Publication following the conference at Duke University, in collaboration with INIVA and AAVA in 2001. This item is part of the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
Contemporary Theatre Review Volume 32 Issue Number 1 February 2022
Published in conjunction with MoMA’s retrospective exhibition and in collaboration with the artist, this scholarly volume presents new critical essays that expand on Piper’s practice in ways that have been previously under- or unaddressed.
A publication exploring how the arts sector can better support artists at key stages in their practice.
A collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2012 and December 2014. Selected through recommendations and an open call for submissions, Volume 4 reflects the dynamic, international contexts that Live Art and radical performance-based practices occupy.
The book suggests new narratives about canonical artworks of the British Black Art movement, such as Lubaina Himid’s Freedom and Change, Eddie Chambers’ Destruction of the National Front and Sonia Boyce’s Lay Back Keep Quiet and Think of What Made Britain So Great, interrogating their critical agency from an art-historical perspective.
A PhD thesis offering a new account of the emergence of performance forms, including Happenings, participatory art, performance art and performances for the camera, in visual art and related contexts at the ICA.
From Tate Papers no.12
Found in miscellaneous article folder #5B
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)
The first sustained publication on the artist and writer of Scottish and Ghanaian heritage who lived and worked in Britain. Originally accompanied the exhibition, Maud Sulter: Passion at Street Level Photoworks in Glasgow, 25 April – 21 June 2015.
Includes exhibition programme from Maud Sulter: Syrcas at Autograph ABP in London, 15 January – 2 April 2016.
Spring 2016. Guest editor: Chris Fite-Wassilak.
Includes: Art and Protest by Nina Power, Richard Cork on Conceptual Art in Britain: 1964-1979, Liz Jobey on Performing for the Camera, Robert Macfarlane on British Landscape.
Guillermo Gómez-Peña talks viral infection, nomadic performance, immobility, psychomagic performance, and convalescence.
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.
Article reflecting on Disability Art, its radical inventiveness, and its documentation. Also to be found in P1750.