Ruminates on the significance of physical and mental roaming for black freedom.
Part of the Library of Performing Rights (P3041).
This book examines the work of key contemporary choreographers who have transformed the dance scene since the early 1990s in Europe and the US.
This anthology traces how and why this identification of art with sexual expression or repression arose and how the terms have shifted in tandem with artistic and theoretical debates.
A small selection of study boxes curated by Live Art Development Agency for the Live Collision Festival in Dublin, April 2014. Boxes were based around live art history, disability, activism, bodily functions, race, queer performance.
Publication to coincide with exhibition, 2011, where Owens commissioned performance scores—written or graphical instructions for actions— from a multigenerational group of African-American artists.
Examines the integrative and interdisciplinary strategies of five contemporary artists stressing the ways in which their work at once reflects and alters our view of its informing context: the advent of postmodernity in late twentieth-century American art and culture.
Exhausting Dance and the Politics of Performance
An interdisciplinary approach to the forms, goals and histories of innovative social practice in both contemporary performance and visual art.
This item is referenced in the Dreams for an Institution Guide (P2313).
Lecture given by William Pope.L from Live Culture Symposium: Performance and the contemporary at TATE Modern, 29-30 March 2003.This documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.
Performance Matters, Performing Idea – Reciprocal Aesthetics7th October3:00-7:30pmToynbee StudiosWith: Ron Athey, Wafaa Bilal, Maaike Bleeker, Shannon Jackson and Julie Tolentino The participation of the spectator in making the meaning of the work of art has been a staple of art and performance practices long before the recent charged debates on ‘relational aesthetics.’ Yet art, however solitary, is arguably always a kind of collaboration and involves itself in some form of exchange. What can be at stake in this exchange? Speakers will examine the notion and limits of the idea that contemporary art and performance is a reciprocal affair. They will ask what gets transacted in contemporary art? What is given and what is taken, what is shared and what cannot be shared?
An original and inventive resource for anyone interested in contemporary performance practices and their relationships with audiences.
Accompanies the exhibit at MASS MoCA and serves as a user’s guide to art that is exciting, provocative, unexpected, inspiring (artistically and politically).
This item is part of the Study Room Guide: A Bi(bli)ography of Insurrectionary Imaginati by John Jordan (P0793)
Leading artists and thinkers assess the relevance of live art now, its impact within the visual arts and the broader cultural sphere.
This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195) and the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)