Martin Patrick explores the ways in which contemporary artists across media continue to reinvent art that straddles both public and private spheres. Examining the impact of various art movements on notions of performance, authorship, and identity, Across the Art/Life Divide argues that the most defining feature of contemporary art is the ongoing interest of artists in the problematic relationship between art and life. Looking at under-examined forms, such as stand-up comedy and sketch shows, alongside more traditional artistic media, he situates the work of a wide range of contemporary artists to ask: To what extent are artists presenting themselves? And does the portrayal of the “self” in art necessarily constitute authenticity? By dissecting the meta-conditions and contexts surrounding the production of art, whether aesthetic or conceptual, social or political, Across the Art/Life Divide examines how ordinary, everyday life is transformed into art.
Live Art is a contested category, not least because of the historical, disciplinary and institutional ambiguities that the term often tends to conceal. Live Art can be usefully defined as a peculiarly British variation on particular legacies of cultural experimentation – a historically and culturally contingent translation of categories including body art, performance art, time-based art, and endurance art. The recent social and cultural history of the UK has involved specific factors that have crucially influenced the development of Live Art since the late 1970s. These have included issues in national cultural politics relating to sexuality, gender, disability, technology, and cultural policy. In the past decade there has been a proliferation of festivals of Live Art in the UK and growing support for Live Art in major venues. Nevertheless, while specific artists have been afforded critical essays and monographs, there is a relative absence of scholarly work on Live Art as a historically and culturally specific mode of artistic production. Through essays by leading scholars and critical interviews with influential artists in the sector, Critical Live Art addresses the historical and cultural specificity of contemporary experimental performance, and explores the diversity of practices that are carried out, programmed, read or taught as Live Art. This book is based on a special issue of Contemporary Theatre Review.
This volume is a study of the connected ideas of "queer" and "gender performance" or "performativity" over the past several decades, providing an ambitious history and crucial examination of these concepts while questioning their very bases. Addressing cultural forms from 1960s–70s sociology, performance art, and drag queen balls to more recent queer voguing performances by Pasifika and Māori people from New Zealand and pop culture television shows such as RuPaul’s Drag Race, the book traces how and why "queer" and "performativity" seem to belong together in so many discussions around identity, popular modes of gender display, and performance art. Drawing on art history and performance studies but also on feminist, queer, and sexuality studies, and postcolonial, indigenous, and critical race theoretical frameworks, it seeks to denaturalize these assumptions by questioning the US-centrism and white-dominance of discourses around queer performance or performativity. The book’s narrative is deliberately recursive, itself articulated in order performatively to demonstrate the specific valence and social context of each concept as it emerged, but also the overlap and interrelation among the terms as they have come to co-constitute one another in popular culture and in performance and visual arts theory, history, and practice. Written from a hybrid art historical and performance studies point of view, this will be essential reading for all those interested in art, performance, and gender, as well as in queer and feminist theory.
Kangas also discusses Leedy's extensive travels abroad, especially in Japan, Finland, and Norway, where Leedy has exposed students and fellow artists not only to new approaches in ceramic sculpture but also to ideas of the radical avant-garde in installation art and performance."--BOOK JACKET.
A catalog of paintings, reminiscences, and musings of the Irish artist, from the 1950s to 2001. In addition to Sheridan's words and images (sadly, the many illustrations are sometimes too small for clear viewing), essays from artists and critics including Brian Hand and Ken Jacobs comment on the evo
The memoirs and paintings that Rod Moss has produced during the last 35 years are unique in their dramatisation of the lives of his trusting Aboriginal family and have been critically acclaimed nationally and internationally. In his third memoir we follow the nurturing of the curiosity and openness that has fastened him to the luminous power of Central Australia and its First Peoples. From the foothills of Victoria's Dandenong Ranges and his city-based art education, we are taken to the Mallee where he first embraces the climate most conducive to his wellbeing. He returns to the city and is invited to participate in Melbourne's dynamic experimental small school movement. A year is spent in the USA studying the teachings of Armenian philosopher George Gurdjieff in a rural community ‘Shenandoah’ farm setting. Travel widens Moss’ perceptions and continues to pique his curiosity. A trip to a Pilbra Indigenous community opens the door on the Aboriginal world that he will spend the rest of his life coming to terms with. In Crossing the Great Divide, Rod Moss shows the reader through his formative years in 1950s and 1960s Victoria, and through young adulthood in the 1970s. He weaves his experiences together with sensitivity and a painterly eye.