The article examines the appearance of the term ‘charismatic space’ in relation to Marina Abramović’s retrospective at New York’s Museum of Modern Art in 2010.
Examines the activist, participatory, coauthored aesthetic experiences being created in contemporary art. In a series of fifteen conversations, artists comment on their experiences working cooperatively, joined at times by colleagues from related fields, including social policy, architecture, art history, urban planning, and new media.
Part of the Study Room Guide on Live Art and Displacement (P3107).
This book examines the recent changes in the labour of an artist and addresses them from the perspective of performance.
This publication explores the ethical challenges with which performance art confronts its viewers speak to the reimagining of the audience.
Examines how contemporary performance practices have been driven by questions of The Real and the consequent political implications of the concept's disintigrating authority.
Exploration of art from the position of the producer, who does not ask what it looks like or where it comes from, but why it exists in the first place.
The ‘do-it-yourself’ artwork: Participation from Fluxus to new mediaThis volume consists of fifteen essays by art historians, critics and curators, which are divided into three sections. Part 1 addresses the emergence of spectator participation in the 1960s, whilst Part 2 brings together in-depth case studies of specific participatory practices in the 1960s, 1970s and 1990s, analysing the issues that they raise in their very modes of operation. The more general critical essays in Part 3 map out a range of theoretical approaches to the ‘do-it-yourself’ artwork.