard, this book looks generally at the question of the self in modern and contemporary art, and the ways in which artists are thinking about being and identity as an individual, in relation to others, to society and the wider world.
Immediately after Nadezda Tolokonnikova and Maria Alekhina were released, Verwelius contacted the two, setting into motion an extraordinary photo shoot: using the activists’ stories and sketches of the prison camp, he depicted their living and working conditions there as an impressive picture series. In English and Dutch.
Includes an image bank and a video with extracts from different pieces. Documented works includes: Negrophilia!, Andhaka, Miss United Kingdom, Resurrection, The Ambidextrous Universe, Thirteen, Olympia, Barflies, Shakti, Masking, Genesis and Remote Control.
A critical approach towards images of identity and femininity currently circulating in Japanese popular culture.
Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)
The volume is drawn from the ongoing video work art is/poetry is/music is (Speaking Portraits), which features over 1000 artists–painters, poets, musicians, dancers, actors, video-/filmmakers–in eleven countries saying what art is. art is offers an intimate view of seventy of those engaged in art as performance.
Catalogue from the Gillian Wearing exhibition at the Whitechapel Gallery London 2012 providing an overview of the artists works from 1992-2010. See also: D1856 Gillian Wearing DVD
Takes the khusra communities of Lahore, the artist, his mother and the spectators into a space where gender is negotiable.
Presents photographically based artworks – portraits, self-portraits, and photomontages in which the gender of the subjects is highlighted through performance for the camera as well as through technical manipulation of the image.
Accompanying the Japanese Pavilion’s contribution for the Venice Biennale, Ishiuchi’s personal and touching photographic essay ‘Mother’s’ explores the concepts of memory and loss through a series of close-up portraits of her mother immediately prior to her death interspersed with photographs of some of her mother’s personal possessions. In Japanese and English. The exhibition mother’s 2000-2005: traces of the future was presented at the 51st International Art Exhibition, the Venice Biennale, from June 12 through November 6, 2005.
Introduction and texts by Jean Fisher
This item is part of the 'Glimpses of before: 1970s UK Performance Art' Study Room Guide by Helena Goldwater (P2497)