The concluding volume to Moten’s landmark trilogy consent not to be a single being.
|Artist / Author||Fred Moten|
|Publisher||Duke University Press Books|
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.
In June 2020, a group of 23 creative practitioners came together in virtual spaces to think, talk, listen and dream, learning from each other and through the act of dialogue. These writings reflect some of their thinking, on where we are now and some of the paths forward. FIELD notes is a call for change with care and transparency at its core.
10 is the latest and last publication from The Institute for the Art and Practice of Dissent at Home (2008 – 2018) and looks at 10 persisting problems of the past 10 years, featuring an array of critical and inspiring voices The Institute has worked with over the last decade.
Gómez-Peña Unplugged is an anthology of recent and rewritten classic writings from Guillermo Gómez-Peña, a figure who stands alone as unique and ground-breaking in the history of performance art and as the artistic director of transdisciplinary performance troupe La Pocha Nostra.
An anthology of critical essays that draw on a decade of the authors thinking, writing about and working within contemporary performance as critics, producers, dramaturgs, makers, archivists and more.
Veganism, Sex and Politics explores the potential dangers and irresistible pleasures of living a vegan life.
Documentation of the event marking the end of Restock, Reflect, Rethink Four, a project about Live Art and Cultural Privilege.
Documentation of the evening celebrating the life and Live Art of the brilliant and inspirational artist Katherine Araniello who died on Monday 25 February 2019.
Video documentation of the book launch, as part of LADA Screens. Includes 4 videos.
Forty years since the publication of Naseem Khan’s seminal report The Arts Britain Ignores, how much has changed?