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What We Made: Conversations on Art and Social Cooperation
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).
Programme for a Proletarian Children’s Theatre
In miscellaneous folder 6.
Part of the Study Room Guide on Live Art and Kids (P3091).
Here is Information. Mobilise.
Key critical writings by artist and curator Ian White (1971-2013), ranging from reviews and catalogue essays to entries from his blog Lives of Performers.
British Black Art: Debates on the Western Art History
The book suggests new narratives about canonical artworks of the British Black Art movement, such as Lubaina Himid’s Freedom and Change, Eddie Chambers’ Destruction of the National Front and Sonia Boyce’s Lay Back Keep Quiet and Think of What Made Britain So Great, interrogating their critical agency from an art-historical perspective.
Interactive Contemporary Art: Participation in Practice
This collection of essays sheds new light on the political, ethical and aesthetic potential of participatory artworks and tests the very latest theoretical approaches to this subject.
Taking a hard look at the self
An article on autopbiographical perforance, including Fake It Till You Make It (Bryony Kimmings, Tim Grayburn), Elizabeth Taylor is my Mother (Suzie Hardgrave, La Mama Theatre), The Blueform (James Pratt, La Mama Theatre).
Immersive, verbatim & immersively verbatim
Reviews from New York: Sleep No More (Punchdrunk), The Sound and the Fury (Elevator Repair Service), Argument Sessions (Ilana Baker)
Laurie Anderson: Do dogs aspire to nirvana?
Feature on Duets on Ice, Landfall and Dirtday!.
Hybrid collection
All issues (pilot-6) of the “international cross-artform bi-monthly”.
In the Flow
Groys explores art in the age of the thingless medium, the internet. He claims that if the techniques of mechanical reproduction gave us objects without aura, digital production generates aura without objects, transforming all its materials into vanishing markers of the transitory present.
Performing Borders: A Study Room Guide on physical and conceptual borders within Live Art.