Book review.
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.
An absorbing portrait of an artist whose career spans three decades of American avant-garde performance. Collecting writings by Monk herself, along with significant reviews, essays, interviews, and photographs of Monk’s unique performance events, the book establishes her as one of the great treasures of contemporary American culture.
Citing Howells’ permissive mantra as its title, the book includes new writing from leading scholars and artists, as well as writing by Howells himself, an extensive interview, scores, and visual materials, which together offer new insight into the artist’s ground-breaking process.
This memoir spans Abramovic's five decade career, and tells a life story that is almost as exhilarating and extraordinary as her groundbreaking performance art.
A ritual dance created by American choreographer Anna Halprin in 1981. Misha trained at Tamalpa Institute California to lead new incarnations of this ritual dance, which has a 35 year-old legacy with hundreds of happenings worldwide.
12 minutes
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).
Selected images from the exhibition Translated Acts, curated by Yu Yeon Kim at the Haus der Kulturen der Welt and the Queens Museum of Art in 2001.
Compiled by 5 friends of Peace Pilgrim in Santa Fe, New Mexico in 1982, the year after her “glorious transition to a freer life”, the book is composed mainly in her own words. The exceptions are the introduction, reproduced newspaper articles and comments by people she met while on her 28 year pilgrimage for peace.
This interview explores connections within editor Bonnie Marranca’s work and considers the way in which it has developed in conversation with artists in and around New York.