The concluding volume to Moten’s landmark trilogy consent not to be a single being.
Shows how contemporary art is a powerful yet largely unacknowledged player in the articulation of depression in Western culture, both adopting and challenging scientific definitions of the condition. Ross explores the ways in which contemporary art performs the detached aesthetics of depression, exposing the viewer's loss of connection and ultimately redefining the function of the image.
An anthology of Edward’s creative practice-led projects. Through the innovative practice of ‘mesearch’, in which the author is both theoriser and theorised, this study delivers a personal, creative narration, combining reflections and emotions in relation to self and performance.
Surveys the changes in acting and performance during the crucial transition from the ecstatic theatre of the 1960s to the ironic postmodernism of the 1980s.
The author’s concerns – which include the social meaning of illusion and the cultural manifestation of power – take the reader from Eleanora Duse to Laurie Anderson; from the puppet theatre of Kleist to Kantor’s theatre of the dead; and from the Kutiyattam temple dancers in Kerala to Womanhouse in Los Angeles.
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.
Existing in the space between imaginative proposition and a call to action, the book is an assemblage of provocations, proposals and potential ways of operating — ranging from navigating the city and inhabiting the margins to errant acts of reading; from preparing for the unexpected to learning how to ‘not know’, from minor acts of singular sedition to collective expressions of an insurgent ‘we’.
Niebisch retraces how the early Avant-Garde movements started out as parasites inhabiting and irritating the emerging mass media circuits of the press, cinema, and wired and wireless communication.
This engaging study examines the issue of crisis in European performance since the collapse of global financial markets in 2008. The book’s chapters examine diverse performances of crisis primarily in three cities with a loaded past and present for Europe, as idea and geopolitical reality: London, Athens and Berlin.
Lepecki surveys a decade of experimental choreography to uncover the dual meaning of ‘performance’ in the twenty-first century: not just an aesthetic category, but a mode of political power. He demonstrates the enduring ability of performance to critique and subvert this power, examining this relationship through five ‘singularities’ in contemporary dance: thingness, animality, persistence, darkness, and solidity.
The book examines three distinct strands of photographic practice – the documentation of performance works, how performers and photographers have worked collaboratively, and the work of photographers who have a strong performative element to their practice – as well as the construction of self-identity and playful, innovative approaches to portraiture.
On the occasion of the eponymous exhibition, February-June 2016, Tate Modern.
This book presents a theory of audience participation in the theatre, based on the importance of the moment of invitation and how an event changes character when such an invitation is made.
Written part of a doctoral dissertation, presenting the artistic works (performances, live-art projects and works on video ) and setting them in a larger context. The research presents the transformation that has taken place starting from the industrialism and modernism.
This book examines the recent changes in the labour of an artist and addresses them from the perspective of performance.
The first book of its kind to look at the legacy of the avant-garde in relation to the deepening crisis of capitalist non-reproduction.
This book is an investigation of how the use of petroleum, in every aspect of our lives, limits our capacities to think about surviving climate breakdown, and how it shapes the things we do and inhibits our capacities to think future ways out of it. Pocket-size book.
Richard Ashrowan considers the geopoetics of the Anglo/Scots borderline, travelling to several points on the border and beginning a meditation into the meanings that might be revealed within its landscape
Documentation of The Subjectivity and Feminisms Research Group’s Performance Dinners, in which artists and academics are invited to ‘perform’ their response to the evening’s theme, addressing the relationship between subjectivity and the artwork, particularly in regard to feminist theories. Contributors: Mo Throp, Maria Walsh, Verina Gfader, Georgina Starr, Kate Smith, Leda Papaconstantinou, Monika Oechsler, Katherine Meynell, Despina Meimaroglou, Rebecca Fortnum, Sutapa Biswas, Laura Malacart, Catherine Maffioletti, Claire MacDonald, Dominika Kieruzel, Susan Kelly, Rebecca Hallifax, Lucy Gunning, Fran Cottell, Brian Dawn Chalkley, Jo Bruton, Katie Baker, Gill Addison, Claudia Kappenberg, Celestin Edwards, Maria Walsh, Sarah Tremlett, Ana Laura Lopez de la Torres, Sissu Tarka, Sarah Smith, Lucy Reynolds, Anita Ponton, Susannah Pal, Jo Mitchell, Catherine Maffioletti, Claire Walsh, Marcia Farquhar, Sharon Bennett, Oreet Ashery, Yolande Burgin, Rose Cronin, Elisha Foust, Oriana Fox, Dominika Kieruzel, Elena Loizidou, Kristen Lovelock, Caroline Smith
Franko B' performance Work monograph with essays by Lois Keidan and Stuart Morgan, photos by Nicholas Sinclair. This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)
A history and theory of ideas about identity in relation to visual arts discourses and practices in Euro-American culture.
On the work of Kate Gilmore. This article can be found in the miscellaneous articles 3 binder.
Beatrice Pepper Velloso, visual artist and professor at the School of Fine Arts, Federal University of Rio de Janeiro. Language: Portuguese
Catalogue of homonymous exhibition held at the Galleria Pack, Milan, 15 April – 15 June 2008. Curation and text by Francesca Alfano Miglietti (FAM). Italian and English language.
Retrospective look at Performance Art in Vancouver, 1965 – 2000.