Distributed as an insert in Live Art Magazine Issue NO 34. Part of The Days Of The Sledge Hammer Have Gone project. 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 (W)Reading Performance Writing by Rachel Lois Clapham (P1433)
This book is packed with thoughtful exercises distilled from twenty-five years of interdisciplinary artist workshops and teaching devising and performance making at universities in the United States and the United Kingdom. Created and curated by Leslie Hill and Helen Paris, artists who work internationally at the interface of academia and professional practice, this collection provides exercises for devising, composing, and editing original works.
Documentation from the evening in which the first recipient of the Arthole Artists’ Award, Marcia Farquhar, handed over the baton to the second recipient, Stacy Makishi.
Combines extracts from over 70 international practitioners, companies, collectives and makers from the fields of dance, theatre, music, live and performance art, and activism to form a sourcebook for students, researchers and practitioners.
Report about the Arts and Humanities Resarch Council funded prject.
Second edition of the artwork exploring the potential of Live Art to bridge generations.
Resisting the control of the image, transcending from the 2-dimensional, practicing being-a-body-in-the-world.
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.
Exhibition / project programme. Tempting Failure, 17-21 July 2018.
Combining philosophy and aesthetics, this is a unique exploration of creative practice as a form of thinking.
Based upon the Lexicon of Tanjas Ostojić (2011-17), an interdisciplinary participatory research art project that included academic and artistic research, five creative workshops, a number of public events, one group performance, and two exhibitions involving more then 30 women.
Looks at the Study Room as a case study of how libraries can perform in response to performance, and what their performance can do for performance.