|
Showing 1 - 12 of
12 matches in All Departments
Unmarked is a controversial analysis of the fraught relation between political and representational visibility in contemporary culture. Written from and for the Left, Unmarked rethinks the claims of visibility politics through a feminist psychoanalytic examination of specific performance texts - including photography, painting, film, theatre and anti-abortion demonstrations. eBook available with sample pages: 0203359437
Live Art in LA: Performance Art in Southern California , 1970-1983
documents and critically examines one of the most fecund periods in
the history of live art. The book forms part of the Getty
Institute's Pacific Standard Time initiative - a series of
exhibitions, performance re-enactments and research projects
focused on the greater Los Angeles area. This extraordinary volume,
beautifully edited by one of the leading scholars in the field,
makes vivid the compelling drama of performance history on the west
coast. Live Art in LA: moves lucidly between discussions of
legendary figures such as Judy Chicago and Chris Burden, and the
crucial work of less-celebrated solo artists and collectives;
examines the influence of key institutions, particularly Los
Angeles Contemporary Exhibitions and the California Institute of
the Arts - and the Feminist Art Programme established at the
latter; features original and incisive essays by Peggy Phelan and
Amelia Jones, and eloquent contributions by Michael Ned Holte,
Suzanne Lacy and Jennifer Flores Sternad. Combining cutting-edge
research with over 100 challenging and provocative photographs and
video stills, Live Art in LA represents a major re-evaluation of a
crucial moment in performance history. And, as performance studies
becomes ever more relevant to the history of art, promises to
become a vital and enduring resource for students, academics and
artists alike.
Unmarked is a controversial analysis of the fraught relation
between political and representational visibility in contemporary
culture. Written from and for the Left, Unmarked rethinks the
claims of visibility politics through a feminist psychoanalytic
examination of specific performance texts - including photography,
painting, film, theatre and anti-abortion demonstrations.
"Mourning Sex" employs an impressive range of cultural
representations to examine how cultures perform their mourning. The
texts examined range from a recent film made by a man dying of
AIDS, to the remains of the Rose theatre. Other chapters explore
the performance of grief through: the paintings of Caravaggio and
Holbein; the Anita Hill and Clarence Thomas hearings; and Freud's
patient Anna O.
In "Mourning Sex," Phelan meditates upon the trauma of loss,
erotically and performatively, in an extraordinary fusion of
critical and creative writing which erodes the distinction between
art and theory, fact and fiction.
This work by the author of the highly-accalimed "Unmarked" makes a
stunning advance in performance theory in dialogue with
psychoanalysis, queer theory, and cultural studies. relation to
texts and events ranging from the paintings of Caravaggio and
Holbein, to Massi and Friedman's film "Silverlake Life" to the
Anita Hill and Clarence Thomas hearing Peggy Phelan meditates upon
the performance and erotics of the trauma of loss. Experimental and
theoretically informed Mourning Sex advances performance theory in
dialogue with psychoanalysis, queer theory, and cultural studies.
"Mourning Sex" examines how cultures perform their mourning.
Employing a wide range of cultural representations--from
Caravaggio's 1601 painting, "The Incredulity of St. Thomas" to Tom
Joslin's, Mark Massi's and Peter Friedman's 1992 film "Silver Lake
Life: The View From Here," "Mourning Sex" meditates on the trauma
of loss, erotically, and performatively. Experimental and
theoretically informed, "Mourning Sex" advances performance theory
in dialogue with psychoanalysis, queer theory, and culturalstudies.
This is a book about the exhilaration and the catastrophe of embodiment. Analyzing different instances of injured bodies, Peggy Phelan considers what sustained attention to the affective force of trauma might yield for critical theory. Advocating what she calls "performative writing", she creates an extraordinary fusion of critical and creative thinking which erodes the distinction between art and theory, fact and fiction. The bodies she examines here include Christ's, as represented in Caravaggio's painting The Incredulity of St Thomas, Anita Hill's and Clarence Thomas's bodies as they were perfomed during the Senate hearings, the disinterred body of the Rose Theatre, exemplary bodies reconstructed through psychoanalytic talking cures, and the filmic bodies created by Tom Joslin, Mark Massi, and Peter Friedman in Silverlake Life: The View From Here. This new work by the highly-acclaimed author of Unmarked makes a stunning advance in performance theory in dialogue with psychoanalysis, queer theory, and cultural studies.
A broad and inclusive volume of the celebrations and critiques of
performance arts Focusing on the living arts-dance, theatre, music,
performance art, ritual, and popular entertainment-performance
studies expands our understanding of "performance" as both a vital
artistic practice and a means by which to understand social and
cultural processes. Bridging the gap between cultural studies,
performing arts, and anthropology, performance studies explores
myriad ways in which performance creates meaning and shapes our
everyday lives. The broadest and most inclusive volume to date, The
Ends of Performance both celebrates and critiques the
institutionalization of the field. Only recently has the field
given keen attention to the interpretive force and consequences of
performance events, and it is these consequences that the The Ends
of Performance articulates. Here performance studies illuminates
the complex social and cultural formations of our time--the impact
of virtual technology, the racialized discourses of legal and
cultural citizenship, the impact of new medical discourses, and the
medicalization of the body. Featuring work by leading theorists
such as Joseph Roach, Diana Taylor, and Richard Schechner,
excursions into performative writing by Eve Kosofsky Sedgwick and
Della Pollock, and texts by performance artists Orlan and Deb
Margolin, The Ends of Performance illuminates the provocative
intellectual ends which motivate these varied approaches to
performing writing, and to writing performance.
'Certain Fragments . . . illuminate[s] . . . the more interesting aspects of contemporary British theatre.' - David Pattie, New Theatre Quarterly
A broad and inclusive volume of the celebrations and critiques of
performance arts Focusing on the living arts-dance, theatre, music,
performance art, ritual, and popular entertainment-performance
studies expands our understanding of "performance" as both a vital
artistic practice and a means by which to understand social and
cultural processes. Bridging the gap between cultural studies,
performing arts, and anthropology, performance studies explores
myriad ways in which performance creates meaning and shapes our
everyday lives. The broadest and most inclusive volume to date, The
Ends of Performance both celebrates and critiques the
institutionalization of the field. Only recently has the field
given keen attention to the interpretive force and consequences of
performance events, and it is these consequences that the The Ends
of Performance articulates. Here performance studies illuminates
the complex social and cultural formations of our time--the impact
of virtual technology, the racialized discourses of legal and
cultural citizenship, the impact of new medical discourses, and the
medicalization of the body. Featuring work by leading theorists
such as Joseph Roach, Diana Taylor, and Richard Schechner,
excursions into performative writing by Eve Kosofsky Sedgwick and
Della Pollock, and texts by performance artists Orlan and Deb
Margolin, The Ends of Performance illuminates the provocative
intellectual ends which motivate these varied approaches to
performing writing, and to writing performance.
Live Art in LA: Performance Art in Southern California , 1970-1983
documents and critically examines one of the most fecund periods in
the history of live art. The book forms part of the Getty
Institute's Pacific Standard Time initiative - a series of
exhibitions, performance re-enactments and research projects
focused on the greater Los Angeles area. This extraordinary volume,
beautifully edited by one of the leading scholars in the field,
makes vivid the compelling drama of performance history on the west
coast. Live Art in LA: moves lucidly between discussions of
legendary figures such as Judy Chicago and Chris Burden, and the
crucial work of less-celebrated solo artists and collectives;
examines the influence of key institutions, particularly Los
Angeles Contemporary Exhibitions and the California Institute of
the Arts - and the Feminist Art Programme established at the
latter; features original and incisive essays by Peggy Phelan and
Amelia Jones, and eloquent contributions by Michael Ned Holte,
Suzanne Lacy and Jennifer Flores Sternad. Combining cutting-edge
research with over 100 challenging and provocative photographs and
video stills, Live Art in LA represents a major re-evaluation of a
crucial moment in performance history. And, as performance studies
becomes ever more relevant to the history of art, promises to
become a vital and enduring resource for students, academics and
artists alike.
For more than two decades, feminist theater troupes, playwrights,
comedians, and performance artists have challenged convention,
raised consciousness, and provoked controversy. Acting Out is the
first collection of essays to critically examine the impact that
these performers, from the Women's Experimental Theater in the
1970s to contemporary artists such as Madonna, Karen Finley,
Cherrie Moraga, Holly Hughes, and Anna Deavere Smith, have had on
Anglo-American culture. These original essays cover a variety of
subjects including alternative theater, the diversity of feminist
aesthetic strategies, stand-up comedy and the politics of gender,
lesbian sexuality, and the antifeminist, anti-abortion
demonstrations of Operation Rescue. Both a critical account of
contemporary feminist performance and an illustration of its depth
and diversity, Acting Out is essential reading for anyone
interested in feminist theory, sexual difference, queer theory, or
the politics of contemporary performance. Contributors include
Philip Auslander, C. Carr, Kate Davy, Joyce Devlin, Elin Diamond,
Jill Dolan, Hilary Harris, Lynda Hart, Lynda M. Hill, Julia Malnig,
Vivian M. Patraka, Peggy Phelan, Janelle Reinelt, Sandra L.
Richards, Amy Robinson, Judy C. Rosenthal, Rebecca Schneider,
Raewyn Whyte, and Yvonne Yarbro-Bejarano.
|
Matts Leiderstam: View (Paperback)
Matts Leiderstam; Edited by Lucy Flint; Text written by Peggy Phelan, Lynne Cooke
|
R489
R389
Discovery Miles 3 890
Save R100 (20%)
|
Out of stock
|
Primer volumen que presenta la rica diversidad del arte desde el
punto de vista del feminismo. Incluye obras de mas de 150 artistas
desde la decada de 1960 hasta la actualidad, de Alice Neel y Eva
Hesse a Gillian Wearing o Coco Fusco. Con un completo estudio
preliminar de Peggy Phelan, una de las principales teoricas
feministas del arte contemporaneo y la performance. Expone axiomas
sobre genero, politizando el vinculo entre lo privado y lo publico
y haciendo hincapie en la especificidad del arte marcado por el
genero, la raza, la edad o la clase social.
|
You may like...
Poldark: Series 1-2
Aidan Turner, Eleanor Tomlinson, …
Blu-ray disc
(1)
R55
Discovery Miles 550
|