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| Editor | Sean O' Sullivan |
|---|---|
| Publisher | Dublin City Council Arts Office |
| ISBN | 978-0-9554281-8-0 |
| Reference | P2160 |
| Date | 2012 |
| Type | Publication |
This zine brings together writings and words from contributors who came together in the summer of 2018 at Bethnal Green Nature Reserve (BGNR) to think about and connect with soil.
A booklet with information, event and workshop listings for Queer Ecologies at Tower Hamlets Cemetery Park held in 2021.
This book is Derek Jarman’s own record of how this garden evolved, from its earliest beginnings in 1986 to the last year of his life. More than 150 photographs taken since 1991 by his friend and photographer Howard Sooley capture the garden at all its different stages and at every season of the year. Photographs from all angles reveal the garden’s complex geometrical plan, its magical stone circles and its beautiful and bizarre sculptures. We also catch glimpses of Jarman’s life in Dungeness: walking, weeding, watering, or just enjoying life.
Fauxthentication – Art, Academia, Authorship (or the site-specifics of the Academic Artist) investigates the means of production of the art that can be created within the boundaries of artistic research.
On Filipina labour and amateur performance in Hong Kong.
Performance Research On Amateurs pg 81-87, Volume 25. No 1 January/ February 2020.
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.
An edited volume that explores the work of the innovative, experimental and internationally acclaimed performance artist Marilyn Arsem, with 200 images.
Art as We Don’t Know It showcases art and research that has grown and flourished within the wider network of both the Bioart Society and Biofilia during the previous decade. The book features a foreword by curator and art historian Mónica Bello, and a selection of peer-reviewed articles, personal accounts and interviews, artistic contributions and collaborative projects which illustrate the breadth and diversity of bioart.
“(…) What could be good practice, in a moment like this? What is the art organisation needed for a no-future public? and what would a sustainable, feminist organisation look like?…”
The text was previously published in Who’s Art For? Art Workers Against Exploitation, edited by R-set/tools for cultural workers (Impasse) in collaboration with Rete al Femminile, postmedia books, 2019.
Edition 60/70
As a botanist, Robin Wall Kimmerer has been trained to ask questions of nature with the tools of science. As a member of the Citizen Potawatomi Nation, she embraces the notion that plants and animals are our oldest teachers. In Braiding Sweetgrass, Kimmerer brings these two ways of knowledge together.
Audio of the artist in discussion with Jospeh Morgan Scholfield. Event held on 13 February 2020.