A catalogue that collects, anticipates, and activates the fantastic experiences and happenings of Fusebox 2018.
A detailed record of the years the artist spent researching professional mourning, which culminated in a performance co-commissioned by the Park Avenue Armory and Artangel.
Part of the Library of Performing Rights (LPR) (P3041).
Based on her widely praised performance piece Unicorn Gratitude Mystery, Finley’s book explores the Shakespearean dynamics that surface when libidos and loyalties clash in the public and private personas of Donald Trump, Hillary and Bill Clinton, Huma Abedin and Anthony Weiner, and now Harvey Weinstein.
Part of the Library of Performing Rights (LPR) (P3041).
On the production style of Goat Island.
The result of five years of practice-based creative research focused on the UPRISING project, the book presents a number of methods for the creation of politically charged interactive public events in the style of a how-to guide.
Part of the Library of Performing Rights (LPR) (P3041).
Unmaking American dance by tradition.
What is it this time? Oh, is it unemployment? Is there a crisis? Did the government do something wrong again? No, it’s a show about Dolly Parton.
Illustrated catalogue accompanying the exhibition; Cornerhouse (3 March – 22 April 2001), Arnolfini (18 March – 13 May 2001), Mead Gallery (6 October – 1 December 2001).
Newspaper format catalogue. White Columns, New York, 13 September – 20 October 2002.
Elaborates a new perspective on performance that links ecology and aesthetics.
A collection of essays from the leading avant-garde critic of the era focuses on individual performances and performers, providing a unique critical record of their work and of the movement.
A Performance Poem from the Series “Documented/Undocumented”.
Using interviews with friends and colleagues, and original and re-enacted footage of Sherman’s performances, this film explores the life, death, disappearance and rediscovery of this unique artist.
Part of LADA Screens 5.
Published on the occasion of the exhibition at the Hammer Museum, LA. 15 September – 31 December 2017.
Analyzes artistic performances, social performances, archival remains, and memoirs of the underground theater scene in 1960s New York.
Illustrates the black political ideas that radicalized the artistic endeavors of musicians, playwrights, and actors beginning in the 1960s.
Festival publication. April-May 2013, New York City.
Part of the Something Human Study Room Guide on Southeast Asian performance (P3334).
Images from Portal of Entry, a theatrical deconstruction of the Valley's sex industry told through the voices of prostituted women and their interviewer. Part of the thesis project Incarcerated Freedom.
Part of the Library of Performing Rights (LPR) (P3041).
25 images + artists statement
Explores sites where the ideal of community relentlessly recurs, from debates over art and culture in the popular media, to the discourses and practices of nonprofit and nongovernmental organizations, to contemporary narratives of economic transformation or “globalization.”
11 battered women prisoners serving life for killing in self defense narrate a collective, painful story of injustice.
15 minutes.Part of the Library of Performing Rights (LPR) (P3041).
Ten transformative local arts projects come alive in this comics-illustrated training manual for youth leaders and teachers.
Part of the Library of Performing Rights (LPR) (P3041).
Profiles established ensemble groups from inner-city Los Angeles, small-town northern California, African-American South, multicultural southern Texas, low-income central Appalachia, economically struggling South Bronx New York, and cross-continental Native America.
Part of the Library of Performing Rights (LPR) (P3041).
Published at the same time as a video of the same name, this is a unique record of these theatre groups in action. Based on the author’s own travels and experiences working with community theatre groups in six very different countries, this is the first study of their work and the methodological traditions which have developed around the world.
Part of the Library of Performing Rights (LPR).
Depicts a history of demonstrations, sit-ins and similar steps taken by ACT UP and other groups.
Part of the Library of Performing Rights (LPR) (P3041).
Reading wesistive choreographies through works by Jawole Willa Jo Zollar and Chandralekha.
Part of the Library of Performing Rights (LPR) (P3041).
Interviewing DJs, party hosts, producers, musicians, artists, and dancers, Lawrence illustrates how the relatively discrete post-disco, post-punk, and hip hop scenes became marked by their level of plurality, interaction, and convergence. He also explains how the shifting urban landscape of New York supported the cultural renaissance before gentrification.
Unique documentation of a year long performance project by one of America's most interesting performance artists; McMurry set out to do a performance action every day for a year, attempting to confuse art and life.
41 minutes.
The video juxtaposes the various form of mediation from one historical event – the 1980 student massacre – according to linear time line. The public memory of the incident is formed and moulded with mediated images and languages.
1hour 27min
Jones travels the border regions of the world, documenting the billions of dollars spent on border security projects, and their dire consequences for the majority of the people in the world.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Reviews from New York: Sleep No More (Punchdrunk), The Sound and the Fury (Elevator Repair Service), Argument Sessions (Ilana Baker)
Transcript from a performance; Live Art and Performance Art sessions, School of Arts, Oxford Brookes University
The book is an integral part of a retrospective exhibition; expressing belief systems and psychic connections, it represents the heart and soul of Sands' current work. Includesa poster and an invitation card.
Includes Rick Moody’s extensive interview with Odyssey Works team members as well as six practical proposals that present a radically new unified theory of art making addressing immersivity and interactivity, experience design, the Heisenberg Uncertainty Principle as it relates to documenting artwork, and intimacy and empathy with the audience.
The monograph follows the studio practice, public performance works, and gallery and museum shows that took place between 1969–1973 in which documentation of conceptual performance works in slide, film, video, and photographic form exhibited alone or as a component of installation.
Documentary about the gender-bending San Francisco performance group who became a pop culture phenomenon in the early 1970s. Includes deleted scenes, interview with directors and a booklet with Damon Wise film notes.
100 minutes
The first in-depth study of July’s work provides fascinating insights into the lifestyle of the contemporary white Californian middle class.
Presents a combined analysis and workbook to examine “socially engaged performance.” It offers a range of key practical approaches, exercises, and principles for using performance to engage in a variety of social and artistic projects.
Clip from 10 hours of live continuous conversation between participants in London and Chicago compressed to 30 minutes. Participants discussed one of the five topics addressed in the question “Who Owns Myth, Pop, Money, Race, and Terror in the Land of the Free?”.
Part of DIY 13.
30:47
A site-specific installation, video, and performance-based project for TBA:11. In a private performance for the camera, a quintet of women tear apart an enormous cube comprising more than5,050 pounds of wet clay. As the block disappears, the space becomes covered in the evidence of action.
Clips; 1:48
A collection of three life performance texts by the OBIE Award winning playwright. Includes: JARMAN (all this maddening beauty), Carthage/Cartagena, The Orphan Sea and essays.
The book explores what it means to create and experience urban performance – as both an aesthetic and a political practice – in the burgeoning world where cities are built by globalization and neoliberal capital.
Video from a six-month collaboration and conversation between artists in the UK and the US which culminated on November 30, 2013 in concurrent daylong events in London and Chicago.
Part of DIY 13; project developed by Lucky Pierre.
1:59:41
Conversation between Johann Went and Mark Wheaton to accompany thescreening of 'Knifeboxing' on LADA Screens which was online from 29 March – 11 April 2016.
In misc folder 5A.
Catalogue from the first retrospective to present the wide-ranging work of the Chicano performance and conceptual art group Asco. Exhibition held at the Los Angeles County Museum of Art (September – December 2011) and Williams College Museum of Art (February – July, 2012).
Madison presents the neglected yet compelling and necessary story of local activists in South Saharan Africa who employ modes of performance as tactics of resistance and intervention in their day-to-day struggles for human rights.
Exhibition catalogue; Los Angeles Institute of Contemporary Art, June-August 1984. Artists: John Davis, John Dunkley-Smith, Marr Grounds, Lyndal Jones, John Nixon, Mike Parr, Redback Graphix, Stelarc
This book brings to light the historical significance of five women artists – Yoko Ono, Yayoi Kusama, Takako Saito, Mieko Shiomi, and Shigeko Kubota, who were among the first Japanese women to leave their country – and its male-dominated, conservative art world – to explore the artistic possibilities in New York.