Performance documentation.
| Artist / Author | Yan Duyvendak |
|---|---|
| Reference | D0822 |
| Date | 2003 |
| Type | DVD |
Investigates critical approaches to performance, ultimately aiming to stimulate new discussion between theorists and practitioners.
From a new project inspired in equal parts by Japanese Kabuki Theatre, the vocaloid Hatsune Miku and the 1987 film Mannequin.
Interview with Laurie Anderson.
Traces the many ways in which museums have approached performance works from the 1960s onwards, considering the unique challenges of documenting live events.
Exhibition catalogue. 19 September 1999 – 3 January 2000, Wexner Centre for the Arts, The Ohio State University.
Experimental video essay.
Part of the Library of Performing Rights (LPR) (P3041).
Ten transformative local arts projects come alive in this comics-illustrated training manual for youth leaders and teachers.
Part of the Library of Performing Rights (LPR) (P3041).
Annual DVD publication presenting contemporary video works from Australian artists. Includes a publication of essays.
Examines the activist, participatory, coauthored aesthetic experiences being created in contemporary art. In a series of fifteen conversations, artists comment on their experiences working cooperatively, joined at times by colleagues from related fields, including social policy, architecture, art history, urban planning, and new media.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Shakespeare’s classic tragedy is re-imagined by mixing and repurposing Richard Burton’s 1964 Broadway production, directed by John Gielgud.
Directed by Elizabeth LeCompte. With Scott Shepherd, Ari Fliakos, Koosil-ja, Alessandro Magania, Greg Mehrten, Daniel Pettrow, Casey Spooner and Kate Valk. Songs by Fischerspooner. 2 hours, 30 minutes
This item can be found in the locked glass cabinet.
The most provocative voices of the Digital Age grapple with the direction of digital technology and its concomitant issues, including virtual identities and their relationship to the physical self, the collision of commercial and community interests on the Net, the Net threat to intellectual property, and the merger of art, popular culture, and commerce in interactive media.
This article speculates about the new kinds of historical information that performance scholars may be able to preserve as a result of recent innovations in web archiving.