This item is referenced in the Dreams for an Institution Guide (P2313).
Anthology of scores, scripts, instructions, diagrams and documentation of art works that are meant to be heard.
A provocative history of live art traces the precedents of contemporary multi-media events to Bauhaus experimentalism and surveys the Futurists' manifesto-like events, the Dadaists' cabarets, and later “happenings” and “spectacles.”
Discusses performativity of the name in the context of an artistic endeavour.
Exhibition catalogue. 19 September 1999 – 3 January 2000, Wexner Centre for the Arts, The Ohio State University.
Post-event hard cover catalogue documenting the exhibition and live performances presented at the III Venice International Performance Art Week. 10-17 December 2016.
Elaborates a new perspective on performance that links ecology and aesthetics.
How have avant-gardes been shaped by racism and contributed to racist power and imperialism? How have the claims made by avant-garde political and artistic groups to liberate humanity been indebted to religious intolerance? And how has the vanguard commitment to radical cultural action contributed to war, terror, and destruction?
A collection of essays from the leading avant-garde critic of the era focuses on individual performances and performers, providing a unique critical record of their work and of the movement.
Assembling a remarkable group of scholars, these essays explore how the circulation and exchange of “vectors of the radical” shape the avant-garde.
This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it–to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries.