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.
Considers the inter‐disciplinarity of ‘Live Art’ as a field of work and as a performance practice.
From the British Live Art: Essays and Documentation issue.
The emergence of contemporary art, engaging widely with other disciplines, as a platform for exploring animal nature.
A selection of articles from the seventies, eighties, nineties, and the year 2000. The result is a fascinating chronicle and invaluable record of a turbulent period that gives an overview and survey of British art and its reception over the past thirty years which is wholly unprecedented in its scope.
Examines innovative and avant-garde works in relation to contemporary events, festivals, commissions, the marketplace, and the changing functions of museums.
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.
How did performance artists of the '60s and '70s, famous for their opposition both to lasting art and the political establishment, become the foremost monument builders of the '80s, '90s and today? This book argues that the centrality of performance to monuments and indeed public art in general rests not on its ephemerality or anti-authoritarian rhetoric, but on its power to build interpersonal bonds both personal and social.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Written by The People Show's longest standing and original member, the publication chronicles a very other, non-mainstream way of making art, of living and breathing this art and all that it stands for, during the course of 50 years.
Images related to the Study Room Guide on Performance in the UK in the 1970 (P2947).
Contains separate folders for each artist + a word document with image credits.