This catalogue item has no notes associated with it.
|Artist / Author
|Stephen J. Bottoms
Draws on the theory and practice of the black radical tradition to support, inspire and extend contemporary social and political thought and aesthetic critique.
A collection of texts and images on the bodies of artists and writers who battled with the frustration of their own physicality and whose work reckoned with these limitations and continued beyond them.
How do artists respond to the question of collective survival in the face of crisis? Can writing articulate, subvert and test the ever-present question of the future in modes that are nonlinear, affective and even choreographic? What are our hopes, fears and desires?
Part of Library of Performing Rights (P3041).
Maps the artistic processes over a nine month period of the making of the art work Not a Decorator..
Invited to exhibit at the 56th Venice Biennale, e-flux journal produced a single issue over a four-month span, publishing an article a day both online and on site from Venice.
Explicitly addresses significant issues, such as the oppression of women and Eurocentric standards of beauty, the historical rise of the idea of whiteness, and the abridgement of democracy along race, class, and gender lines.
Article in publication.
Part of the Something Human Study Room Guide on Southeast Asian performance (P3334).
Challenging and re-positioning the traditional exhibition catalogue as an artwork and commission in its own right, the pub;ication takes its inspiration from the classic Pedro Almodóvar film on the occasion of the group exhibition, La Movida at HOME, Manchester (14 April – 17 July 2017).
When Chris Kraus, an unsuccessful artist pushing 40, spends an evening with a rogue academic named Dick, she falls madly and inexplicably in love, enlisting her husband in her haunted pursuit. Dick proposes a kind of game between them, but when he fails to answer their letters Chris continues alone, transforming an adolescent infatuation into a new form of philosophy.
Exhibition catalogue; Los Angeles Institute of Contemporary Art, June-August 1984. Artists: John Davis, John Dunkley-Smith, Marr Grounds, Lyndal Jones, John Nixon, Mike Parr, Redback Graphix, Stelarc
The first publication to address queer feminist politics, methods and theories in relation to the visual arts, including new media, installation and performance art. Despite the crucial contribution of considerations of 'queer' to feminism in other disciplines of the humanities, and the strong impact of feminist art history on queer visual theory, a visible and influential queer feminist art history has remained elusive.
A reference guide to the philosophy and interests of a flexible alliance of the following deviant international artists.