Catalogue > By Keyword > Guy Brett
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Anne Bean: Self Etc. book launch
Video documentation of the book launch, as part of LADA Screens. Includes 4 videos.
Anne Bean: Self Etc.
The first substantial survey of its kind, the publication brings together documentation of performances, drawings, videos, installations, and sculptures, as well as writings, interviews and visual essays by the artist. A series of commissioned critical essays show her to be a prolific maker of acts, objects, and multiple ‘selves’.
Artist, Authorship & Legacy: A Reader
Anthology of interdisciplinary essays which critically examines the interlocking themes of artistic authorship, authenticity, and legacy from legal, art market, and art historical perspective.
The Live Art Almanac Volume 4
A collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2012 and December 2014. Selected through recommendations and an open call for submissions, Volume 4 reflects the dynamic, international contexts that Live Art and radical performance-based practices occupy.
Rose Finn-Kelcey
Comprehensive monograph on Rose Finn-Kelcey with illustrations and essays.
This item is part of the 'Glimpses of before: 1970s UK Performance Art' Study Room Guide by Helena Goldwater (P2497)
3 Labels: Issue 2
Notes, essays and interviews are arranged under three headings, ‘Under Consideration’, ‘Artists in their Own Words’, and ‘Notes from the Studio’.
Notes on a Return
TAPS: Improvisations with Paul Burwell
Box archive of Anne Bean’s Legacy Project TAPS: Improvisations with Paul Burwell co-curated by Robin Klassnik and Richard Wilson.
The ‘do-it-yourself’ artwork: Participation from Fluxus to new media
The ‘do-it-yourself’ artwork: Participation from Fluxus to new mediaThis volume consists of fifteen essays by art historians, critics and curators, which are divided into three sections. Part 1 addresses the emergence of spectator participation in the 1960s, whilst Part 2 brings together in-depth case studies of specific participatory practices in the 1960s, 1970s and 1990s, analysing the issues that they raise in their very modes of operation. The more general critical essays in Part 3 map out a range of theoretical approaches to the ‘do-it-yourself’ artwork.
Cildo Meireles collection
Artist documentation.