Surveying the history of art, technology and information systems the books reveals the dark clouds that gather over discussions of the digital sublime.
|Artist / Author||James Bridle|
Documentation of the event marking World AIDS Day. Included a screening of Ron Vawter’s performance at the ICA in 1993 as part of LIFT and a conversation between Neil Bartlett and Nancy Reilly.
Documenting the eponymous six year project as well as the current research and thinking around the subject with contributions by prominent artists, academics, activists and chefs.
Part of the Library of Performing Rights ( P3041).
The curator who founded MoMA’s video program recounts the artists and events that defined the medium.
Recounts Preciado’s transformation from Beatriz into Paul B., and examines other processes of political, cultural and sexual transition.
A collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2015 and December 2017. Selected through recommendations and an open call for submissions, Volume 5 reflects the dynamic, international contexts that Live Art and radical performance practices occupy.
Part of Library of Performing Rights (P3041).
An album which forms part fot he ongoing inquiry by Johanna Linsley and Rebecca Louise Collins inspired by eavesdropping.
In glass cabinet.
A recipe book produced following a series of public events involving local South Essex foods, their source, preparation and consumption.
On what’s not playing in American theatres in the 2017–18 Season.
Considering how blackness is imagined in and through performance, the contributors address topics including flight as a persistent theme in African American aesthetics, the circulation of minstrel tropes in Liverpool and in Afro-Mexican settlements in Oaxaca, and the reach of hip-hop politics as people around the world embrace the music and dance.
Part of the Library of Performing Rights (P3041)
Examines how artists have combined performance and moving image in their work since the 1960s, and how this work anticipates our changing relations to images since the advent of smart phones and the spread of online prosumerism.