Each chapter focuses on each year from 1970 – 1979. This item is part of 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)
Resonating with the ethos of open dialogue and the experimentation of women artists’ collectives in the 1970s and 1980s, the publication constructs a dynamic, open, and collaborative arena that foregrounds practices of resistance, collectivity, and self-organization. Exhibition catalogue: Cooper Gallery, 28 October 2016 – 16 December 2016.
Part of Library of Performing Rights (P3041).
Charts the historical course of performance in Australia from the happenings of the 1960s, through body art in the 1970s, towards a more political body in the 1980s.
Part of Library of Performing Rights (P3041)
Exhibition catalogue, 08 September – 03 November 2018, John Hansard Gallery.
The emergence of contemporary art, engaging widely with other disciplines, as a platform for exploring animal nature.
A collection of three radically poetic works for live performance. Includes JARMAN, Carthage/Cartagena), and The Orphan Sea.
Complete collection of Primary Sources on the International Performing Arts. Includes issues 1 to 8, (1979 – 1981). Includes originals of issues 1 (two copies), 2 (two copies), 3, and 4 (two copies), as well as photocopies of all eight issues.
In the glass cabinet.
Examines innovative and avant-garde works in relation to contemporary events, festivals, commissions, the marketplace, and the changing functions of museums.
Newspaper format catalogue. White Columns, New York, 13 September – 20 October 2002.
Guides the reader through a thicket of seemingly arcane meanings of nonrepresentational art forms, and brings clarity to the intentions and agendas of these artists, as well as to their real world contexts.
A collection of essays, documents, & bibiliography reagrding performance art edited by people associated with a Toronto-based arts organization.
Where does our current obsession for interactivity stem from? After the consumer society and the communication era, does art still contribute to the emergence of a rational society? Bourriaud attempts to renew our approach toward contemporary art by getting as close as possible to the artists works, and by revealing the principles that structure their thoughts: an aesthetic of the inter-human, of the encounter; of proximity, of resisting social formatting.
Lansley offers unique insight into the processes behind independent choreography and paints a vivid portrait of a rigorous practice that combines dance, performance art, visuals, and a close attention to space and site.