Performance art

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Installation view from Allan Kaprow, 18 Happenings in 6 Parts, Ruben Gallery, New York, 1959. Photo: Fred W. McDarrah.
Claes Oldenburg, Snapshot from the City, 1960. On photography with Patty Mucha (Pat Muschinski). Photo: Martha Holmes.
Chris Burden, Trans-fixed, 1974. Venice, California.
Marina Abramović, Rhythm 0, 1974. Studio Morra, Naples. MG Ljubljana. Guggenheim. MoMA. Tate. Artist.
Carolee Schneemann, Interior Scroll, 1975. Photo: Anthony McCall. Gelatin silver prints. East Hampton, New York. Moderna Museet. Brooklyn M. Tate. Cornell. Reina Sofia. Artist.

A resource

This page contains an overview of artists, their writings, major venues, exhibitions and catalogues, associated journals, historical studies and analyses of performance art, including happenings and body art, followed by thematic sections on documentation, reenactment, and performance studies. Closely associated movements such as Gutai, Situationist International, Viennese Actionism, Fluxus and Moscow Conceptualists are treated on separate pages.

First published on 23 July 2017.

Artists[edit]

This selection includes major happening, performance and body artists active in the 1960s and 1970s. See also Situationists, Viennese Actionists, Fluxus artists, and Moscow Conceptualists.

Artist's writings[edit]

See also publications of Gutai, Situationist International, Viennese Actionists and Fluxus. For publications by individual artists see bibliographies on their respective pages.

Dé-Coll/age 1, Jun 1962.
arTitudes international 3, Feb-Mar 1973.

Journals[edit]

  • Dé-Coll/age: Bulletin aktueller Ideen, 7 numbers, ed. Wolf Vostell, Frankfurt: Typos, 1962-69. [1] [2] [3] (German)
  • Happening News / Milkyways, 6 issues, eds. Hugo Heyrman, Panamarenko and Wout Vercammen, Antwerp, Sep 1965-Mar 1966. [4] [5] [6] [7] (English)
  • Interfunktionen, ed. Friedrich Heubach, Cologne, 1968-75. (German)
  • Avalanche, 13 numbers, eds. Liza Béar and Willoughby Sharp, New York, 1970-76. Attended to body and performance art, as well as other aspects of conceptual art. Primary source on European and US post-studio, post-minimalist art practices, including performance, process, land, and language art, among other forms of concept-based art. Contains articles, extensive interviews, documentation of works, and large b&w photographs. The journal also published monograph-length studies, such as those on Vito Acconci and Joseph Beuys. [8] (English)
  • arTitudes, ed. François Pluchart, 1971-77. Edited by a critic who commissioned theoretical articles and news on international performance and conceptual art, with special attention to performance art in France. ArTitudes (1971-72) published 8 issues, followed by ArTitudes International (1972-77) with 17 issues, which overlapped with info-arTitudes (1975-77), with 20 issues. [9] (French)
  • Avalanche Newspaper, 1974-78. Appeared in newspaper format simultaneously with the Avalanche journal, covering similar content. (English)
  • Vision, 5 issues, ed. Tom Marioni, 1975-81. Focused on "idea art": California (September 1975) included performance and conceptual artists in the state; Eastern Europe (January 1976) introduced body and idea art from the region; New York City (November 1976) attended to happenings, Fluxus, and body art; and Word of Mouth (1980) offered a boxed set of three LP recordings of twelve artists’ talks, while Artists' Photographs (1981) presented boxed loose-leaf photographs by 76 artists from 16 countries. (English)

Catalogues[edit]

  • 24 Stunden, Itzehoe-Voßkate: Hansen & Hansen, 1965. Catalogue of a 24-hour happening in which many early practitioners of happenings and Fluxus participated, including Joseph Beuys, Bazon Brock, Charlotte Moorman, Nam June Paik, Eckart Rahn, Tomas Schmit, and Wolf Vostell. (German)
Performance by Artists, eds. Bronson & Gale, 1979, Log, PDF.
The Art of Performance: A Critical Anthology, eds. Battcock & Nickas, 1984, PDF.
Out from Under: Texts by Women Performance Artists, ed. Champagne, 1990, Log, PDF.
Radical Street Performance: An International Anthology, ed. Cohen-Cruz, 1998, Log, PDF.

Anthologies[edit]

  • Happenings: Fluxus, Pop Art, Nouveau Realisme: Eine Dokumentation, eds. Jürgen Becker and Wolf Vostell, Rheinbeck: Rowohlt, 1965, 470 pp. Historical resource for the original interconnection among these four overlapping, once mutually enhancing, artistic movements, aesthetic concerns that have subsequently been pried apart in the history of art. (German)
  • Happenings: An Illustrated Anthology, ed. & intro. Michael Kirby, New York: E.P. Dutton, 1965, 287 pp. Analyzes happenings as a new form of theater comparable to collage and "compartmented" theater. Composed of statements, scripts, and illustrations of happenings by Allan Kaprow, Red Grooms, Robert Whitman, Jim Dine, and Claes Oldenburg. (English)
  • Assemblages, Environments and Happenings, ed. Allan Kaprow, New York: H.N. Abrams, 1966, 341 pp. Excerpt. Survey of the evolution of happenings as partially rooted in assemblage and environments, with attention to the happenings of Wolf Vostell (Germany), Jean-Jacques Lebel (France), the Gutai (Japan), Kudo (Japan), Oldenburg (United States), a.o. [10] (English)
  • Aktual Schmuck, Czechoslovakia, ed. Milan Knížák, Cullompton, UK: Beau Geste, 1974. Assembled by Knížák, who was the principal theorist and leader of the Aktual group, and the publication by Beau Geste Press a much admired alternative press includes texts, photos, drawings, and ideas related to Aktual art actions, happenings, rituals, and ceremonies; profusely illustrated. (English)
  • Performance by Artists, eds. A.A. Bronson and Peggy Gale, Toronto: Art Metropole, 1979, 318 pp. Begins with a section of texts by artists not often cited in anthologies, such as Chalemange Palestine, Clive Robertson, Tom Sherman, Ben d’Armagnac, and Ulricke Rosenbach, among others. "Commentaries" follow written by artists and art historians, including Bruce Barber’s pivotal essay "Indexing: Conditionalism and Its Heretical Equivalents" on how the term "performance art" came to dominate a once open and variable nomenclature defining a broad field of live art activities. Extensive bibliography. (English),(French)
  • Collective Consciousness: Art Performances in the Seventies, ed. Jean Dupuy, New York: Performing Arts Journal Publications, 1980, 245 pp. With introductory conversations between Dupuy, John Howell, Peter Frank, and Paul Miller, and an essay by Tim Maul, the anthology contains documents and statements by performance artists who performed at Dupuy’s loft space at 405 East 13th Street in New York, as well as actions that he documented in other spaces in the city. Vintage photographs of performances artists, both famous and obscure. [11] (English)
  • Scenarios: Scripts to Perform, ed. Richard Kostelanetz, Brooklyn, NY: Assembling Press, 1980. This veritable treasure trove of difficult to find, primary texts provides readers immediate access to the musical and conceptual scores, poetry, plays, commentaries, drawings, and performance practices driving experimental art of the period. (English)
  • Performance Anthology: Source Book for a Decade of California Performance Art, eds. Carl E. Loeffler and Darlene Tong, San Francisco: Contemporary Arts Press, 1980, xii+500 pp; 2nd ed., upd., as Performance Anthology: Source Book of California Performance Art, San Francisco: Last Gasp, 1989. The second edition begins with introductory statements by Loeffler, Tom Marioni, and Allan Kaprow, followed by Tong’s literature review and her valuable annotated chronology (beginning in 1970) of performance art in California realized by US and international artists. Also contains essays by Loeffler, Linda Frye Burnham, Judith Barry, and Moira Roth. Many b&w photographs. (English)
  • The Art of Performance: A Critical Anthology, eds. Gregory Battcock and Robert Nickas, New York: E.P. Dutton, 1984. In three sections—"Historical Introduction," "Theory and Criticism," and "The Artists"—the volume contains essays by scholars, critics, curators, and art historians, including Peter Gorsen's "The Return of Existentialism in Performance Art," Françoise Pluchart's "Risk as the Practice of Thought," and David Shapiro's "Poetry and Action: Performance in a Dark Time," as well as interviews with artists Terry Fox, Chris Burden, and Laurie Anderson, and writings by Vito Acconci and Les Levine. (English)
  • Out from Under: Texts by Women Performance Artists, ed. & intro. Lenora Champagne, New York: Theatre Communications Group, 1990, xiv+185 pp. Anthology of writings exploring sex, race, religion, and autobiography, and containing texts by performance artists Holly Hughes, Laurie Anderson, Karen Finley, Laurie Carlos, Robbie McCauley, and Jessica Hagedorn, Rachel Rosenthal, Beatrice Roth, Leeny Sack, Lenora Champagne and Fiona Templeton. (English)
  • "Performance Art", ch 8 in Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings, eds. Kristine Stiles and Peter Selz, University of California Press, 1996, pp 679ff; 2nd ed., 2012, pp 798-954. Introduction. Writings by an international selection of performance artists, with an introduction to the history of performance art from the 1950s to the present. See also chapter 5, "Art and Technology", for video and multimedia performance, and chapter 9, "Language and Concepts", for conceptual performance. (English)
  • The Twentieth Century Performance Reader, eds. Michael Huxley and Noel Witts, London and New York: Routledge, 1996, 422 pp; 2nd ed., 2002; 3rd ed., eds. Teresa Brayshaw and Noel Witts, 2013, 514 pp. First edition contains 50 critical, theoretical, and some canonical 20th-century texts on performance. Reviews: Chamberlain (Contemporary Theatre Rev), Grady (TDR), Makeham (Australasian Drama Studies), Taylor (TDPT). (English)
  • Radical Street Performance: An International Anthology, ed. Jan Cohen-Cruz, London and New York: Routledge, 1998. Anthology on invisible theater, demonstrations and rallies, direct action, puppetry, parades and pageants, performance art, guerrilla theater, and circuses, with contributors from Eugenio Barba, Augusto Boal, Yolanda Broyles-González, Dwight Conquergood, Abbie Hoffman, Baz Kershaw, Adrian Piper, Nellie Richard, Richard Schechner, Diana Taylor, Ngũgĩ wa Thiong’o, and David Welch. (English)
  • "Documents", in The Artist's Body, ed. Tracey Warr, London: Phaidon, 2000, pp 190-287; abr., rev. & upd.ed., 2012. (English)
  • "Body Unbound", ch. 4 in Primary Documents: A Sourcebook for Eastern and Central European Art since the 1950s, eds. Laura Hoptman and Tomáš Pospiszyl, New York: Museum of Modern Art, 2002, pp 196ff. [12] TOC. (English)
  • in Inverted Utopias: Avant-Garde Art in Latin America, eds. Mari Carmen Ramirez and Héctor Olea, Yale University Press, 2004. Assembly of primary documents on and writings by Latin American artists and critics. (English)
  • in Contemporary Chinese Art: Primary Documents, eds. Wu Hung and Peggy Wang, New York: Museum of Modern Art, 2010. Primary documents and review of Chinese avant-garde art from 1976 until 2006. (English)
Re/Search 13: "Angry Women", 1991, PDF.
Performance Artists Talking in the Eighties, ed. Montano, 2000, Log, PDF.

Interviews[edit]

  • Re/Search 13: "Angry Women", eds. Andrea Juno and V. Vale, San Francisco: Re/Search, 1991, 239 pp. Compilation of interviews with sixteen performance artists: Kathy Acker, Susie Bright, Wanda Coleman, Valie Export, Karen Finley, Diamanda Galás, bell hooks, Holly Hughes, Lydia Lunch, Kerr & Malley, Linda Montano, Avital Ronell, Sapphire, Carolee Schneemann, and Annie Sprinkle. Interviews address questions of male domination, racism, childhood sexual abuse, persecution of lesbians, reproductive rights, pornography and these artists’ effort to initiate social change through performance art. [13] (English)
    • Ikareru onnatachi, 2 vols., trans. Michio Ochi, Tokyo, 1995 & 1997, 325 pp & 303 pp. (Japanese)
    • Angry women: die weibliche Seite der Avantgarde, trans. Kirsten Borchardt and Patricia Grzonka, St. Andrä-Wördern : Hannibal, 1997, 271 pp. (German)
    • Nu nu, Tai bei shi: Shang zhou chu ban: Jia ting chuan mei cheng bang fen gong si fa xing, 2005, 319 pp. (Chinese)
  • Nick Kaye, Art Into Theatre: Performance Interviews and Documents, Routledge, 1996, 280 pp. Includes interviews with John Cage, Carolee Schneemann, Barry Le Va, Dennis Oppenheim, Stuart Brisley, Joan Jonas, Linda Montano, Marina Abramovic, et al. [14] (English)
  • Conversations on Art and Performance, eds. Bonnie Marranca and Gautam Dasgupta, Baltimore: Johns Hopkins University Press, 1999. Presents interviews on a variety of topics with various authors first published in PAJ journal: Susan Sontag ("Art and Its Audience"), Robert Jay Lifton ("Art and the Imagery of Extinction"), Edward Said ("Criticism, Culture, and Performance"), Carolee Schneemann ("Performance and the Body"), Laurie Anderson ("Acting and Nonacting"), Lee Breuer ("Interculturalism and Performance"), a.o. Review: Fortier (Modern Drama). (English)
  • Linda M. Montano (ed.), Performance Artists Talking in the Eighties: Sex, Food, Money/Fame, Ritual/Death, afterw. Kristine Stiles, University of California Press, 2000, 537 pp. Illuminating, humorous, and thoughtful interviews conducted by the performance artist Linda Montano with a diverse group of artists, who opine on sex, food, money/fame, and ritual/death, including artist's biographies. (English)
  • Nicholas Zurbrugg (ed.), Art, Performance, Media: 31 Interviews, University of Minnesota Press, 2004, xxii+407 pp. (English)
  • Bruce Barber, Performance, [Performance] and Performers, ed. Marc James Leger, Toronto: YYZ Books, 2007, 141 pp. [15] (English)
  • Bruce Barber, Performance, [Performance] and Performers, Vol. 2, Marc James Leger, Toronto: YYZ Books, 2007, 160 pp. [16] (English)
  • Guillermo Gómez-Peña, Conversations across Borders: A Performance Artist Converses with Theorists, Curators, Activists, and Fellow Artists, ed. Laura Levin, London and New York: Seagull, 2011. Addressing a variety of topics, from border culture, postcolonial theatricalization, and urban hipsterism to art in the post-9/11 era, Gómez-Peña talks with such artists as Lisa Wolford Wylam, Tim Miller, Felipe Ehrenberg, Orlando Britoo Jinorio, Silvana Straw, and Rafael Lozano-Hemmer, a.o. (English)
  • Dominic Johnson, Art of Living: An Oral History of Performance Art, London: Palgrave Macmillan, 2015, xiv+303 pp. (English)

Venues[edit]

Major venues for experimental art, emphasizing live and performance art.

Literature[edit]

  • Martin Duberman, Black Mountain College: An Exploration in Community, New York: Dutton, 1972, 527 pp; repr., WW Norton, 1993, 578 pp; repr., Northwestern University Press, 2009, xxiii+578 pp. History of the radical experimental art school, the volume includes a series of interviews with many who were present at John Cage’s Theater Piece #1 (1952), which included participation by Charles Olson, Merce Cunningham, Robert Rauschenberg, a.o. These personal accounts triangulate and provide unique insight into the historic event.
  • ABC No Rio Dinero: The Story of a Lower East Side Art Gallery, eds. Alan Moore and Marc Miller, New York: ABC No Rio with Collaborative Projects, 1985, 216 pp. Excerpts. [17] [18] [19] (English)
  • L'Art en actes: Le Lieu, centre en art actuel, 1982-1997, ed. Richard Martel, Quebec City: Inter Éditeur, 1998. Chronicles performance at the artist-run space Le Lieu, with b&w photographs. (French)
  • Vincent Katz (ed.), Black Mountain College: Experiment in Art, MIT Press, 2003. Katz identifies the Bauhaus as the philosophical antecedent for Black Mountain College, the experimental North Carolina art school, as well as the source for the emergence of happenings in the United States. Contains documents and personal recollections of the college, an essay on music by Martin Brody, and essays by Robert Creeley and Kevin Power on poets and the Black Mountain Review, the journal for the Black Mountain school of poetry. Contains numerous interviews with artists who attended the college; five hundred photographs.
  • Critical Mass: Happenings, Fluxus, Performance, Intermedia, and Rutgers University, 1957-1972, ed. Geoffrey Hendricks, New Brunswick, NJ: Rutgers University Press, 2003. Contains original texts and scores by Allan Kaprow, Geoffrey Hendricks, Larry Miller and Sara Seagull, Al Hansen, Carolee Schneemann, Milan Knížák, Philip Corner, Dick Higgins, Letty Lou Eisenhauer, Yoshi Wada, a.o.; and documentation of Hermann Nitsch’s first performance in the United States of his Orgies-Mysteries Theater in 1970. Scholarly essays by Hannah Higgins, Jill Johnston, Barbara Moore, Michael Aaron Rockland, Susan Ryan, and Kristine Stiles. Timeline, many illustrations, and bibliography. [20] [21] [22] (English)
  • Marga van Mechelen, De Appel: performances, installaties, video, projecten 1975-83, Amsterdam: De Appel Foundation, 2006, 440 pp. [23]. Review: Konijn (De Witte Raaf 2006). (Dutch)
    • De Appel: Performances, Installations, Video, Projects, 1975-83, trans. Michael Gibbs, Amsterdam: De Appel Foundation, 2006, 440 pp. [24] (English)
  • Eleanor Roberts, Third Area: A Feminist Reading of Performance at London’s ICA in the 1970s, London: Queen Mary University, 2016. PhD dissertation.

See also other literature on Black Mountain College.

Reception, art historical studies[edit]

the West[edit]

See also literature on Gutai, Situationist International, Viennese Actionism, and Fluxus.

Books[edit]

Jean-Jacques Lebel, Le happening, 1966.
1960s[edit]
  • Jean-Jacques Lebel, Le happening, Paris: Denoël, 1966, 89 pp. The first practitioner of happenings in France, Lebel (an artist, poet, and activist) identified Dada as the antecedent for happenings, and launched the Festivals of Free Expression in 1964, multimedia events notorious for vivid representations of sexual liberation. (French)
    • El happening, Buenos Aires: Nueva Vision, 1967. (Spanish)
    • "On the Necessity of Violation", New Writers 4, London: Calder and Boyars, 1967; repr., abridged, The Drama Review: TDR 13:1, 1968, pp 89-105. Trans. of abridged version. (English)
  • New Writers IV: Plays and Happenings, ed. John Calder, London: Calder and Boyars, 1967, 166 pp. TOC. Texts by John Calder, Jean-Jacques Lebel, Charles Marowitz, Ken Dewey, René de Obaldia, Allan Kaprow, a.o.
  • Richard Kostelanetz, The Theatre of Mixed Means: An Introduction to Happenings, Kinetic Environments, and Other Mixed Means Performances, New York: Dial, 1968. Defines the new mediums of happenings, Fluxus, and experimental dance and theater as intermedia arts. Contains essays and interviews with many of artists, including John Cage, Ann Halprin, Robert Rauschenberg, Allan Kaprow, Claes Oldenburg, Carolee Schneemann, Ken Dewey, La Monte Young, Robert Whitman, and members of the USCO collective. (English)
  • Jeff Nuttall, Bomb Culture: Pop, Protest, Art, London: MacGibbon & Kee, 1968, 262 pp; London: Paladin, 1970, 252 pp. Chronicles the international counterculture, passing through and living in London in the 1960s, in the context of the British "Ban the Bomb" anti-nuclear movement and its destructive ethos and affect on the artists and poets who pioneered happenings and live art. (English)
  • Michael Kirby, The Art of Time: Essays on the Avant-Garde, New York: E.P. Dutton, 1969. Considers time in performance, from environmental theater and "activities" to "interdimensional sculpture", as well as the influence of John Cage on artists' theater. (English)
Walter Aue (ed.), P.C.A.: Projecte, Concepte & Actionen, 1971.
Adrian Henri, Total Art: Environments, Happenings, and Performance, 1974, PDF.
RoseLee Goldberg, Performance: Live Art 1909 to the Present, 1979, Log, PDF.
1970s[edit]
  • Udo Kultermann, Leben und Kunst: zur Funktion der Intermedia, Tübingen: E. Wasmuth, 1970, 210 pp; new ed., 1982. Considers performance, conceptual, process, and earth art in the context of world politics, juxtaposing images of happenings and body art with political imagery like the May 1968 Paris riots, the Buddhist monk Quang Duc’s 1963 self-immolation in Saigon, the first moonwalk in 1969, Chinese Red Guard revolutionary manifestations begun in 1966, and the official Bolivian photograph of the dead Argentine Marxist revolutionary Che Guevara, 1967. (German)
    • Art-events and Happenings, trans. John William Gabriel, London: Mathews Miller Durbar, 1971, 210 pp; US ed. as Art and Life, New York: Praeger, 1971, 210 pp. (English)
    • Vita e arte: la funzione degli intermedia, Milan: Görlich, 1972, 215 pp. (Italian)
  • Walter Aue (ed.), P.C.A.: Projecte, Concepte & Actionen, Cologne: DuMont Schauberg, 1971, 450 pp. Documents early projects related to conceptual and performance art, including aspects of Fluxus, happenings, and body art. Many photographs. Review: Rosendorfer (Merkur). [25] (German)
  • Lucy R. Lippard, Six Years: The Dematerialization of the Art Object from 1966 to 1972; A Cross-Reference Book of Information on Some Esthetic Boundaries, New York: Praeger, 1973, xxii+272 pp. An annotated bibliography of international experimental art, covering the plethora of post-studio art that emerged between 1966 and 1972. (English)
    • Seis años, trans. Luz Rodríguez Olivares, 2004. (Spanish)
  • Adrian Henri, Environments and Happenings, London: Thames and Hudson, 1974. Henri defines environments as earthworks, and destruction in art and the Art Workers Coalition as happenings. Includes chronology from 1952 to 1972, and appendices of artists' writings. (English)
  • Adrian Henri, Total Art: Environments, Happenings, and Performance, New York: Praeger, 1974, 216 pp. Focuses on Black Mountain College in North Carolina, happenings, Fluxus, the Living Theater, and the Soft Machine. (English)
  • Lea Vergine, Il corpo come linguaggio: la 'body-art' e storie simili, Milan: Giampaolo Prearo, 1974, 360 pp; new ed. as Body art e storie simili: il corpo come linguaggio, Milan: Skira, 2000, 292 pp. Covering some 60 major international body artists, the volume contains original documentation of happenings, actions, and body art, as well as artists' texts. The updated expanded edition includes a new generation of artists, especially those interested in altering and augmenting the body (Orlan, Stelarc, and Matthew Barney) and those involved in exploring physical pain and trauma (Ron Athey and Franko B). Extensive illustrations. (Italian)
    • Body Art and Performance: The Body as Language, Milan: Skira, 2000, 294 pp; 2nd ed., 2007, 294 pp. (English)
  • Frank Popper, Art, Action and Participation, New York: New York University Press, 1975. Popper's text anticipated the increasing significance of science and technology in art actions, and how they, in turn, encouraged audience participation, the virtualization of the object, and the emphasis on mixed, multi-sensorial, spatial, and temporal art. (English)
  • Jürgen Schilling, Aktionskunst. Identität von Kunst und Leben? Eine Dokumentation, Luzern: C.J. Bucher, 1978, 215 pp. (German)
    • Xing dong yi shu, trans. Mali Wu, Taibei Shi: Yuan liu chu ban shi ye gu fen you xian gong si, 1993, 363 pp. (Chinese)
  • RoseLee Goldberg, Performance: Live Art 1909 to the Present, New York: Harry N. Abrams, 1979, 128 pp; 2nd ed., rev. & exp., as Performance Art: From Futurism to the Present, 2001, 232 pp; 3rd ed., 2011, 256 pp. Canonical survey of performance art, from proto-theatrical performances of the historical avant-garde to contemporary performance art. (English)
    • Pafōmansu: miraiha kara genzai made, trans. Nakahara Yūsuke, Tokyo: Riburopōto, 1982, 193 pp. (Japanese)
    • Performance art: desde el futurismo hasta el presente, trans. Hugo Mariani, Barcelona: Destino, 1996, 216 pp. (Spanish)
    • La performance: du futurisme à nos jours, trans. Christian-Martin Diebold, Paris: Thames & Hudson, 2001, 232 pp. (French)
    • Performans: od futurizma do danas, trans. Višnja Rogošić and Mario Kovač, Zagreb: Test!-Teatar studentima, 2003, 216 pp. (Croatian)
    • A arte da performance do futurismo ao presente, trans. Jefferson Luiz Camargo, São Paulo: Martins Fontes, 2006, 229 pp; 2nd ed., Lisbon: Orfeu Negro, 2012, 334 pp. (Brazilian Portuguese)
    • Die Kunst der Performance. Vom Futurismus bis heute, Berlin: Deutscher Kunstverlag, 2013, 256 pp. (German)
    • Iskusstvo performansa: ot futurizma do nashikh dney [Искусство перформанса: от футуризма до наших дней], trans. Anna Aslanian, Moscow: Ad Marginem, 2013, 318 pp. Trans. of 3rd ed. Review: Osminkin (Art1). (Russian)
Chantal Pontbriand (ed.), Performance: Text(e)s & documents, 1981.
1980s[edit]
  • Chantal Pontbriand (ed.), Performance: Text(e)s & documents, Montreal: Parachute, 1981, 237 pp. Proceedings of the conference Multidisciplinary Aspect of Performance: Post-modernism, Montreal, 9-11 Oct 1980. Presents essays by a wide range of scholars, from Thierry de Duve, Bruce Barber, Craig Owens, and Régis Durand to Jean-Françoise Lyotard, Douglas Crimp, Regina Cornwell, Germano Celant, a.o.; and contains artist sections with performance documentation, artist biographies, and photographs. [26] (English),(French)
  • Richard Schechner, The End of Humanism: Writings on Performance, New York: Performing Arts Journal Publications, 1982, 128 pp. (English)
  • Moira Roth (ed.), The Amazing Decade: Women and Performance Art in America, 1970-1980: A Source Book, Los Angeles: Astro Artz, 1983, 165 pp. [27] [28]. Comprehensive analysis of the pivotal role and impact of feminist performance art during the 1970s, with an introduction by Mary Jane Jacob, a preface and essay by Moira Roth, and an extensive "Chronology: History/Women’s History/Women’s Performance Art" by Moira Roth, Janet Burdick, and Alice Dubiel. Essays by over thirty women artists follow, incorporating bibliographies on feminist literature and performance and women’s art. Includes many black-and-white documentary photographs. Exh. held 1980. Review: Linfante (Leonardo). (English)
  • Lucy R. Lippard, Get the Message? A Decade of Art for Social Change, New York: E.P. Dutton, 1984, 343 pp. (English)
  • Louise Steinman, The Knowing Body: Elements of Contemporary Performance & Dance, Boston: Shambhala, 1986, 161 pp. (English)
  • Edith Almhofer, Performance art: die Kunst zu leben, Vienna: Bohlau, 1986, 166 pp. (German)
  • Henry M. Sayre, The Object of Performance: The American Avant-Garde since 1970, University of Chicago Press, 1989, xvi+308 pp. Considers feminist performance, particularly by Laurie Anderson, Eleanor Antin, and Carolee Schneemann (ch 4); dance and collaboration as a new form of Gesamtkunstwerk (ch 3); and the application of Roland Barthes’s theories to Sayre’s own concepts of the relationship between photography and live art (ch 7). Reviews: Malina (Leonardo), Leonard (LA Times). [29] (English)
C. Carr, On Edge: Performance at the End of the Twentieth Century, 1993, EPUB; 2008, PDF.
Catherine Ugwu (ed.), Let's Get It On: The Politics of Black Performance, 1995.
Justin Hoffmann, Destruktionskunst, 1995.
Mariellen R. Sandford (ed.), Happenings and Other Acts, 1995, Log.
Amelia Jones, Body Art: Performing the Subject, 1998, intro. & ch 1.
1990s[edit]
  • Alain-Martin Richard, Clive Robertson, Performance au/in Canada, 1970-1990, Quebec City: Intervention, 1991, 395 pp. Comprehensive history of performance art in Canada; summaries of over one thousand performances, extensive bibliography, and essays by the editors, Gathie Falk, Francine Chainé, Anna Banana, Sylvie Tourangeau, Istvan Kantor, Johanna Householder, Tanya Mars, a.o. [30] (French)/(English)
  • Philip Auslander, Presence and Resistance: Postmodernism and Cultural Politics in Contemporary American Performance, Ann Arbor: University of Michigan Press, 1992. Examines the relationship between performance art and political activism. (English)
  • Peggy Phelan, Unmarked: The Politics of Performance, London and New York: Routledge, 1993, xi+207 pp. Explores themes of memory, sight, and love, white men and pregnancy, and the ontology of performance. (English)
  • Lynda Hart, Peggy Phelan (eds.), Acting Out: Feminist Performances, Ann Arbor: University of Michigan Press, 1993, vi+406 pp. Early performance studies anthology of critical texts devoted to contemporary feminist performance, queer theories of sexual difference, and the politics of performance. Essays by Elin Diamond, Jill Dolan, Lynda Hart, Janelle Reinelt, Judy C. Rosenthal, Rebecca Schneider, Raewyn Whyte, and Yvonne Yarbro-Bejarano. Reviews: Goodman (NTQ), Cocalis (Modern Drama). [31] (English)
  • Elisabeth Jappe, Performance, Ritual, Prozeß. Handbuch der Aktionskunst in Europa, Munich: Prestel, 1993. Jappe writes on international performance art, devoting special pages with color photographs to thirty-two artists, some often neglected, like Mark Thompson (United States), János Szirtes (Hungary), and Teresa Murak (Poland). Includes a section of interviews with Marina Abramović, Stuart Brisley, Jochen Gerz, Nikolaus Lang, Boris Nieslony, and Ulrike Rosenbach. An extensive lexicon of over 170 artists’ biographies contains bibliography and black-and-white photograph of a performance by each artist. Review: Ivacs (Artpool). (German)
  • C. Carr, On Edge: Performance at the End of the Twentieth Century, Wesleyan University Press, 1993; rev.ed., 2012, xxii+367 pp. [32]. A compilation of the author’s essays on various expressions of art considered socially subversive. Carr’s articles on the East Village punk club, performance art, and bohemian scenes during the 1980s in New York City includes discussion of the sources of cultural conflicts during the culture wars, the AIDS epidemic, and the homeless. (English)
  • Anne Marsh, Body and Self: Performance Art in Australia, 1969-1992, Melbourne: Oxford University Press, 1993. History of performance art in chapters devoted to cross-disciplinary practices relating to conceptual, post-object, and avant-garde art, the body, ritual and shamanism, feminism and ecology, the social body, and political performance in Australia. Includes such artists as Mike Parr, Melanie Howard, Kevin Mortensen, Sue Richter, Leigh Bowery, Jim Cowley, Stelarc, a.o. [33] (English)
  • Sally Banes, Greenwich Village 1963: Avant-Garde Performance and the Effervescent Body, Duke University Press, 1993, ix+308 pp. Reviews: Guilbaut (Am Hist Rev), Carlson (Theatre J). (English)
  • Richard Kostelanetz, On Innovative Performance(s): Three Decades of Recollections on Alternative Theatre, Jefferson, NC: McFarland, 1994, vi+276 pp. Review: Hubbard (Text & Performance). (English)
  • Catherine Ugwu (ed.), Let's Get It On: The Politics of Black Performance, Seattle: Bay Press, and London: Institute of Contemporary Arts, 1995, 224 pp. Examines performance, from slavery and carnival to contemporary art, from African, American, Afro-Caribbean, Indian, and Latino to Southeast Asian artists working in the United States and Great Britain. Essays by Coco Fusco, bell hooks, a.o.; artists Elia Arce, Chila Kumari Burman, Ronald Fraser-Monro, Reza Abdoh, a.o.; color illustrations. (English)
  • Justin Hoffmann, Destruktionskunst: Der Mythos der Zerstörung in der Kunst der frühen sechziger Jahre, Munich: Silke Schreiber, 1995, 230 pp. Discussion of the use of destruction as a means in art, including Viennese Actionism; Gustav Metzger's "auto-destructive art"; Jean Tinguely and Niki de Saint Phalle's sculptures and performances; happenings by Jean-Jacques Lebel and Wolf Vostell; Fluxus performance; French and Italian affiche lacerée (torn posters by Raymond Hains, Francois Dufrêne, Jacques de la Villeglé, and Mimo Rotello); poets like Jiří Kolár, the Beat poets; the German SPUR group, Kommune I, and the Dutch Provos. [34] (German)
  • Mariellen R. Sandford (ed.), Happenings and Other Acts, London: Routledge, 1995, xxv+397 pp. A collection of interviews, essays, and performance texts by happening and Fluxus artists, with excerpts from writings by Carolee Schneemann, Allan Kaprow, a.o. Features a critical overview by Gunter Berghaus of European happenings. Reviews: Carlson (Theatre J), Ivacs (Artpool)(English)
  • Marvin Carlson, Performance: A Critical Introduction, New York: Routledge, 1996, 247 pp. Introduction. Review: Grady (TDR). (English)
  • Rebecca Schneider, The Explicit Body in Performance, London: Routledge, 1996, 237 pp. A study of the correlation between the use of the body in performance and institutional and social power structures, with explorations of the commodification of the female body and the social construction of fantasy, truth, and illusion, as well as detailed analyses of feminist body art in the 1960s and 1970s, like that of Carolee Schneemann, Suzanne Lacy and Shigeko Kubota, Cindy Sherman, and Sandra Bernhard. (English)
  • Philip Auslander, From Acting to Performance: Essays in Modernism and Postmodernism, London and New York: Routledge, 1997. Analyzes relationships among acting, performance, politics, and the change from an earnest, engaged approach to performance art in the 1960s to an ironic, decentered self in the postmodern climate of 1980s deconstruction. (English)
  • Sally Banes, Subversive Expectations: Performance Art and Paratheater in New York, 1976-85, Ann Arbor, MI: University of Michigan Press, 1998, x+297 pp. Articles on the intersection of theater and performance art (Meredith Monk and Ping Chong), street theater (Bread and Puppet Theater), performance artists utilizing narrative (Karen Finley, Spalding Gray, Tim Miller), theater director Robert Wilson and comedian Whoopi Goldberg, and "paratheater." (English)
  • Nicky Childs, Jeni Walwin (eds.), A Split Second of Paradise: Live Art, Installation and Performance, London: Rivers Oram, 1998, 160 pp. Review: Abrams (TDR). (English)
  • The Citizen Artist: 20 Years of Art in the Public Arena: An Anthology from High Performance Magazine, 1978-1998, eds. Linda Frye Burnham and Steven Durland, Gardiner, NY: Critical Press, 1998, xxxiii+344 pp. (English)
  • RoseLee Goldberg, Performance: Live Art Since the 60s, forew. Laurie Anderson, London: Thames & Hudson, 1998, 240 pp; 2004, 240 pp. Review: Gale (NTQ). (English)
    • Performances: l'art en action, trans. Christian-Martin Diebold, Paris: Thames & Hudson, 1999, 240 pp. (French)
  • Amelia Jones, Body Art: Performing the Subject, London: Routledge, 1998, xiv+349 pp. Introduction & Chapter 1. Theorizes body art as the "dislocation or decentering of the Cartesian subject of modernism", and in the first chapter explores how postmodern artists using their bodies question modernist notions of subjectivity and identity. In subsequent chapters, Jones explores the "Pollockian performative", the male artistic subject in relation to the body in action, and the rhetoric of the pose. Reviews: Daly (TDR), Robinson (n.paradoxa), Jerome (Women & Performance), Ostrow (Bomb) [35] (English)
    • Body art: uprizarjanje subjekta, trans. Aleksandra Rekar, afterw. Bojana Kunst, Ljubljana: Maska/Študentska založba, 2002, 420 pp. (Slovenian)
  • Kathy O'Dell, Contract with the Skin: Masochism, Performance Art, and the 1970s, University of Minnesota Press, 1998, xiv+128 pp. Explores the body art of Chris Burden, Vito Acconci, Gina Pane, Ulay/Abramović, a.o., who, she posits, exhibit aspects of masochism that symbolize a contractual relationship between the artist and society and perform a critique of social institutions and their sociopolitical repercussions. (English)
  • Johannes Birringer, Media and Performance: Along the Border, Baltimore: Johns Hopkins University Press, 1998. Considers interactivity in the context of immersive computer technologies, video art, and activism, feminist and queer media practices, and future cybernetic museums. Review: Gale (NTQ). (English)
  • Philip Auslander, Liveness: Performance in a Mediatized Culture, London: Routledge, 1999, 179 pp; 2nd ed., 2008, xiii+208 pp. Examines the relationship between performance and media. (English)
Tracey Warr (ed.), The Artist's Body, 2000, Log.
Thomas Dreher, Performance Art nach 1945. Aktionstheater und Intermedia, 2001, Log.
Midori Yoshimoto, Into Performance: Japanese Women Artists in New York, 2005, PDF.
Steve Dixon, Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation, 2007, PDF.
2000s[edit]
  • Tracey Warr (ed.), The Artist's Body, London: Phaidon, 2000, 304 pp; abr., rev. & upd.ed., 2012, 203 pp. With survey by Amelia Jones. Assembles documents and images of international performance art, artists' writings, and criticism since the mid-20th century. (English)
    • Le corps de l'artiste, trans. Denis-Armand Canal, Paris: Phaidon, 2005, 204 pp. (French)
    • Kunst und Körper, trans. Uli Nickel, Berlin: Phaidon, 2005, 204 pp. (German)
    • El cuerpo del artista, trans. Carme Franch Ribes, London: Phaidon, 2006, 204 pp. (Spanish)
    • Il corpo dell'artista, London: Phaidon, 2006, 204 pp. (Italian)
  • Roberta Mock (ed.), Performing Processes: Creating Live Performance, Bristol: Intellect, 2000, 128 pp. Review: Abrams (TDR). (English)
  • Nick Kaye, Site Specific Art: Performance, Place and Documentation, London: Routledge, 2000, 238 pp. (English)
  • Barbara Engelbach, Zwischen Body Art und Videokunst. Körper und Video in der Aktionskunst um 1970, Munich: Silke Schreiber, 2001, 204 pp. [36] (German)
  • Thomas Dreher, Performance Art nach 1945: Aktionstheater und Intermedia, Munich: Fink, 2001, 543 pp. Explores a spectrum of types and definitions of performance, from action painting, Gutai, Viennese Action art, and destruction in art to body and transgressive art, and from closed-circuit video to computer and telecommunications in performance. Sections of the book also address solo, as well as collective, performance, multifunctionalism and conceptual performance, the role of the spectator, and other neglected aspects of the range of performance. Useful bibliography. (German)
  • Meiling Cheng (ed.), In Other Los Angeleses: Multicentric Performance Art, University of California Press, 2002, xxxiv+407 pp. A study of multicultural, mainstream, and marginal performance art practices over four decades in Los Angeles, including chapters on "Engendering Other/Selves" by Suzanne Lacy and "A Skin Test and a Tongue Transplant" by Elia Arce. With illustrations; extensive footnotes serve as a bibliography. Reviews: Nakas (Theatre J), Chaudhuri (Theater). (English)
  • Barbara Büscher, Live Electronic Arts und Intermedia: die 1960er Jahre. Über den Zusammenhang von Performance und zeitgenössischen Technologien, kybernetischen Modellen und minimalistischen Kunst-Strategien, Leipzig University, 2002, 284 pp. Habilitation. (German)
  • Diana Taylor, The Archive and the Repertoire: Performing Cultural Memory in the Americas, Duke University Press, 2003. In ten chapters that examine aspects of performance, beginning with "Acts of Transfer" and ending with "Hemispheric Performances," Taylor considers the repertoire of embodied memory in contrast to the written archive, arguing that performance is a form for the transfer of cultural recollection that, together with the archive, can contribute to the renewal of cultural identity in the context of the historical disruption and/or contributions of transnational contact. (English)
  • Jane Blocker, What the Body Cost: Desire, History, and Performance, University of Minnesota Press, 2004. Taking her leitmotif from key works by Carolee Schneemann, Vito Acconci, Hannah Wilke, Yves Klein, Ana Mendieta, a.o., with chapters devoted to mouths, lovers, captivating delights, and blood’s work, the author challenges claims for the revolutionary potential of performance art. Includes bibliography and illustrations. (English)
  • Adrian Heathfield (ed.), Live: Art and Performance, London: Tate, 2004, 256 pp; repr., 2012. Texts related to Live Culture, an event series curated by Lois Keidan and Daniel Brine of The Live Art Development Agency in collaboration with Adrian Heathfiled at Tate Modern. Essays on performance art by Peggy Phelan, Amelia Jones, RoseLee Goldberg, Henry M. Sayre, Oleg Kulik, Ricardo Dominquez, Guillermo Gómez-Peña, Ron Athey, Marina Abramović, Stelarc, and William Pope.L. Review: MacDonald (Performance Research). [37] [38] (English)
  • Jens Hoffmann, Joan Jonas (eds.), Perform, London: Thames & Hudson, 2005, 208 pp. Review: MacDonald (Performance Research). (English)
  • Gavin Butt (ed.), After Criticism: New Responses to Art and Performance, Malden, MA: Blackwell, 2005, xii+215 pp. Concerns the place of performative criticism in contemporary art and in the theatrics of art since the 1950s. Divided into three sections devoted to the performativity of writing "art's histories," the role of the critic, and the reception of performance processes. Essays by Gavin Butt, Rebecca Schneider, Jane Blocker, Niru Ratnam, Jennifer Doyle, José Esteban Muñoz, Irit Rogoff, John Seth, Kate Love, Matthew Goulish, and Andrew Walby. Bibliography. Reviews: Cesare (TDR), MacDonald (Performance Research). (English)
  • Thomas McEvilley, The Triumph of Anti-Art: Conceptual and Performance Art in the Formation of Post-Modernism, Kingston, NY: McPherson, 2005, 391 pp. McEvilley theorizes the history of conceptual/performance as "anti-art" from the long view of the evolution of aesthetics. He begins with Diogenes of Sinope, the 4th-century BCE founder of philosophical cynicism, progresses to German Romanticism, Duchampian conceptualism, and Greenbergian formalism, and ends with postmodern global art and its politics. (English)
  • Hans Breder, Klaus-Peter Busse (eds.), Intermedia: Enacting the Liminal, Norderstedt: Books on Demand, 2005. Anthology focusing on the transformative conjunctions inspired by intermedia in the arts, ranging from happenings, Fluxus, and performance art to video, new media, and art education. Celebrates intermedia as a multidimensional, hybrid, interconnected approach to creation and knowledge. Essays by artists, critics, and art historians, among them Mary Beth Edelson, Christiane Paul, and Ken Friedman. (English)
  • Günter Berghaus, Avant-garde Performance: Live Events and Electronic Technologies, Palgrave Macmillan, 2005. Berghaus argues for close readings of "artistic praxis" and carefully sets up the conditions within modernism for the emergence of avant-garde performance, attending to major post–World War II developments from happenings, Fluxus, and body art to performance in the expanded context of electronics. With illustrations and bibliography. Review: Cole (Theatre J). (English)
  • Midori Yoshimoto, Into Performance: Japanese Women Artists in New York, Rutgers University Press, 2005. Case studies of the art of Yayoi Kusama, Yoko Ono, Takako Saito, Mieko Shiomi, and Shigeko Kubota, and their contribution to happenings and Fluxus. Reviews: Concannon (CAA), Chambers-Letson (Women & Performance), Teasley (Signs), Eglinton (Performance Paradigm). (English)
  • Jayne Wark, Radical Gestures: Feminism and Performance Art in North America, Montreal: McGill-Queen's University Press, 2006, xv+285 pp. Concerns feminist performance from the 1970s to the 2000s in Canada and the United States, and is a revisionist view of the politics of performance. Chapters explore "Art, Politics, and Feminism in the 1960s," "The Origins of Feminist Art," "Cultural Feminism," "Autobiography and Narrative," "Roles and Transformations," and "Embodiment and Representation." With a bibliography and illustrations. (English)
  • Bonnie Marranca, American performance 1975/2005, trans. Valentina Valentini, Rome: Bulzoni, 2006, 325 pp. Selected essays. [39] (Italian)
  • Petra Kuppers, The Scar of Visibility: Medical Performances and Contemporary Art, University of Minnesota Press, 2007, ix+360 pp. Considers aspects of "wound culture" (see Seltzer 1997, cited under Trauma and Performance) in the context of pain and trauma (from self-harming to AIDS), laughter in the context of technological experimentation and augmentation (from transgender to cyborg bodies), and in conditions of display (from medical museums to art exhibitions). Provides a chapter on body art, "The Collaborative Arts: Pain and Performance," and discussion of performance artists like Chris Burden, Bob Flanagan, Mona Hatoum, Orlan, Carolee Schneemann, and Stelarc. (English)
  • Steve Dixon, with Barry Smith, Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation, MIT Press, 2007, xv+809 pp. Includes sections on the genealogy of digital performance and histories of modernist performance, from the futurists to performance and technology since 1960; theories and contexts of digital performance, from liveness and postmodern/posthumanism to the digital revolution and digital software; the body in virtual, digital, robotic, and cybernetic conditions; space in digital theater, virtual reality, liquid architectures, telematics, webcams, online performances of live art in cyberspace as cyberspace theater; time and memory; and interactivity. Includes extensive bibliography. Reviews: Farley (Theatre J), Lycouris (Research in Dance Education), Farman (Contemporary Theatre Rev), Smith (Culture Machine), Lavender (Theatre Research Intl). [40] (English)
  • Nick Kaye, Multi-media: Video, Installation, Performance, Routledge, 2007, xxii+249 pp. Review: Lavender (Theatre Research Intl). (English)
  • Johannes Birringer, Performance, Technology and Science, New York: PAJ, 2008. Offers the genesis and development of digital media and the engineering of interactive performance. (English)
  • Francesca Alfano Miglietti, Identità mutanti: Dalla piega alla piaga; Esseri delle contaminazioni contemporanee, intro. Lea Vergine, afterw. Franco Berardi Bifo, Milan: B. Mondadori, 2008. Applies theories by Antonin Artaud, J. G. Ballard, and David Cronenberg to such techniques as sampling, appropriation, and remixing by body and performance artists. From Stelarc, Orlan, Franko B., and Jana Sterbak to Survival Research Laboratories, a.o. (Italian)
  • Sally O'Reilly, The Body in Contemporary Art, London: Thames and Hudson, 2009, 224 pp. [41] (English)
    • Le corps dans l'art contemporain, trans. Lydie Echasseriaud, Paris: Thames & Hudson, 2010, 222 pp. (French)
    • Il corpo nell'arte contemporanea, Torino: Einaudi, 2011, xxxii+243 pp. (Italian)
Uri McMillan, Embodied Avatars: Genealogies of Black Feminist Art and Performance, 2015. Introduction.
Elise Archias, The Concrete Body: Yvonne Rainer, Carolee Schneemann, Vito Acconci, 2016, PDF, EPUB.
2010s[edit]
  • Nancy J. Blomberg (ed.), Action and Agency: Advancing the Dialogue on Native Performance Art, Denver, CO: Denver Art Museum, 2010, 191 pp. Proceedings of symposium held 4-5 Apr 2008 at the Denver Art Museum's second Biennial of the Americas. Presents essays by and on Native Americans’ performance art, emphasizing tribal diverences and associations. Essays by Rebecca Belmore (Anishinaabe-Canadian), Marcia Crosby (Tsimpshian/Haida), Lara M. Evans (Cherokee), Floyd Favel (Poundmaker Cree), Greg A. Hill (Kanyen’Kehaka Mohawk), James Luna (Luiseño/Diegueno), Tina Mjkowski (Oklahoma Kiowa), Polly Nordstrand (Hopi), and Tavia Nyong’o (Kenyan American), with Nancy J. Blomberg. (English)
  • Gabriella Giannachi, Nick Kaye, Performing Presence: Between the Live and the Simulated, Manchester: Manchester University Press, 2011, 240 pp. Authors consider such topics as authenticity, originality, the artist’s encounter with audience, aura and authority, and the self-awareness of the artist, among other questions raised in performance studies; includes case studies on Lynn Hershmann Leeson, Gary Hill, Paul Serman, Tony Oursler, the collectives The Builders Association and Blast Theory, and virtual reality experiences in Dan Sandin’s CAVE. Review: Sherman (Theatre J). (English)
  • Judith F. Rodenbeck, Radical Prototypes: Allan Kaprow and the Invention of Happenings, MIT Press, 2011, 312 pp. Rodenbeck casts happenings as a form of participatory art that simultaneously delivers a radical critique of that very participation. Review: Stob (Criticism). [42]
  • Frazer Ward, No Innocent Bystanders: Performance Art and Audience, Dartmouth College Press, 2012. Review: Klein (CAA). [43] (English)
  • Scott Burton, Collected Writings on Art and Performance, 1965-1975, ed. David J. Getsy, Chicago: Soberscove Press, 2012, 258 pp. (English)
  • Rosemary Klich, Edward Scheer, Multimedia Performance, Basingstoke, UK: Palgrave Macmillan, 2012, 240 pp. Review: Saltz (Theatre J). (English)
  • Susan Broadhurst, Josephine Machon (eds.), Identity, Performance and Technology: Practices of Empowerment, Embodiment and Technicity, Basingstoke, UK: Palgrave Macmillan, 2012, 256 pp. Reviews: Palmer (NTQ), Saltz (Theatre J), Lally (Contemporary Theatre Rev). [44] (English)
  • Lois Keidan, C. J. Mitchell, Access All Areas: Live Art and Disability, London: Live Art Development Agency, 2012. Following the exhibition Access All Areas in London in 2011, this book surveys live art by disabled artists in the United Kingdom, including DASH (Disability Arts in Shropshire), sean burn, the Disabled Avant-Garde, Invalid Film Crew, Noemi Lakmaier, Simon Mckeown, Alan McLean, and Tanya Raabe, among others. Authors consider the social, cultural, and corporeal politics of disability. The volume contains artists' writings, interviews, critical commentary, and two DVDs. (English)
  • Nicola Shaughnessy, Applying Performance: Live Art, Socially Engaged Theatre and Affective Practice, New York: Palgrave Macmillan, 2012, xxi+288 pp. (English)
  • Peggy Phelan, Live Art in LA: Performance in Southern California, 1970-1983, New York: Routledge, 2012, 256 pp. (English)
  • Deirdre Heddon, Jennie Klein (eds.), Histories and Practices of Live Art, New York: Palgrave Macmillan, 2012, 248 pp. Survey of the history and practice of live art from the 1950s to the first decade of the 20th century in the United Kingdom, covering topics like institutions, time, action, site, risk, collaboration, politics, support systems, documentation, and recitation. Provides essays on happenings, Fluxus, performance, action, and land art, digital art and site-specific practices, and experimental film and video. Contributions by Jennie Klein, Beth Hoffmann, Roddy Hunter, Judit Bodor, Stephen Hodge, Cathy Turner, Dominic Johnson, and Claire MacDonald. Review: Roms (Contemporary Theatre Rev). [45] (English)
  • Diana Taylor, Performance, Buenos Aires: Asunto Impresos, 2012, 176 pp. (Spanish)
    • Performance, trans. Abigail Levine, Duke University Press, 2016, 221 pp. Review: Kruger (Crit Inquiry). [46] (English)
  • Jennifer Doyle, Hold It Against Me: Difficulty and Emotion in Contemporary Art, Duke University Press, 2013. Doyle describes painful life experiences, or "difficulty" in feeling, sentimentality, identity, and emotion, in the lives and work of such performance artists as Ron Athey, James Luna, Yoko Ono, David Wojnarowicz, Aliza Shvarts, a.o. Assiduously avoiding the word "trauma," she nonetheless writes about traumatic experiences that underpin these artists’ art. With b&w and color illustrations and a bibliography. (English)
  • Parachute: The Anthology (1975-2000), 2: Performance & Performativity, ed. Chantal Pontbriand, Zurich: JRP/Ringier, 2013, 189 pp. TOC. (English)
  • Dominic Johnson (ed.), Critical Live Art: Contemporary Histories of Performance in the UK, Routledge, 2013, xi+188 pp. Traces the emergence of British live art since the late 1970s as a variation on legacies of body art, performance art and time-based art, conditioned by factors such as sexuality, gender, disability, technology, and cultural policy. Based on a special issue of Contemporary Theatre Review. Reviews: MacDonald (Theatre Research Intl), Schotzko (Contemporary Theatre Rev). [47] (English)
  • Mechtild Widrich, Performative Monuments: The Rematerialisation of Public Art, Manchester University Press, 2014, 256 pp. TOC & Introduction. Examines the relationship of embodiment, memory making, and especially documentation to the meaning of monumental, performative, and audience-oriented art in post-World War II Europe. Based on author's dissertation from MIT. Review: Tumbas (CAA). [48] (English)
  • Carola Dertnig, Felicitas Thun-Hohenstein (eds.), Performing the Sentence: Research and Teaching in Performative Fine Arts, Berlin: Sternberg Press, and Vienna: Academy of Fine Arts, 2014, 224 pp. Widrich's essay. [49] [50] (English)
  • Annie Abrahams, Helen Varley Jamieson (eds.), CyPosium: The Book, Brescia: Link Editions, and Montpellier: La Panacée/Centre de Culture Contemporaine, 2014, 171 pp. (English)
  • Teresa Calonje (ed.), Live Forever: Collecting Live Art, London: Koenig Books, 2014, 172 pp. [51] [52] [53] (English)
  • Nicholas Thomas, Body Art, London: Thames and Hudson, 2014, 208 pp. [54] (English)
  • Uri McMillan, Embodied Avatars: Genealogies of Black Feminist Art and Performance, New York: NYU Press, 2015, 304 pp. Introduction. Tracing a dynamic genealogy of performance from the nineteenth to the present, McMillan contends that black women artists practiced a purposeful self-objectification, transforming themselves into art objects, "performing objecthood" through "avatar production". In doing so, these artists raised new ways to ponder the intersections of art, performance, and black female embodiment. Reviews: Fleming Jr. (TPQ), Cervenak (Theatre J), Mengesha (Women & Performance), Itam (Modern Drama). [55] [56] [57] [58] (English)
  • Ila Nicole Sheren, Portable Borders: Performance Art and Politics on the U.S. Frontera since 1984, University of Texas Press, 2015. [59] (English)
  • Manfred Blohm, Elke Mark (eds.), Formen der Wissensgenerierung. Practices in Performance Art, Oberhausen: Athena, 2015. TOC. (German)
  • Áine Phillips (ed.), Performance Art in Ireland: A History, London: Live Art Development Agency, and Bristol: Intellect, 2015, 336 pp. (English)
  • Tiina Rosenberg, Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance, Stockholm: Stockholm University Press, 2016, 264 pp. (English)
  • Isabella Maidment, Provisional Realities: Live Art 1951-2015, London: University College London, 2016. PhD dissertation.
  • Elise Archias, The Concrete Body: Yvonne Rainer, Carolee Schneemann, Vito Acconci, Yale University Press, 2016, 278 pp. Explores the ways the use of the body as a material in the work of three prominent performance artists revised modernist aesthetics for the 1960s as part of a broader critique of everyday life within spectacle culture. [60] (English)
  • In Terms of Performance, eds. Shannon Jackson and Paula Marincola, Berkeley: Arts Research Center at University of California, and Philadelphia: Pew Center for Arts & Heritage, 2016, HTML. An online anthology of keywords, each with entries from multiple authors. (English)
  • Catherine Wood, Performance in Contemporary Art, London: Tate, forthcoming. (English)
Happening & Fluxus: Materialien, 1970.
documenta 5, 1972, Log.
Journées interdisciplinaires sur l'art corporel et performances, 1979.
Persona, 1981, Log, PDF.
Out of Actions, 1998, Log.
Radical Presence: Black Performance in Contemporary Art, 2013, Log, PDF.

Catalogues[edit]

See also Fluxus catalogues.

  • Happening & Fluxus: Materialien, ed. Hans Sohm, Cologne: Kölnischer Kunstverein, 1970, [340] pp. Exh. curated by Hans Sohm and Harald Szeemann, Kölnischer Kunstverein, Cologne, 6 Nov 1970-6 Jan 1971. Assembled from the collection of Hanns Sohm, a German dentist, whose formative archive included avant-garde art, especially of happenings and Fluxus, counterculture newspapers, samizdat publications, concrete poetry, and all variety of ephemera. The artist Wolf Vostell designed the catalogue, with chronological annotated entries from 1951 to 1970, followed by a bibliography, and informative pages devoted to every artist in the exhibition. [61] (German)
  • documenta 5. Befragung der Realität – Bildwelten heute, 2 vols., Kassel: documenta & Bertelsmann, 1972. Exhibition, held 30 Jun-8 Oct 1972, featured experimental art, from minimal, conceptual, land, earth, and process art to video and performance, the latter exhibited in a section entitled "Individual Myths", including a selection of international artists: Vito Acconci, Joseph Beuys, Gino de Dominicis, Ger Van Elk, Terry Fox, Howard Fried, Gilbert and George, Rebecca Horn, Joan Jonas, Yoko Ono, Dennis Oppenheim, Giuseppe Penone, Klaus Rinke, Franz Erhard Walther, a.o. Earliest exhibition to acknowledge body art as a form together with other conceptual manifestations like land and process art. (German)
  • François Pluchart, L'Art corporel, Paris: Stadler, 1975, [50] pp; repr. in ArTitudes international 18-20, Jan-Mar 1975, pp 49-96. List of artists. Exh. held at Galerie Stadler, 16 Jan-22 Feb 1975. Expands the discussion of body art by considering the body critique implicit in Gina Pane’s performances, at one extreme, and, at the other, the sociological art and involvement with the public in Hervé Fischer’s art and that of the Parisian Sociological Art Collective, founded in 1974 by artists Fischer and Fred Forest, and sociologist Jean-Paul Thénot, who practiced a political critique in interactive installations and actions using the media, from newspapers and television to video. (French),(English)
  • Ira Licht, Bodyworks, Chicago: Museum of Contemporary Art, 1975, [20] pp. Exh. held 8 Mar-27 Apr 1975. Discusses how the presentation of the body establishes a relationship between the artist and the public, creates a distinction between the theatricality of happenings and the personal and private aspects of the body, exhibits the emergent social and political discourses of self-sovereignty, plays an important role in essentially humanitarian pursuits, and exhibits values vested in society rather than things. Includes European and American artists; illustrations. [62] (English)
  • Journées interdisciplinaires sur l'art corporel et performances, ed. Jorge Glusberg, Paris: Musée national d'art and Culture Georges Pompidou, and Buenos Aires: Centro de Arte y Comunicación, 1979, [56] pp. Introductory text by Glusberg and writings by critics and artists: Juan Acha, René Berger, Florent Bex, Germano Celant, Urszula Czartoryska, Gillo Dorfles, Otto Hahn, Christos Joachimides, Abraham Moles, Jacques Monnier, Jean Pierre Van Tieghem, Lea Vergine, a.o. Welcomed inclusions of artists seldom mentioned are José Roberto Aguilar, Michael Druks, Benni Efrat, Gretta-Alegre Sarfaty, Jacques Lennep, Lea Lublin, Leopoldo Maler, Gerald Minkoff, Jean Otth, and Katsuhiro Yamaguchi. (French)
  • Other Realities: Installations for Performance, ed. Marti Mayo, Houston: Contemporary Arts Museum, 1981. Excerpt. Exh. held 1 Aug-27 Sep 1981. Exhibition of props used in performances by 6 artists: Joan Jonas, Tina Girouard (both designed especially for the exhibition), Vito Acconci, Eleanor Antin, Colette, and Robert Wilson. (English)
  • Space, Time, Sound: Conceptual Art in the San Francisco Bay Area: The 1970s, ed. Suzanne Foley, San Francisco: San Francisco Museum of Modern Art, 1981. Exh. held 21 Dec-10 Feb 1980. Highlights artists and artist groups working in performance, conceptual, and video art, as well as creating site-specific installation and artist-initiated alternative spaces, such as 80 Langton Street (founded by Jock Reynolds), the Museum of Conceptual Art (founded by Tom Marioni), Galeria de la Raza (cofounded by Rolando Castellión), and The Floating Museum (founded by Lynn Hershman Leeson). (English)
  • Persona, eds. Lynn Gumpert and Ned Rifkin, New York: New Museum, 1981, 57 pp. Exh. held at New Museum, New York, 19 Sep-12 Nov 1981. Features the work of nine artists (Eleanor Antin, Mr. Apology, Colin Campbell, Bruce Charlesworth, Colette, Redd Ekks, Lynn Hershman, James Hill, Martial Westburg) who, in making or presenting their work, assume specific alter-egos or personae (human or animal, fictitious or historical) that serve as vehicles for greater freedom of expression. Essay by the curators Lynn Gumpert and Ned Rifkin; includes artists' statements. [63] (English)
  • Performance, eine andere Dimension. Gespräche mit den Künstlern, Fotos von den Performances / Performance, Another Dimension: Talks with the Artists, Photographs of the Performances, eds. Kirsten Martins and Peter P.J. Sohn, Berlin: Fröhlich & Kaufmann, 1983, 223 pp. Festivals held at Künstlerhaus Bethanien, 5-20 May 1981 and 19-30 Mar 1982. (German)/(English)
  • Blam! The Explosion of Pop, Minimalism, and Performance, 1958-1964, ed. Barbara Haskell, New York: Whitney Museum of American Art, 1984. Incl. essays on Happenings, Fluxus, and the New American Dance. Exh. held 20 Sep-2 Dec 1984. (English)
  • Art as a Verb: The Evolving Continuum: Installations, Performances and Videos by 13 Afro-American Artists, Baltimore: Maryland Institute/College of Art, 1988, [40] pp. Exh. held on 21 Nov 1988-8 Jan 1989. Essays by the curators Leslie King-Hammond and Lowery Stokes Sims; 11 of 13 artists were women; works by Charles Abramson, David Hammons, Maren Hassinger, Candace Hill, Martha Jackson-Jarvis, Senga Nengudi, Lorraine O'Grady, Howardena Pindell, Adrian Piper, Faith Ringgold, Betye Saar, Joyce Scott, Kaylynn Sullivan. Exh. review: Brenson (NYT). (English)
  • Outside the Frame: Performance and the Object: A Survey History of Performance Art in the USA since 1950, eds. Robyn Brentano and Gary Sangster, intro. David S. Rubin and Marjorie Talalay, Cleveland: Cleveland Center for Contemporary Art, 1994, 280 pp. Exh. held 11 Feb-1 May 1994. Essays by Robyn Brentano, Olivia Georgia; a timeline, and selected bibliography. Review: Ivacs (Artpool). (English)
  • Scream Against the Sky: Japanese Art After 1945, ed. Alexandra Munroe, New York: Harry N. Abrams, and New York: Solomon R. Guggenheim Museum, 1994. Pioneering exhibition on post-WWII art in Japan at Yokohama Museum of Art, held 5 Feb-30 Mar 1994, before traveling to New York and San Francisco. Especially emphasizes performance with sections on the Gutai group, Hi Red Center, neo-Dada, and other performance practices, including video performance in Japan. Essays by Alexandra Munroe, Isozaki Arata, Karatani Köjin, John Clark, Bert Winther, Amano Taro, Nam June Paik, Barbara London Reiko Tomii; many illustrations, a glossary, and bibliography. (English)
  • 25 Years of Performance Art in Australia: Performance Art, Performance & Events, ed. Nick Waterlow, Paddington, NSW: Ivan Dougherty Gallery, 1994, 65 pp. [64] (English)
  • Out of Actions: Between Performance and the Object, 1949-1979, eds. Paul Schimmel, Russel Ferguson, and Kristine Stiles, Los Angeles: Museum of Contemporary Art, and London: Thames and Hudson, 1998, 407 pp. First international exhibition of the objects/relics of performance art (held 8 Feb-10 May 1998), with essays by Schimmel (the exhibition curator), Shinichiro Osaki, Hubert Klocker, Guy Brett, and Kristine Stiles; extensive chronology of performance art from 1943 to 1979 by Kim Cooper; hundreds of images; extensive general bibliography, and brief artists' bibliographies. Travelled to MAK Vienna, 17 Jun-6 Sep 1998; MACBA Barcelona, 16 Oct 1998-6 Jan 1999. Review: Hock (Artpool). (English)
    • Out of actions: zwischen Performance und Objekt, 1949-1979, ed. Peter Noever, trans. Alexandra Bootz and Barbara Hess, Ostfildern: Cantz, and Vienna: MAK, 1998, 366 pp. (German)
    • Campos de acción: entre el performace y el objeto, 1949-1979, 3 vols., trans. Eva Quintana Crelis, México D.F.: Alias/Fusil, 2012. (Spanish)
  • Ambulations: An Exhibition of Contemporary Works Based on the Notion of Walking, ed. Gunalan Nadarajan, Singapore: Earl Lu Gallery, 2000. Exh. held 1999-2000, exploring artists’ installations and responses to the performative theme of walking. Includes an essay "On Walking" by Nadarajan in which the curator addresses conflicts and relationships posited by the artists in their selection of materials and conceptual approaches to walking. (English)
  • Performing Bodies, London: Tate Modern, 2000, [10] pp. four evenings of film and video projections by artists working in performance, 2-23 Oct 2000. [65] (English)
  • A Little Bit of History Repeated, ed. Jens Hoffmann, Paris: Valerio, 2001, 42 pp. Exh. held at Kunst-Werke (KW) Berlin, 16-18 Nov 2001. A number of artists from a younger generation have been invited to re-enact important performances from the 1960s and 70s. Participating artists: John Bock (DE), Tania Bruguera (CU), Trisha Donnelly (US), Ingar Drangset & Michael Elmgreen (DK/NO), Karl Holmqvist (SW), Takehito Koganezawa (JP), Elke Krystufek (AT), Laura Lima (BR), Tracey Rose (ZA), Tino Sehgal (DE). [66] (German)
  • A Short History of Performance, Part I, London: Whitechapel Gallery, 2002, [8] pp. Exh. curated by Andrea Tarsia; held on 15-21 Apr 2002. Texts by Andrea Tarsia and Tamsin Dillon. [67] (English)
  • A Short History of Performance, Part II: The Lecture as a Work of Art, ed. Andrew Tarsia, London: Whitechapel Gallery, 2003, 47 pp. Exh. curated by Andrea Tarsia and Iwona Blazwick; held 18-23 Nov 2003. Works by The Atlas Group / Walid Raad, Joseph Beuys, Mark Dion, Andrea Fraser, Inventory, Robert Morris, Martha Rosler, Carey Young. [68] (English)
  • Caught in the Act: An Anthology of Performance Art by Canadian Women, eds. Tanya Mars and Johanna Householder, Toronto: YYZ Books, 2004, 428 pp. This pivotal survey, edited by two noted performance artists and theorists, makes a crucial contribution to the histories of Canadian women’s performance art, and contains scholarly essays by the editors, Tagny Duff, and Dot Tuer, with profiles of thirty-four artists written by leading artist/critics such as Clive Robertson, Glenn Alteen, Jessica Bradley, Pam Patterson, a.o.; includes an extensive bibliography. (English)
  • RoseLee Goldberg, Performa: New Visual Art Performance, forew. Hal Foster, ed. Jennifer Liese, New York: Performa, 2005. [69] (English)
  • A Short History of Performance, Part IV, ed. Andrew Tarsia, London: Whitechapel Gallery, 2006, [60] pp. Exh. held 1-14 Apr 2006. Works by Isaac Julien, Artur Zmijewski, Eija-Liisa Ahtila, Aernout Mik, Catherine Sullivan, Francesco Vezzoli, James Coleman, Judith Barry, Gerard Byrne, Anna Sanders Films, Barbara Kruger, Christian Jankowski, Gillian Wearing, Rebecca Horn. [70] (English)
  • Everywhere and All at Once: An Anthology of Writings About Performa 07, ed. RoseLee Goldberg, forew. Francis Alys, New York: Performa, 2007. [71] (English)
  • WACK! Art and the Feminist Revolution, Cornelia Butler and Lisa Gabrielle Mark, Los Angeles: Museum of Contemporary Art, 2007. TOC. Exh. held 4 Mar-16 Jul 2007; incl. 120 artists, historical documents, and some 400 illustrations; attests to the impact of feminist art in all mediums, but especially performance art, from 1965 to 1980. (English)
  • Double Agent, eds. Claire Bishop and Silvia Tramontana, London: Institute of Contemporary Arts, 2008, 143 pp. Exh. curated by Claire Bishop and Mark Sladen; held at ICA London, 14 Feb-6 Apr 2008; Mead Gallery, Warwick Arts Centre, Coventry, 26 Apr-28 Jun 2008; BALTIC Centre for Contemporary Art, Gateshead, 21 May-17 Aug 2008. Featured artists who use other people as a medium; works included video and live performance by Paweł Althamer/Nowolipie Group, Phil Collins, Dora García, Christoph Schlingensief, Barbara Visser, Donelle Woolford, and Artur Zmijewski. (English)
  • RoseLee Goldberg, Performa 09: Back to Futurism, forew. Irving Sandler, New York: Performa, 2009, 400 pp. [72] (English)
  • Re.act.feminism: preformativna umetnost 60ih in 70ih let danes / Performance Art of the 1960s and 70s today, eds. Bettina Knaup and Beatrice E. Stammer, trans. Maša Peče, Ljubljana: Muzeji in galerije mesta Ljubljane, 2009, [16] pp. Exh. held at Vžigalica Gallery, Ljubljana, 10-29 Mar 2009. (Slovenian)/(English)
  • Donna: the Feminist Avant-Garde of the 1970s from Sammlung Verbund of Vienna / Donna: avanguardia femminista negli anni '70: dalla Sammlung Verbund di Vienna, ed. Gabriele Schor, Milan: Electa, 2010, 255 pp. Exh. held at Galleria nazionale d’arte moderna, Rome, 19 Feb-16 May 2010; Circulo de Bellas Artes, Madrid, 3 Jun-1 Sep 2013. (English)/(Italian)
    • Woman: The Feminist Avant-Garde of the 1970s: Works from the Sammlung Verbund, Vienna, ed. Gabriele Schor, Brussels: Bozar, 2014, 124 pp; new ed. as The Feminist Avant-Garde: Art of the 1970s, the Sammlung Verbund, Vienna, Munich: Prestel, 2016, 559 pp. Exh. held at BOZAR Brussels, 18 Jun-31 Aug 2014; Mjellby Konstmuseum, Halmstad, 20 Sep 2014-11 Jan 2015; Hamburger Kunsthalle, 13 Mar-31 May 2015; MUMOK Vienna, 6 May-3 Sep 2017; The Photographers' Gallery London, 7 Oct 2016-29 Jan 2017; ZKM Karlsruhe, 18 Nov 2017-1 Apr 2018; Stavanger Kunstmuseum, Jun-Sep 2018; Brno House of Arts, Dec 2018-Mar 2019. [73] [74] (English)
    • Feministische Avantgarde der 1970er Jahre. Werke aus der Sammlung Verbund, Wien, ed. Gabriele Schor, Munich: Prestel, 2015, 512 pp. (German)
  • Mildred L. Glimcher, Happenings: New York, 1958-1963, New York: Monacelli, 2012, 320 pp. Excerpt. Exh. held at Pace Gallery, New York, 10 Feb-17 Mar 2012. First exhibition to document the origins and historical development of happenings. Additional essays by Red Grooms and Jim Dine. Includes a selected chronology, index of performances and exhibitions, index of names, and a selected bibliography. Review: Weil (J Art History). [75] (English)
  • Radical Presence: Black Performance in Contemporary Art, ed. Valerie Cassel Oliver, Houston: Contemporary Arts Museum, Houston, 2013, 144 pp. Explores the history of live, interactive, and video performances since the 1960s; includes chronology from 1840 to 2012, color and black-and-white photographs, illustrations of primary documents and artists’ biographies, with critical essays by the curator Valerie Cassel Oliver, as well as Yona Backer, Naomi Beckwith, Tavia Nyong’o, Clifford Owens, and Franklin Sirmans. Among the artists included are Papo Colo, Sherman Fleming, Coco Fusco, David Hammons, Senga Nengudi, Lorraine O’Grady, Adrian Piper, William Pope.L, Dread Scott, and Carrie Mae Weems. Exh. held at Contemporary Arts Museum Houston, 17 Nov 2012-16 Feb 2013; Grey Art Gallery, New York, 10 Sep-7 Dec 2013; Studio Museum in Harlem, New York, 14 Nov 2013-9 Mar 2014; Walker Art Center, Minneapolis, 24 Jul 2014-4 Jan 2015. Companion website. Reviews: Cullen (CAA), Mullin (CAA). (English)
  • Kerry Brougher, Damage Control: Art and Destruction since 1950, London and New York: Prestel, 2013. Includes artists from the 1950s to the present throughout the world, working with destruction in a variety of mediums, such as Jean Tinguely, Andy Warhol, Bruce Conner, Yoko Ono, Gordon Matta-Clark, Pipilotti Rist, Yoshitomo Nara, and Laurel Nakadate, a.o. Essays by Kerry Brougher, Russell Feguson, and Dario Gamboni. Exh. held at Hirshhorn Museum, 24 Oct 2013-26 May 2014. (English)
  • Moments: eine Geschichte der Performance in 10 Akten, eds. Sigrid Gareis, Georg Schöllhammer, and Peter Weibel, Cologne: Buchhandlung Walther König, 2013, 500 pp. Exh. held at ZKM Karlsruhe, 8 Mar-29 Apr 2012. Companion website. (German)
  • Rituals of Rented Island: Object Theater, Loft Performance, and The New Psychodrama—Manhattan, 1970-1980, eds. Jay Sanders and J. Hoberman, New York: Whitney Museum of American Art, and New Haven, CT: Yale University Press, 2013, 144 pp. Maps New York's underground performance art scene of the 1970s. Exh. held at Whitney Museum, 31 Oct 2013-2 Feb 2014. Review: Kalinsky (CAA). (English)
  • Re.Act.Feminism: A Performing Archive, eds. Bettina Knaup and Beatrice Ellen Stammer, Nürnberg: Verlag für Moderne Kunst, 2014, 318 pp. Excerpt. Based upon the touring exhibition project Re.act Feminism #2: A Performing Archive, shown in Vitoria Gasteiz/ES, Gdańsk, Zagreb, Roskilde, Tallinn, Barcelona, Berlin, from 2011-13. [76] (English),(German)
  • Venice International Performance Art Week. Hybrid Body - Poetic Body, eds. VestAndPage (Andrea Pagnes and Verena Stenke) Venice: VestAndPage Press, 2014, 128 pp. Exh. held at Palazzo Bembo, Venice, 8-15 Dec 2012. Essays by Bojana Kunst, Dana Altman, Andrea Pagnes, Francesco Kiais, Gabriela Alonso, Richard Martel, Daniela Beltrani. [77] [78] (English)
  • RoseLee Goldberg, Performa 11: Staging Ideas, ed. Jennifer Piejko, New York: Performa, 2014. [79] (English)
  • Beuys Brock Vostell. Aktion Demonstration Partizipation 1949-1983, Karlsruhe: ZKM, and Hatje Cantz, 2014. (German)
  • En mas': Carnival and Performance Art of the Caribbean, eds. Claire Tancons and Krista Thompson, New York: Independent Curators International, and New Orleans: Contemporary Arts Center, 2015, 200 pp. TOC. Exh. held at Contemporary Arts Center, New Orleans, 7 Mar-7 Jun 2015. Co-organized as a traveling exhibition by Independent Curators International (ICI), New York. Presents 9 newly commissioned artist projects by John Beadle, Charles Campbell, Christophe Chassol, Nicolás Dumit Estévez, Marlon Griffith, Hew Locke, Ebony G. Patterson, Lorraine O'Grady and Cauleen Smith. Includes a timeline of diasporic pan-Caribbean carnivals. [80] (English)
  • RoseLee Goldberg, Performa 13: Surrealism / The Voice / Citizenship, ed. Kathleen Madden, New York: Performa, and Gregory R. Miller, 2016. [81] (English)
  • More Caught in the Act: An Anthology of Performance Art by Canadian Women, eds. Tanya Mars and Johanna Householder, Toronto: YYZ Books, and Montreal: Artexte, 2016, 419 pp. [82] (English)
  • Venice International Performance Art Week, II. Ritual Body - Political Body, eds. VestAndPage (Andrea Pagnes and Verena Stenke) Venice: VestAndPage Press, 2016, 208 pp. Exh. held at Palazzo Mora, Venice, 13-20 Dec 2014. Essays and texts by Tania Bruguera, Arantxa Echarte, Guillermo Gómez-Peña, Andrea Pagnes, Enrico Pastore, Oleksii Polegkyi and Ilija Šoškić. [83] (English)
  • Venice International Performance Art Week, III. Fragile Body - Material Body, eds. VestAndPage (Andrea Pagnes and Verena Stenke) Venice: VestAndPage Press, 2017. Exh. held at Palazzo Mora, Venice, 10-17 Dec 2016. [84] (English)

Journals, magazines, periodicals[edit]

  • Leonardo: The Journal of the International Society for the Arts, Sciences and Technology, eds. Frank Malina (1968-81) and Roger Malina (since 1981), since 1968. The peer-reviewed journal on art at the intersection of science and technology, with writings by artists, art historians, and critics working on contemporary media and, together with MIT Press, also publishes Leonardo Electronic Almanac, Leonardo Music Journal, Leonardo Reviews, and Leonardo Book Series.
  • La Mamelle Magazine/Art Com, ed. Carl Loeffler, San Francisco, 1975-95. Started out focusing on San Francisco Bay Area performance, conceptual, video, and multimedia and electronic art, but quickly expanding to cover international performance art. Renamed Art Com in 1980. (English)
  • PAJ: A Journal of Performance and Art, ed. Bonnie Marranca, MIT Press, since 1976. Triannual. Covers performance art, installation, theater, dance, some aspects of photography, film, and video in interviews and scholarly essays; also includes various forms of artists' writings, from scripts to notations. Originally titled Performing Arts Journal (1976-97). [85] [86] (English)
  • High Performance, ed. Linda Frye Burnham (1978-85) and Steven Durland (1986-97), Los Angeles: Astro Artz/18th Street Arts Center, 1978-97. Quarterly. Started out covering exclusively performance art and gradually grew to include video, sound, and public art, including scholarly articles, interviews, special thematic issues, artists' writings, and photographs. [87] (English)
  • Performance, eds. Rob La Frenais, Gray Watson and Chrissie Iles, 1979-92. Published articles, interviews, and artists’ writings on performance art (especially in the UK), artist profiles, video, film, and book reviews and essays on a wide range of innovative and eccentric topics, as well as social and political themes. (English)
  • Performance Art / LIVE, 7 numbers, eds. Bonnie Marranca and John Howell, New York: Performing Arts Journal, 1979-82. Zine focusing on the performance scene of downtown NYC; by third issue it was retitled LIVE. (English)
  • P-Form: A Journal of Interdisciplinary and Performance Art, Chicago: Randolph Street Gallery, 1986-99. Chronicled performance and conceptually related practices, especially in Chicago, in interviews, artist's profiles, and essays, and eventually expanded to cover international performance. [88] (English)
  • RealTime, eds. Keith Gallasch and Virginia Baxter, since 1994. Focuses on performance and live art, experimental theater, dance, music, and sound art, as well as photography, film, video, interactive media, and what the journal calls "hybrid arts". (English)
  • Performance Research, eds. Ric Allsopp, Richard Gough and Claire MacDonald, since 1996. Devoted to cross-disciplinary research, criticism, writings, conversations, and polemics on contemporary performance art. (English)
  • TkH (Walking Theory): Journal for Performing Arts Theory, eds. Bojana Cvejić, Ana Vujanović, Bojana Kunst, et al., Belgrade, since 2001. (Serbian)/(English)
  • emisférica, New York: Hemispheric Institute, since 2004. Biannual. Focuses on performance and politics in the Americas. (English),(Spanish),(Brazilian Portuguese)
  • MAP: Media Archive and Performance, eds. Barbara Büscher and Franz Anton Cramer, since 2010. (German),(English)
  • Performa Magazine, online, New York: Performa, since Sep 2011. (English)
  • Performatus, eds. Paulo A. da Mata and Tales Frey, since 2012. (Portuguese)
Journal issues[edit]
  • The Tulane Drama Review 10:2, Winter 1965. [89]
  • Art-Rite 10: "Performance", ed. John Howell, New York: Art-Rite, Fall 1975, [44] pp. [90] (English)
  • Heresies 17: "Acting Up! Women in Theater and Performance", 1984. (English)
  • Drama Review 29(1): "East Village Performance", Spring 1985. (English)
  • Parallelogramme 12(2): "Performance", ed. Tanja Mars, Toronto: Association of National Non-Profit Artists Centres, 1986, 104 pp. [91] (English)/(French)
  • Kunstforum International 96: "Performance und Performance Art", 1988. (German)
  • Art Journal 56(4): "Performance Art: (Some) Theory and (Selected) Practice at the End of This Century", ed. Martha Wilson, 1997. [92] (English)
  • Kunst + Unterricht 273: "Performance", ed. Marie-Luise Lange, 2003, 50 pp. [93] (German)
  • Frakcija 55: "Curating Performing Arts", eds. Florian Malzacher, Tea Tupajić and Petra Zanki, Zagreb: Centre for Drama Art, Summer 2010, 120 pp, IA. [94] (English)
  • Contemporary Theatre Review 22(1): "Live Art in the UK", ed. Dominic Johnson, 2012. [95] (English)
  • Das Superpaper 26: "Re:Performance", eds. SuperKaleidoscope (Kim Fasher and Sarah Mosca), Mar 2013, PDF. (English)
  • Living Collections Catalogue 1: "On Performativity", Minneapolis: Walker Art Center, 2014. (English)

Selected essays[edit]

  • Jill Johnston, "'Happenings' on the New York Scene", Encore 9, Sep-Oct 1962, pp 8-13; repr. in The Encore Reader, ed. Horowitz, London: Milne and Hale, 1965. (English)
  • Susan Sontag, "An Art of Radical Juxtaposition", Second Coming 1:6, New York, Jan 1965, pp 20-24; repr. as "Happenings: An Art of Radical Juxtaposition", in Sontag, Against Interpretation and Other Essays, New York: Farrar, Straus & Giroux, 1966, pp 263-274, PDF. (English)
  • Darko Suvin, "Reflections on Happenings", The Drama Review 14:3, 1970, 125-144; repr. in Happenings and Other Acts, ed. Mariellen R. Sandford, New York: Routledge, 1995, pp 241-262.
  • Willoughby Sharp, "Body Works", Avalanche 1, New York, Fall 1970, pp 14-17. Theorizes the new medium of the body as sculptural material deployed for corporeal visual expression, and considers various ways in which artists have used the body, from "The Body as Tool" (Barry LeVa), "The Body as Place" (Vito Acconci and Dennis Oppenheim), and "The Body as Backdrop" (Bruce Nauman and William Wegman) to "The Body as Object," and "The Body in Normal Circumstances." (English)
  • Cindy Nemser, "Subject-Object: Body Art", Arts 46:1, Sep-Oct 1971, pp 38-42. In a phenomenological examination of the works of such artists as Vito Acconci, Bruce Nauman, and Dennis Oppenheim, Nemser redefines the dichotomy between presentation and representation of the body, suggesting that body art exists at a critical disjuncture "alternating between states of intense body sensation and extreme cerebral detachment, attempting to give us a message about the frightening and dangerous aspects of our own society". (English)
  • Jack Burnham, "Objects and Ritual: Towards a Working Ontology of Art", Arts Magazine 47:4, Dec 1972-Jan 1973, pp 28-32; repr. in Burnham, The Great Western Salt Works: Essays on the Meaning of Post-Formalist Art, New York: G. Braziller, 1974. (English)
  • Jack Burnham, "Contemporary Ritual: A Search for Meaning in Post-Historical Terms", Arts Magazine 47:7, Mar 1973, pp 38-41; repr. in Burnham, The Great Western Salt Works: Essays on the Meaning of Post-Formalist Art, New York: G. Braziller, 1974. (English)
  • Lucy R. Lippard, "The Pains and Pleasures of Rebirth: Women's Body Art", Art in America 69:3, May-Jun 1976, pp 73-81. Considers how women artists introduced a realistic, frank presentation of sex, pregnancy, and childbirth into the vocabularies of art. (English)
  • Moira Roth, "Towards a History of California Performance", 2 parts, Arts Magazine 52:6, Feb 1978, pp 94-103; Arts Magazine 52:10, Jun 1978, pp 10-23. (English)
  • Josephine Withers, "Feminist Performance Art: Performing, Discovering, Transforming Ourselves", in The Power of Feminist Art: The American Movement of the 1970s, History and Impact, ed. Norma Brode and Mary D. Garrard, New York: Harry N. Abrams, 1994. (English)
  • Kristine Stiles, "Performance", in Critical Terms for Art History, 2nd ed., eds. Robert S. Nelson and Richard Shiff, University of Chicago Press, 2003, pp 75-97. (English)
  • Hal Foster, et al., "1961: Oldenburg and Happenings", in Art Since 1900, eds. Hal Foster, et al., London: Thames & Hudson, 2004, pp 450-455. (English)
  • Hal Foster, et al., "1974: American Performance Art", in Art Since 1900, eds. Hal Foster, et al., London: Thames & Hudson, 2004, pp 565-570. (English)
  • Hal Foster, et al., "1994: Abject Art", in Art Since 1900, eds. Hal Foster, et al., London: Thames & Hudson, 2004, pp 646-649. (English)
  • Peggy Phelan, "The Returns of Touch: Feminist Performances, 1960-80", in WACK! Art and the Feminist Revolution, eds. Cornelia Butler and Lisa Gabrielle Mark, Los Angeles: Museum of Contemporary Art, 2007, pp 346-361. (English)
  • Claire Bishop, "Outsourcing Authenticity? Delegated Performance in Contemporary Art", in Double Agent, eds. Claire Bishop and Silvia Tramontana, London: ICA, 2008, pp 110-125; rev. as "Delegated Performance: Outsourcing Authenticity", October 140, MIT Press, Spring 2012, pp 91-112; rev. as ch 8 in Bishop, Artificial Hells: Participatory Art and the Politics of Spectatorship, London: Verso, 2012, pp 219-239, n349-354. [96] (English)

Encyclopedic entries[edit]

Film documentaries[edit]

  • 72-82, dir. William Raban, 2015, 63 min. A history of art and performance at Acme Gallery, London. [97]

Bibliography, chronology[edit]

  • John G. Hanhardt, "Selected Happenings/Performances and Reviews" [1958-1964], in Blam! The Explosion of Pop, Minimalism, and Performance, 1958-1964, ed. Barbara Haskell, New York: Whitney Museum of American Art, 1984, pp 145-148.
  • John Gray, Action Art: A Bibliography of Artists' Performance from Futurism to Fluxus and Beyond, Westport, CT: Greenwood Press, 1993, xiv+343 pp. An inclusive bibliography on performance art from 1909 to the mid-1970s; covers futurism, Dada, cubism, Russian performance, the Bauhaus, Black Mountain College, Gutai, happenings, Fluxus, Viennese Actionism, destruction in art, and the Dutch Provos.
  • Moira Roth, "A History of Performance", Art Journal 56:4, 1997, pp 73-83. Syllabus.
  • Kristine Stiles, "Performance Art", Oxford Bibliographies, 2014. Subscription access.
Andrey Kovalev, Rossiyskiy aktsionizm, 1990-2000, 2007, Log, PDF; EN: PDF.
Медиаудар. Mediaimpact, 2012, Log, PDF.

Soviet Union, Russia[edit]

See also literature on Moscow Conceptualists.

Books
  • Kollektivnye deystviya (Коллективные действия), Poezdki za gorod [Поездки за город], Moscow: Ad Marginem, 1998, 848 pp. In the mid-1970s Collective Actions started organizing its famous out-of-town performances ("trips to the countryside"), which were all meticulously documented by the group. The publication includes documentation of five such trips. (Russian)
  • Andrey Kovalev, Rossiyskiy aktsionizm, 1990-2000 [Российский акционизм. 1990-2000], Moscow, 2007, 416 pp. Special issue of WAM (World Art Музей), 28-29. A survey of 450 performances, actions and happenings held in Moscow, St. Petersburg, Yekaterinburg and elsewhere. Descriptions and photo documentation are accompanied by press coverage and testimonies of participants and witnesses. (Russian)
  • MediaUdar: aktivistskoe iskusstvo segodnya [МедиаУдар: активистское искусство сегодня], ed. Ilya Falkovski (Илья Фальковский), Moscow: CommonPlace, 2014, 227 pp. Anthology of texts produced in the framework of MediaUdar festival. (Russian)
  • MediaUdar: aktivistskoe iskusstvo segodnya [МедиаУдар: активистское искусство сегодня II], eds. Tatiana Volkova (Татьяна Волкова), Yevgenia Zubchenko (Евгения Зубченко) and Pavel Mitenko (Павел Митенко), Moscow, 2016, 623 pp. Anthology of texts produced in the framework of MediaUdar festival. (Russian)
Catalogues
  • Медиаудар. Mediaimpact, Moscow: MediaImpact, and Karlsruhe: ZKM, 2012, 359 pp. Catalogue of the international festival of activist art MediaUdar, held in autumn 2011 in Moscow. Includes descriptions of 68 recent works; texts by Tatiana Volkova, Arseny Sergeev, Oksana Sarkisyan, Anton Nikolayev, Pablo Hermann, Kostis Stafylakis, Oleg Genisaretskiy, and Peter Weibel; and interviews with Mike Bonnano, Nina Felshin, and Andrew Boyd. (English)/(Russian)
  • Performans v Rossii, 1910-2010: kartografiya istorii [Перформанс в России, 1910-2010: картография истории], ed. Alexandra Obukhova, Moscow: Artguide Editions OOO / Art Gid, 2014, 279 pp. Catalogue for exh. held at Garage Center for Contemporary Culture, Moscow, 17 Oct-5 Dec 2014. [98] [99] (Russian)
Journal issues
  • Dekorativnoye Iskusstvo (Декоративное Искусство) 5: "Performans: iskusstvo deystviya" [Перформанс: искусство действия], Moscow: Trilistnik, 1991, 136 pp. The special issue features the first Russian translation of an excerpt from RoseLee Goldberg's Performance: Live Art 1909 to the Present, as well as contributions by Viktor Tupitsyn, Ekaterina Bobrinskaya, Joseph Backstein and Soviet underground artists like Rimma and Valeriy Gerlovin, TOTART, Andrei Monastyrsky, Komar and Melamid, German Vinogradov, and Toadstool group, a.o. (Russian)
Book chapters, essays
  • Margarita Masterkova (Маргарита Мастеркова), "Moskovskie performansy" [Московские перформансы], A-Ya [А-Я] 4, Paris, 1982, pp 5-11. The earliest study of Russian postwar performance art, focusing on groups like Collective Actions, Gnezdo, and the duo of Rimma and Valery Gerlovin. (Russian)
  • Sabine Hänsgen, "Aktion und Textkultur: Zur Performance in der zeitgenössischen russischen Kunst", in Kulturauffassungen in der literarischen Welt Rußlands: Kontinuitäten und Wandlungen im 20. Jahrhundert, ed. Christa Ebert, Berlin, 1995, pp 237-255. (German)
  • Yevgenia Kikodze (Евгения Кикодзе), "Novyy russkiy performans i mifologiya 'iskusstvo=zhizn'" [Новый русский перформанс и мифология 'искусство=жизнь'], Komod 8, Yekaterinburg, Winter-Spring 1999, pp 65-69. (Russian)
  • Amy Bryzgel, "Afrika and the Russian Dog: Performing Post-Soviet Identity in Russia", in Bryzgel, Performing the East: Performance Art in Russia, Latvia and Poland since 1980, London and New York: IB Tauris, 2013, pp 34-99. (English)
Dissertations
Bibliography
Body and the East: from the 1960s to the Present, ed. Badovinac, 1999.
Klara Kemp-Welch, Antipolitics in Central European Art, 2014.
Amy Bryzgel, Performance Art in Eastern Europe since 1960, 2017. Introduction.

East-Central Europe[edit]

Books
  • Aktuelle Kunst in Osteuropa, ed. Klaus Groh, Cologne: DuMont-Schauberg, 1972, 222 pp. One of first books to cover performance, conceptual, and mail art in Yugoslavia, Poland, Romania, Czechoslovakia, Hungary, and the Soviet Union. Short introduction by the author followed by b&w photographs, artists’ statements, and a bibliography. (German)
  • Removed From the Crowd: Unexpected Encounters 1, eds. Ivana Bago and Antonia Majača with Vesna Vuković, Zagreb: BLOK & DeLVe, 2011, 312 pp. Considers comparative, transnational, conceptual and performance art in Latvia, Slovenia, Croatia, Hungary, Chile, Peru, Poland, and Romania. Among other essays, presents Bago and Majača on Yugoslavian experimental art of the 1960s and 1970s; Alina Serban on the Romania performance artist Geta Brătescu; Vesna Vuković on Croatian artists Sanja Iveković and Tomislav Gotovac; Nataša Petrešin-Bachelez on the Slovenian group IRWIN; and Lucian Gomoll and Lissette Olivares on Chilean conceptual and performance. (English)
  • Amy Bryzgel, Performing the East: Performance Art in Russia, Latvia and Poland since 1980, London and New York: I.B. Tauris, 2013, 303 pp. Contains three chapters: one on post-Soviet Russian identity focusing on Sergei Bugaev (aka Afrika) and Oleg Kulik; a second on Starix (2000–2004), the fake media star invented by the artist Gints Gabrāns, and The Bronze Man (1987–1992), a homeless man moving from Riga to Bremen and Helsinki, constructed by Miervaldis Polis; and a third chapter on gender performances by the Polish artists Zbigniew Libera and Katarzyna Kozyra. Illustrations and extensive notes, which serve as a useful bibliography. [100] [101]. Video talk. Review: Jeschke (Slovo 2014). (English)
  • Klara Kemp-Welch, Antipolitics in Central European Art: Reticence as Dissidence under Post-Totalitarian Rule, 1956-1989, I.B. Tauris, 2014, xx+336 pp. Presents new readings of the work of Tadeusz Kantor, Július Koller, Tamas Szentjóby, Endre Tót, Jiří Kovanda and Jerzy Bereś. [102]. Reviews: Bryzgel (CritCom 2014), Aulich (LSE blogs 2014). (English)
  • Amy Bryzgel, Performance Art in Eastern Europe since 1960, Manchester University Press, 2017, xvii+366 pp. Introduction. Presents a history and development of performance art in the former communist countries of Central, Eastern and South Eastern Europe since the 1960s, covering 21 countries and 250+ artists. Companion website. [103] (English)
Catalogues
  • Body and the East: from the 1960s to the Present, ed. Zdenka Badovinac, MIT Press, 1999, 192 pp. Exh. held at Museum of Modern Art, Ljubljana, 7 Jul-27 Sep 1998. Chronicles art, especially that of performance and body artists, in central and eastern Europe, with short artist biographies of 80 artists. Essays by Joseph Backstein, Bojana Pejić, Iara Boubnova, Jurij Krpan, Ileana Pintilie, Kristine Stiles, Branka Stipančić, László Beke, Igor Zabel, a.o. [104] (English)/(Slovenian)
  • Gender Check, A Reader: Art and Theory in Eastern Europe, eds. Bojana Pejić, ERSTE Foundation and Museum Moderner Kunst Stiftung Ludwig Wien, Cologne: Buchhandlung Walther König, 2010. TOC. First comprehensive exhibition on gender in central and eastern Europe held at Museum Moderner Kunst in Vienna, 13 Nov 2009-14 Feb 2010, before traveling to Warsaw. Authoritative anthology with an extensive bibliography by Mara Traumane, and discussion of performance art and identity by Bojana Pejić, Martina Pachmanová, Edit András, Piotr Piotrowski, Zora Rusinová, Nataša Ilić and Dejan Kršić, Mirek Vodrážka, Zdenka Badovinac, Izabela Kowalczyk, Branislav Dimitrijević and Branislava Andjelković, Vera Sokolová, Suzana Milevska, Lyudmila Bredikhina, Laima Kreivyté, Danica Minić, a.o. (English)
Journal issues
  • Centropa 14(1): "Performance Art in Central and Eastern Europe", eds. Amy Bryzgel and Pavlína Morganová, Jan 2014. [105] (English)
  • Revista Arta 14-15: "Performance in Eastern Europe", ed. Ileana Pintilie, Bucharest: Romanian Artists’ Union, 2015, 98 pp. (Romanian)/(English)
Book chapters, essays
Interviews
Umění akce, 1991, Log, PDF.
Akce slovo pohyb prostor, 1999.
Pavlína Morganová, Czech Action Art, 2015.

Czech Republic[edit]

Anthologies
  • České akční umění: Filmy a videa, 1956–1989. Soubor filmů a videí z let 1956–1989, eds. Pavlína Morganová, Terezie Nekvindová and Sláva Sobotovičová, Prague: VVP AVU, 2015, 3h14m. DVD anthology. [107]
Books
  • Igor Zhoř, Radek Horáček, Vladimír Havlík, Akční tvorba, Olomouc: Univerzita Palackého, 1991, 84 pp. TOC, Summary. University textbook. (Czech)
  • Pavlína Morganová, Akční umění, Olomouc: Votobia, 1999; 2nd ed., exp., Olomouc: J. Vacl, 2009. (Czech)
  • Barbora Klímová, Replaced, afterw. Tomáš Pospiszyl, Brno: self-published, 2006, 77 pp. Collection of new interviews with performance artists of the 1970s and 80s. (Czech)/(English)
  • Dokumentace umění, eds. Jan Krtička and Jan Prošek, Ústí nad Labem: Univerzita J. E. Purkyně, 2013, 133 pp. Proceedings from the conference held on 5 Dec 2012. With texts by Hana Buddeus, Vladimír Havlík, Jiří Kovanda, Jan Mlčoch, Tomáš Pospiszyl, Tomáš Ruller, and Miloš Šejn. (Czech)
  • Pavlína Morganová, Procházka akční Prahou. Akce, performance, happeningy 1949–1989, Prague: VVP AVU (Dokumenty), 2014. [108] (Czech)
  • Pavlína Morganová, Czech Action Art: Happenings, Actions, Events, Land Art, Body Art and Performance Art Behind the Iron Curtain, trans. Daniel Morgan, Prague: Karolinum, 2015, 288 pp. [109]. Review: Tomic (CritCom 2014). (English)
  • Hana Buddeus, Zobrazení bez reprodukce? Fotografie a performance v českém umění sedmdesátých let 20. století, Prague: UMPRUM, 2017. Based on PhD dissertation. [110] [111] (Czech)
Catalogues
Book chapters, essays
  • Jindřich Chalupecký, "Úzkou cestou", Výtvarné umění 16:5 (1966), pp 365-370. (Czech)
  • Petr Rezek, "Setkání s akčními umělci", in Performance, [1977] (samizdat), pp 4-15; repr. in Rezek, Tělo, věc a skutečnost v současném umění, Prague: Jazzpetit, 1982, pp 95-102; repr. in Výtvarné umění 3 (1991), pp 78-80; repr. in České umění 1938-1989, eds. Jiří Ševčík, et al., Prague: Academia, 2001, pp 355-359; repr. in Rezek, Tělo, věc a skutečnost v umění šedesátých a sedmdesátých let, 2nd ed., Prague: Galerie Ztichlá klika, 2010, pp 116-124. (Czech)
    • "Encounters with Action Artists", trans. Eric Dluhosch, in Primary Documents: A Sourcebook for Eastern and Central European Art since the 1950s, eds. Laura Hoptman and Tomáš Pospiszyl, MIT Press, 2002, pp 220-225. [114] (English)
  • František Šmejkal, "Návraty k přírodě", in Sborník památce Alberta Kutala, Prague, 1984 (samizdat), pp 20-31; repr. in Výběr zajímavostí z domova i ciziny, Brno, 1987 (samizdat); repr. in Výtvarná kultura 14:3 (1990), pp 15-21. Written 1981. (Czech)
  • Pavlína Morganová, "Umenie akcie 1965-1989", Profil 3, 2001, pp 6-15. [115] (Czech)
  • Jiří Valoch, "Umění akce, hnutí Aktual, happening", in Dějiny českého výtvarného umění VI/1, eds. Rostislav Švácha and Marie Platovská, Prague: Academia, 2007. (Czech)
  • Tomáš Pospiszyl, "Look Who’s Watching: Photographic Documentation of Happenings and Performances in Czechoslovakia", in 1968-1989: Political Upheaval and Artistic Change, eds. Claire Bishop and Marta Dziewańska, Warsaw: Museum of Modern Art, 2009, pp 74-87. Proceedings from the 2008 conference. (English)
  • Josef Ledvina, "České umění kolem roku 1980 jako pole kulturní produkce", Sešit 9, Prague: VVP AVU, 2010, pp 30-65. (Czech)
  • Pavlína Morganová, "Místa činu, akční umění 60. a 70. let", in Místa počinu: historie výstavních prostorů u nás, ed. Ondřej Horák, Prague: Komunikační prostor Školská 28, 2010, pp 53-62. (Czech)
  • Pavlína Morganová, "Problematika pojmů v českém akčním umění", Opuscula Historiae Artium 60 (2011), pp 30-41. (Czech)
  • Pavlína Morganová, "Možnosti interpretace akčního umění", in Wittlichovi. Sborník žáků k 80. narozeninám Petra Wittlicha, ed. Marie Rakušanová, Prague: Karolinum, 2012, pp 227-249. (Czech)
  • Pavlína Morganová, "Action! Czech Performance Art in the 1960s and 1970s", trans. John Comer, Centropa 14:1, Jan 2014. (English)
  • Tomáš Pospiszyl, "Politika intimity: Československá performance sedmdesátých let a její remaky", in Pospiszyl, Asociativní dějepis umění: poválečné umění napříč generacemi a médii, Prague: tranzit.cz, 2014. (Czech)
Dissertations
Umenie akcie / Action Art 1965-1989, 2001, PDF.
Ján Kralovič, Teritórium ulica, 2015.

Slovakia[edit]

Books
  • Andrea Bátorová, Aktionskunst in der Slowakei in den 1960er Jahren. Aktionen von Alex Mlynárčik, Lit Verlag, 2009, 408 pp. TOC. Based on author's 2007 dissertation. (German)
    • Akčné umenie na Slovensku v 60. rokoch 20. storočia. Akcie Alexa Mlynárčika, Bratislava: Slovart, 2012. [116] (Slovak)
  • Zuzana Bartošová, Napriek totalite. Neoficiálna slovenská výtvarná scéna sedemdesiatych a osemdesiatych rokov 20. storočia, Bratislava: Kalligram, 2011, 360 pp. Commentary: Hrabušický & Macek (Profil). (Slovak)
  • Ján Kralovič, Teritórium ulica. Umenie akcie v mestskom priestore v rokoch 1965-1989 na Slovensku, Bratislava: Slovart (Teória), and Vysoká škola výtvarných umení, 2015, 324 pp. [117] (Slovak)
Catalogues
  • Transart Communication. 7th International Contemporary Art Festival - 8th International Contemporary Art Festival 1995-1996, ed. Jozsef R. Juhász, Nové Zámky, 1997. CD-ROM. (Slovak)
  • Umenie akcie / Action Art 1965-1989, ed. Zora Rusinová, Bratislava: Slovenská Národná Galéria, 2001, 318 pp. With texts by Zora Rusinová, Gábor Hushegyi, Radislav Matuštík, Tomáš Štrauss, and Ivo Janoušek. (Slovak)
Journal issues
  • Profil 3(3): "Performance Art", ed. Michal Murin, Bratislava, 1993, pp 1-15. With texts by RoseLee Goldberg, Michal Murin, Radislav Matuštík; interviews with Vladimir Kordos and Flatz. (Slovak)
Book chapters, essays
  • Michal Murin, "Performance?", Profil 17-18 (1991). (Slovak)
  • Michal Murin, "San Francisco Performance Art", Profil 22 (1991). (Slovak)
  • Ivan Jančár, "Happening a performance", in Šesťdesiate roky v slovenskom výtvarnom umení, ed. Zora Rusinová, Bratislava: Slovenská národná galéria, 1995, pp 232-252. (Slovak)
  • Zora Rusinová, "V mene syntézy umenia a života", in Šesťdesiate roky v slovenskom výtvarnom umení, ed. Rusinová, Bratislava: Slovenská národná galéria, 1995, pp 166-202. (Slovak)
  • Zora Rusinová, "Akčné umenie", in Slovenské vizuálne umenie 1970-1985, ed. Aurel Hrabušický, Bratislava: Slovenská národná galéria, 2002, pp 189-208. (Slovak)
  • Michal Murin, "Performance na Slovensku v 90. rokoch", in A.K.T., Brno: Dům umění, 1999. (Slovak)
  • Ivan Jančár, "Performancia", in Slovník svetového a slovenského výtvarného umenia druhej polovice 20. storočia, ed. Jana Geržová, Bratislava: Profil, 1999. (Slovak)
  • Radislav Matuštík, "Umenie akcie", in Zora Rusinová et al., Dejiny slovenského výtvarného umenia – 20. storočie, Bratislava: SNG, 2000, pp 163-170. (Slovak)
  • Michal Murin, "Performance Art in Slovakia in the 90s (From the Position of the Art-Form, through its Reflection to the (Co-Existence of Solitary Worlds)", Slaps Banks Plots 4 (2000). (English)
  • Michal Murin, "L´art de performance en Slovaquie - A partir d´une forme artistique et de sa réflexion vers la coexistence de mondes solitaires / Performance Art in Slovakia - From the Art-Form, and its Reflection Towards the Co-Existence of Solitary Worlds", in Art Action 1958-1998, ed. Richard Martel, Québec: Intervention, 2001, pp 454-457. (French)/(English)
  • Pavlína Morganová, "Umenie akcie 1965-1989", Profil 3, 2001, pp 6-15. [118] (Czech)
  • Gábor Hushegyi, "Actinart - medzinárodné sympózium", Profil 3, 2001, pp 40-47. (Slovak)
  • Andrea Bátorová, "Alternative Trends in Slovakia during the 1960s and Parallels to Fluxus", in Fluxus East: Fluxus Networks in Central Eastern Europe, Berlin: Kunstlerhaus Bethanien, 2007. Catalogue text. (English)
  • Ján Kralovič, "Nutnosť intenzívneho prežívania (Poznámky k akčnému umeniu v mestskom priestore na Slovensku v 70. rokoch 20. storočia)", in Umenie na Slovensku v historických a kultúrnych súvislostiach 2010, eds. Bernadeta Kubová and Ivan Godič, Trnava: Milan Uličný - BEN, 2011, pp 215-226. (Slovak)
  • Zora Rusinova, "Solidarity Born of Despair: Action Art in Slovakia during the Totalitarian Regime, 1970-1989", Centropa 14:1, Jan 2014. (English)
Interviews
Booklets
Dissertations

Hungary[edit]

Books
  • Júlia Klaniczay, Edit Sasvároi, Törvénytelen avantgárd: Galántai György balatonboglári kápolnaműterme 1970-1973, Budapest: Artpool–Balassi, 2003. First comprehensive publication on performance and conceptual art events between 1970 and 1973 at the Balatonboglár Chapel in Hungary, founded by the artist György Galántai, the sort of activities that would be banned from 1974 until 1990 in Hungary. Chronicles the abandoned chapel as a unique site for experimental art in Hungary during state socialism, and includes an extensive chronology, previously unpublished archival documents, photographs and texts, interviews, and a bibliography. (Hungarian)
  • Az ebéd / The Lunch (in memoriam Batu kán): Happening Budapest H 1966, eds. Zsuzsa László and Tamás St.Turba, trans. Csaba Polonyi, Budapest: tranzit.hu, 2011, 56 pp. Makes available the so far unpublished documents of the first happening in Hungary, conducted in 1966. [121] [122] [123] (Hungarian)/(English)
Essays
Tadeusz Pawłowski, Happening, 1988.

Poland[edit]

Anthologies
  • Performance – wybór tekstów, eds. Grzegorz Dziamski, Gajewski Henryk and Jan. St. Wojciechowski, Warsaw: Miodzieżowa Agencja Wydawnicza, 1984, 202+31 pp. (Polish)
Books
  • Alicja Kępińska, Nowa sztuka. Sztuka polska w latach 1945-1978, Warsaw: Auriga, 1981. (Polish)
  • Tadeusz Pawłowski, Happening, Warsaw, 1988. (Polish)
  • Sabine Folie (ed.), The Impossible Theater: Performativity in the Works of / Das unmögliche Theater: Performativität im Werk von Pawel Althamer, Tadeusz Kantor, Katarzyna Kozyra, Robert Kusmirowski and Artur Zmijewski, Nürnberg: Verlag für Moderne Kunst, 2005, 152 pp. Essays by Sabine Folie, Jaroslaw Suchan and Hanna Wroblewska. [124] (English)/(German)
  • Jan Przyłuski, Sztuka akcji. Dziesięć zdarzeń w Polsce, Słupsk: Bałtycka Galeria Sztuki Współczesnej, 2007, 82 pp. [125] (Polish)
Catalogues
Magazine issues
Book chapters, essays
Dissertations
The New Art Practice in Yugoslavia, 1966-1978, 1978, Log, PDF (en), PDF (sc).

Yugoslavia[edit]

Croatia[edit]

  • Ivana Mance, "Performance Art Practices in Croatia from the Late 1960s through the late 1980s: An Essay in Genealogy", Centropa 14:1, Jan 2014. [127] (English)
  • Suzana Marjanić, Kronotop hrvatskoga performansa: od Travelera do danas, 3 vols., Zagreb : Udruga Bijeli val: Institut za etnologiju i folkloristiku: Školska knjiga, 2014, 2008 pp. TOC. [128] (Croatian)

Serbia[edit]

Romania[edit]

Books
  • Ileana Pintilie, Actionismul in Romania în timpul comunismului, Cluj: Idea, 1999. (Romanian)
    • Actionism in Romania During the Communist Era, Cluj: Idea, 2002. (English)
Essays
  • Ileana Pintilie, "Performance Art In Romania. Between gesture and ritual", in Crossroads in Central-Europe. Ideas, Themes, Methods and Problems of Contemporary Art and Art Criticism, ed. Katalin Keserü, Budapest: Egregia, 1996, p 147. (English)
  • Ileana Pintilie, "The Dilemmas of Artistic Transition in Post-Communism. Performance art in Romania at the Beginning of the '90s", in Zone 3 Catalogues, Timişoara, 2000; repr. in Periferic 4, Iaşi, 2000.
  • Ileana Pintilie, "Actionism in Romania in the 6th and 7th Decades", Balkon 2, Cluj, 2000. (English)
  • Ileana Pintilie, "Actionism in Romania in the 8th Decade", Balkon 3, Cluj, 2000. (English)
  • Ileana Pintilie, "Performance art in Romania in the '90s (Rumunska umetnost performanse devedesetih)", Artcontext, Apr 2001; repr. in Vrsac 1.
  • Ileana Pintilie, "Action Art in Romania Before and After 1989", Centropa 14:1, Jan 2014. (English)

Estonia[edit]

  • Raivo Kelomees, "RÜHM T on Toompea Hill", Kultuurileht, 25 Oct 1996, [129]

Latvia[edit]

  • Amy Bryzgel, "The Bronze Man and the Homeless Man: Performing Appearance in Latvia", in Bryzgel, Performing the East: Performance Art in Russia, Latvia and Poland since 1980, London and New York: IB Tauris, 2013, pp 100-156. (English)
Coco Fusco (ed.), Corpus Delecti: Performance Art of the Americas, 2000, Log.
Arte ≠ vida: Actions by Artists of the Americas, 1960-2000, 2008. Chronology.

Latin America[edit]

Books
  • Jorge Glusberg, El arte de la performance, Buenos Aires: Arte Gaglianone, 1986. The book attends to international performance art, and particularly argues for the power of the subjectivity of the body, especially as independent from mass media, and the role of performance in the specific context and revolutionary situation of Latin America. (Spanish)
  • Laura Buccellato (ed.), Arte de Acción, 1960-1990, Buenos Aires: Museo de Arte Moderno, 1999. Considers the evolution of action art in Argentina from the 1950s to the 1990s, including b&w photographs and a bibliography. (English)
  • Coco Fusco (ed.), Corpus Delecti: Performance Art of the Americas, London: Routledge, 2000, 307 pp. Divided into three sections, the anthology attends to "Heterotopic, Homoerotic, Hyper-Exotic Cabarets"; "Ritualizing the Body Politic"; and "Stepping toward an Oppositional Public Sphere." Introductory essay by Coco Fusco, with contributions by Silvia Pellarolo, Nao Bustamante, Evelyn Velez-Aguayo, José Esteban Muñoz, Raphael Montañez Ortiz, Charles Merewether, Tania Bruguera, Nelly Richard, Felipe Ehrenberg, Ricardo Dominguez, a.o. (English)
  • Antonio Prieto Stambaugh, Pánico, performance y política: cuatro décadas de acción no-objetual en México, 2001. [130] (Spanish)
  • Diana Taylor, Roselyn Costantino (eds.), Holy Terrors: Latin American Women Perform, Duke University Press, 2003, 464 pp. Scholarly essays by the editors, with contributions by Antonio Prieto Stambaugh, Teresa Marrero, Marlèno Ramírez-Cancio, Vivian Martínez Tabares, and José Muñoz; contains artists’ writings, and discussion of and by such performance artists Denise Stoklos (Brazil), Astrid Hadad, Jesusa Rodríguez, Katia Tirado, and Ema Villanueva (Mexico), as well as playwrights and dramaturges; with illustrations and bibliography. [131] (English)
  • Josefina Alcázar, Fernando Fuentes (eds.), Performance y arte-acción en América Latina, Mexico City: Sin Nombre, 2005, 194 pp. Traces the legacy of performance to the writings of such important figures as Manuel Maples Arce, Sánchez Fogarty, Mathias Goeritz, and Alejandro Jodorowsky, and especially to the performances and conceptual art of Felipe Ehrenberg. Other essays reflect on the art of the No-Grupo, founded in 1970 by Alfredo Núñez, Melquiades Herrera, Maris Bustamante and Rubén Valencia, and women’s performances like those of Katia Tirado, Gina y Marcela, Lorena Wolffer, Lorena Orozco, a.o. (Spanish)
  • Emilio Tarragona, Accionismo en el Perú, 1965-2000, Lima: ICPNA, 2005. (Spanish)
  • Francisco González Castro, Leonora López, Brian Smith, Performance art en Chile, Santiago de Chile: Metales Pesados, 2016, 277 pp. [132] [133] (Spanish)
Catalogues
  • Arte ≠ vida: Actions by Artists of the Americas, 1960-2000, New York: El Museo Del Barrio, 2008, 370 pp. TOC, Chronology. Chronology of actions by artists of the Americas, with essays by Deborah Cullen on performance in New York, California, and Puerto Rico; Ana Longoni on Argentina; Claudia Calirman on Brazil; Gabriela Rangel on Venezuela; Maris Bustamantem on Mexico; Sharon Lerner Rizo-Patrón on Peru; Robert Neustadt on Chile; Elvis Fuentes on Cuba; Sayuri Guzmán on the Dominican Republic; María Iovino on Columbia; and Virginia Pérez-Ratton on Central America. Includes color and b&w illustrations, a bibliography, and an artist index of nearly 300 artists. Exh. held on 18 Jan-31 May 2008. (Spanish)/(English)
Book chapters, essays, dissertations
  • Laura G. Gutiérrez, Performing Identities: Chicana and Mexicana Performance Art in the 90s, Madison: University of Wisconsin, 2000, v+284 pp. PhD dissertation. (English)
Baipishu, eds. Ai Weiwei and Zeng Xiaojun, 1995.
Thomas J. Berghuis, Performance Art in China, 2006.

Asia[edit]

Books
  • Ai Weiwei, Zeng Xiaojun (eds.), Baipishu (䘥䙖㚠; White Cover Book), Beijing: Red Flag Books, 1995. Covers underground and contemporary Chinese art and performance. [134] (Chinese)
  • Ai Weiwei, Zeng Xiaojun (eds.), Huipishu (Grey Cover Book), Beijing: Red Flag Books, 1997. Covers underground and contemporary Chinese art and performance. [135] (Chinese)
  • I Hyeok-pal, Hanguk-ui peopomeonseu ateu: kwanggi-ui momjiseuto yeonghon-il sareuda / Korea Performance Art, 1967-2005, Seoul: Dabinchi Gineuteu, 2005, 318 pp. (Korean)
  • Thomas J. Berghuis, Performance Art in China, Hong Kong: Timezone 8, 2006, 310 pp. The first major survey of Chinese performance art in English, beginning with the Stars Group’s unauthorized exhibition in 1979. The author recounts the history of performance art and Chinese artists’ interest in corporeal expression in the 1980s, practices that burgeoned in the 1990s. Berghuis posits that performance art in China is a response to the state’s intercession in artistic subjectivity. Includes a chronology, index, and glossary of places and terms, illustrations, and archival documents. Reviews: Japser (Freeze), Lincot (China Perspectives), Geczy (Eyeline). [136] (English)
  • Laura Noszlopy, Matthew Isaac Cohen (eds.), Contemporary Southeast Asian Performance: Transnational Perspectives, Newcastle upon Tyne: Cambridge Scholars, 2010. Seven essays on performance art in Southeast Asia, from cross-cultural collaborations and transnational aesthetics to feminism and diaspora; the volume also includes a valuable bibliography for global scholarship and author biographies. (English)
  • Meiling Cheng, Beijing Xingwei: Contemporary Chinese Time-Based Art, London, New York, and Kolkata: Seagull, 2013. Cheng explores over two decades of challenging Chinese performance actions and installations. Contains analysis such controversial events such as Zhu Yu’s Eating People (2000), Zhang Huan’s endurance bodyworks, and Ma Liuming’s photographs as a transgendered male/female with the pseudonym Fen-Maliuming. Chapter 1 begins with Ai Weiwei’s Fairtale (2007) and ends with an appendix recounting his 2011 incarceration and release. Extensive bibliography, glossary, and 137 mostly color illustrations. (English)
  • Peter Eckersall, Performativity and Event in 1960s Japan: City, Body, Memory, Palgrave Macmillan, 2013, viii+183 pp. (English)
Book chapters, essays, dissertations
  • Qian Zhijian, "Performing Bodies: Zhang Huan, Ma Liuming, and Performance Art in China", Art Journal 58:2, Summer 1999, pp 60-81. An extended interview with three early performance artists. (English)
  • Karin Grace Oen, Admonition and the Academy: Installation, Video, and Performance Art in Reform Era China, Massachusetts Institute of Technology, 2012, 214 pp. Ph.D. dissertation. (English)
  • KuroDalaiJee, "Performance Collectives in 1960s Japan: With a Focus on the 'Ritual School'", East Asia Cultures Critique 21:2, Spring 2013, pp 417-447. Essay on gishiki-ha, artists’ performance collectives politically active in anti-institutional, anarchic, and underground activities in Tokyo and Kyoto in the late 1960s, comprising Zero Jigen, Kokuin, and Expo ’70 Destruction Joint-Struggle Group (EDG). (English)
Catalogues
  • Political Acts: Pioneers of Performance Art in Southeast Asia, ed. Steven Tonkin, Melbourne: Victorian Arts Centre Fund, 2017, 32 pp. Presents a selection of artists' films, photographs and installations. (English)

Global[edit]

  • James M. Harding, John Rouse (eds.), Not the Other Avant-Garde: The Transnational Foundations of Avant-Garde Performance, University of Michigan Press, 2006, 312 pp. (English)
  • How We Teach Performance Art: University Courses and Workshop Syllabus, ed. Valentin Torrens, Parker, CO: Outskirts Press, 2014, 338 pp. 42 different approaches to transmit the generative source of creativity in live action by internationally experienced practitioners, teachers and theorists of performance art from 21 countries. (English)
    • Enseñando Performance. Programas de cursos y talleres, ed. Valentin Torrens, Parker, CO: Outskirts Press, 2014, 366 pp. [137] (Spanish)

Performance documentation[edit]

Books
  • Hans Namuth, Pollock Painting, ed. Barbara Rose, New York: Agrinde, 1980. Namuth's memoir includes consideration of the act of photographing Pollock at work on paintings. Namuth’s photographs first appeared in Portfolio and Art News in 1951, and his film of Pollock painting on glass was first screened at the Museum of Modern Art in New York on 14 June 1951. With essays on photography and action painting by Paul Falkenberg, Barbara Rose and Francis V. O’Connor, a.o. Illustrations.
  • Wu Hung, Christopher Phillips, Between Past and Future: New Photography and Video from China, University of Chicago Press, 2004. Extensive review of the use of photography and video by Chinese artists, whom the curators divide into four categories related to their explorations: "History and Memory," "People and Place," "Performing the Self," and "Reimaging the Body." Includes lavish color photographs, many artist interviews, biographies, and statements, and essays by Wu and Phillips. (English)
  • Gunhild Borggreen, Rune Gade (eds.), Performing Archives/Archives of Performance, Copenhagen: Museum Tusculanum, 2013, 480 pp. Authors raise the possibility of interaction and intervention, overlapping and vying with recorded history, the archive, and foibles of memory. Contributions by Julie Louise Bacon, Catherine Bagnall, Gunhild Borggreen, Paul Clarke, Mathias Danbolt, Tracy C. Davis, Rivka Syd Eisner, Rachel Fensham, Rune Gade, Malene Vest Hansen, Barnaby King, Marco Pustianaz, Heike Roms, Mette Sandbye, Laura Luise Schultz, Morten Søndergaard, Margeritha Sprio, Sarah Whatley, Martha Wilson, and Louise Wolthers, among others. Review: Pellegrini (Modern Drama), Helyer (Kelvingrove Rev). (English)
  • Jan Krtička, Jan Prošek (eds.), Dokumentace umění, Ústí nad Labem: Univerzita J. E. Purkyně, 2013, 133 pp. Proceedings from the conference held on 5 Dec 2012. Texts by Hana Buddeus, Vladimír Havlík, Jiří Kovanda, Jan Mlčoch, Tomáš Pospiszyl, Tomáš Ruller, and Miloš Šejn. (Czech)
  • Anne Marsh, Performance Ritual Document, MS&E Australia, 2014, 271 pp. [138] [139] (English)
  • Gabriella Giannachi, Jonah Westerman, Histories of Performance Documentation: Museum, Artistic and Scholarly Practices, Routledge 2017, 208 pp. A collection of interviews with curators, conservators and scholars. [140] (English)
Catalogues
  • Oosteuropese Conceptuele Fotografie, ed. Gerrit Jan de Rook, Eindhoven: Technische Hogeschool Eindhoven, 1977. A rare catalogue of central and eastern European body actions, conceptual art, and some land art, many of which were specifically created to result in a photograph. Includes photographic documentation of each of the thirty artists’ works, some accompanied by an artist’s text. Introductory essays by Gerrit Jan de Rook, Frank Gribling, Karel Schampers, Lázsló Beke, Ion Grigorescu, and Jiri Valoch. (Dutch)
  • Rrose Is a Rrose Is a Rrose: Gender Performance in Photography, ed. Jennifer Blessing, New York: Solomon R. Guggenheim Museum, 1997. Catalogue with many full-page color illustrations, and scholarly essays by Blessing, Carole-Anne Tyler, Sarah Wilson, Nancy Spector, Jack (aka Judith) Halberstam, and Lyle Ashton Harris on topics from 1970s body art and homoeroticism to queer performance and gender policing; with artist’s biographies by Tracey Bashkoff, Susan Cross, Vivien Greene, and J. Fiona Ragheb. (English)
  • Art, Lies and Videotape: Exposing Performance, ed. Adrian George, Liverpool: Tate Liverpool, and London: Tate, 2003, 91 pp. Exh. held at Tate Liverpool, 15 Nov 2003-25 Jan 2004. First major exhibition by Tate Liverpool devoted to documents of performance and performativity in video and photography. Scholarly essays by RoseLee Goldberg, Tracy Warr, Jean-Paul Martinon, Aaron Williamson, Alice Maude-Roxby, and Andrew Quick consider the unreliability, and sometimes fictive content, of photographs and videos, artistic authority and control, and conscious and unconscious mechanisms that determine the reception of the work, among other topics. (English)
  • Live Art on Camera: Performance and Photography, ed. Alice Maude-Roxby, Southampton: John Hansard Gallery, 2007. Takes up the relatively unacknowledged centrality of professional photographers, filmmakers, and videographers in communicating the visual and conceptual elements of an otherwise ephemeral performance, from techniques of framing, lighting, and printing that, in themselves, determine understanding to the public reception of an action. Essays by Maude-Roxby, Kathy O’Dell, and Barbara Clausen. (English)
  • After the Act: The (Re)presentation of Performance Art, eds. Philip Auslander, Barbara Clausen, and Babette Mangolte, Vienna: MOMUK/Museum Moderner Kunst Stiftung Ludwig, 2007. Among other subjects, the authors examine how the impact of surviving documents and relics from live events remain indices of what occurred; how viewer reception eclipses the veracity or falsity of the document in the market for images; and how the document, the performance artist, and the viewer triangulate. (English)
  • Jennifer Blessing, Nat Trotman, Haunted: Contemporary Photography/Video/Performance, New York: Guggenheim Museum Publications, 2010. (English)
  • Performing for the Camera, eds. Simon Baker and Fiontán Moran, London: Tate Publishing, 2016, 240 pp. Exh. held at Tate Modern, London, 18 Feb-12 Jun 2016. Examines how the photograph has both documented and developed understanding of performance since the invention of the photographic medium. Essay by Jonah Westerman. Review: Muñoz-Alonso (Artnet). [141]
Exhibitions without catalogue
Journal issues
  • Ciel variable 86: "Documents de performance", ed. Anne Bénichou, Autumn 2010, pp 6-59. Special section. (French)
  • RTRSRCH 2(2): "<Notation>", eds. Scott deLahunta and Bertha Bermúdez, Amsterdam: Amsterdam School of the Arts, 2010, 44 pp. Special issue on the documentation, analysis, reconstruction and preservation of contemporary performance. (English)
  • Revista de historia da arte 4: "Performing Documentation in the Conservation of Contemporary Art", eds. Lúcia Almeida Matos, Rita Macedo, and Gunnar Heydenreich, Lisbon: Instituto de História da Arte/Universidade Nova de Lisboa, 2013, 196 pp. Proceedings from a 2013 conference held in Lisbon, 20-21 Jun 2013. Texts by Teresa Azevedo, Alessandra Barbuto, Liliana Coutinho, Annet Dekker, Gabriella Giannachi, Rebecca Gordon, Hélia Marçal, Claudia Marchese, Irene Müller, Andreia Nogueira, Julia Noordegraaf, Cristina Oliveira, Joanna Philips, Rita Salis, Sanneke Stigter, Renée van de Vall, Vivian van Saaze, and Glenn Wharton. (English)
  • Maska 30(172-174): "Documents & Performance", Jul 2015. [142] (Slovenian)/(English)
Book chapters, essays, dissertations

Syllabi[edit]

Performance reenactment[edit]

Books
  • Anke Bangma, Steve Rushton, Florian Wüst (eds.), Experience, Memory, Re-enactment, Rotterdam: Piet Zwart Institute, 2005. Essays that take performative reenactments as the platform for investigating and theorizing the psychological conditions of memory, the verity and distortions that occur in remembering and reproducing past experience, and how inherited cultural conventions are changed through their reproduction. Essays by the editors and Clarissa Baldwin, Matthew Buckingham, Rod Dickinson, Omer Fast, Mathilde ter Heijne, Janneke Lam, Deimantas Narkevicius, Paul Nulty, Igor Sevcuk, Mildred Valkonet, Jan Verwoert, Krzysztof Wegiel, and Efrat Zehavi. (English)
  • Amelia Jones, Adrian Heathfield (eds.), Perform, Repeat, Record: Live Art in History, Bristol and Chicago: Intellect, 2012, 652 pp. Contains essays by the editors and scholars on the historical antecedents and archive of performance art, and theories of authenticity in conflict with or supportive of reprised performances. Volume presents a section of documents containing artists original writings; Jones’s "Timeline of Ideas," on the global discourse on performance art from the 1950s to 2012; and discussions with artists conducted by the editors a.o.; good illustrations. Review: Camp (TDR). (English)
  • Rebecca Schneider, Performing Remains: Art and War in Times of Theatrical Reenactment, Routledge, 2011, 272 pp. With chapters on reenactment of pain, the "faux fathers," the continuity of performance art, and consideration of the work of Elizabeth LeCompte (of the Woster Group) and Jerzy Grotowski's "Poor Theater," Schneider describes the development of a "poor poor theater." Extensive bibliography. Review: Nielsen (emisférica). (English)
  • Anne Bénichou (ed.), Recréer / scripter – Mémoires et transmissions des œuvres performatives et chorégraphiques contemporaines, Dijon: Les presses du réel, 2015, 544 pp. Texts by Clarisse Bardiot, Anne Bénichou, Yves Bergeron , Marc Boivin, Elsa Bourdot, Ginelle Chagnon, Mario Côté, Les Deux Gullivers (Flutura Preka & Besnik Haxhillari), Amélie Giguère, Amelia Jones, Isabelle Launay, Catherine Lavoie-Marcus, André Lepecki, Babette Mangolte, Sylvie Mokhtari, Jacques Perron, Isabelle Poirier, Céline Roux, Theresa Rowat, Michèle Rust, Jessica Santone, Noémie Solomon, Ming Tiampo. [143] (French)
Catalogues
  • A Little Bit of History Repeated, ed. Jens Hoffmann, Paris: Valerio, 2001, 42 pp. Exh. held at Kunst-Werke (KW) Berlin, 16-18 Nov 2001. A number of artists from a younger generation have been invited to re-enact important performances from the 1960s and 70s. Participating artists: John Bock (DE), Tania Bruguera (CU), Trisha Donnelly (US), Ingar Drangset & Michael Elmgreen (DK/NO), Karl Holmqvist (SW), Takehito Koganezawa (JP), Elke Krystufek (AT), Laura Lima (BR), Tracey Rose (ZA), Tino Sehgal (DE). [144] (German)
  • Life, Once More: Forms Of Reenactment In Contemporary Art, ed. Sven Lütticken, Rotterdam: Witte de With, 2005, 213 pp. Exh. held at Witte de With, Rotterdam, 27 Jan-27 Mar 2005. Contains essays on and documentation of performances by Mike Bidlo, Bik van der Pol, Rod Dickinson, Omer Fast, Andrea Fraser, Robert Longo, Eran Schaerf, Catherine Sullivan and Barbara Visser, and scripts and writings by the artists. (English)
  • Again for Tomorrow, London: Royal College of Art, 2006, 175 pp. Exh. curated by graduating students of the MA Curating Contemporary Art; held 17 Mar-9 Apr 2006. Works using the methods of evocation, re-enactment, nostalgic recollection, re-examination, and prediction by Martin Boyce (UK), Ulla von Brandenburg (DE), Gorka Eizagirre (ES), Christoph Keller (DE), Joachim Koester (DK), Chris Kubick and Anne Walsh (US), Matts Leiderstam (SW), David Maljkovic (CR), Missingbooks (NL), Alex Morrison (CA), Adrian Paci (AL/IT), Philippe Parreno and Rirkrit Tiravanija (FR/TH) Lia Perjovschi (RO), Mai-Thu Perret (CH), Trama (AR). [145] [146] (English)
  • History Will Repeat Itself: Strategien des Reenactment in der zeitgenössischen (Medien-) Kunst und Performance / Strategies of Re-enactment in Contemporary (Media) Art and Performance, ed. Inke Arns, Frankfurt am Main: Revolver, 2007, 191 pp. Exh. held at HMKV, Dortmund, 9 Jun-23 Sep 2007; KW Institute for Contemporary Art, Berlin, 18 Nov 2007-13 Jan 2008. (German)/(English)
  • Reconstitutions, ed. John Zeppetelli, Montréal: Fondation pour l'art contemporain, 2008, 30 pp. Catalogue for exh. Re-enactments, at DHC/ART Foundation, Montreal, 22 Feb-25 May 2008. Works by Nancy Davenport, Stan Douglas, Harun Farocki, Ann Lislegaard, Paul Pfeiffer, Kerry Tribe. [147] (French)/(English)
Journal issues
Book chapters, essays, interviews
  • Jörg Heiserr, "Do It Again: In Conversation with Marina Abramović", Frieze 94, Oct 2005, pp 176-183. Discussion with Abramović about her intent to preserve performances that had influenced her, and the many details she attended to in obtaining permission and studying the five body actions of the other artists that she reprised in 7 Easy Pieces (9–15 November 2005), including those of Vito Acconci, Joseph Beuys, Valie Export, Bruce Nauman, Gina Pane (as well as one of her own earlier works). Comments in the conversation by the artist Monica Bonvicini draws the interview into other contexts including theater, installation, and Bonvicini’s own art work. (English)
  • Robert Blackstone, "Once More with Feeling: Reenactment in Contemporary Art and Culture", Art Journal 66:1, Spring 2007, pp 28-40. Blackstone explores the politics of the "heritage industry" and the reconstruction of memory in the performative representation of historical events like Jeremy Deller’s The Battle of Orgreave (2001), the reenactment of the British miners’ violent strike of 1984–1985; Rod Dickinson’s redux of events in United States history; and Marina Abramović's 7 Easy Pieces (2005). (English)
  • Jessica Santone, "Marina Abramović's Seven Easy Pieces: Critical Documentation Strategies for Preserving Art's History", Leonardo 41:2, Apr 2008, pp 147-152. (English)
  • Robert C. Morgan, "Thoughts on Re-performance, Experience, and Archivism", PAJ: A Journal of Performance and Art 32:3, Sep 2010, pp 1-15. Juxtaposes the desire to affirm and sustain the significance of original, unique performance events with what he describes as the distraction of re-performance, which draws critical and aesthetic attention away from larger institutional concerns and alternative histories of performance art. (English)
  • Helen Barrett, "Reinterpreting Re-performance", RELAY Zine, 21 May 2011. A meditation on the origins of the taboo of reenactment by Allan Kaprow in his theories of the happening, Barrett argues that these ideas were already overturned in Fluxus performances, which were intentionally often repeated, albeit by different artists or the same artist in different configurations, contexts, and locales. The essay then turns to contemporary examples of re-performance. (English)
  • Branislav Jakovijević (ed.), "On Performing Forensics: The Political Economy of Renactments", Art Journal 70:3, Fall 2011, pp 50-54. The artists of Grupa Spomenik—Damir Arsenijevic, Svebor Midzic, Darinka Pop-Mitic, Branimir Stojanovic, and Milica Tomic—consider their work to function as a public monument to the 1990s Yugoslavian wars. Jakovijević focuses on the group’s artwork Mathemes of Re-association (2008–present), which restages aspects of the Srebrenican massacre of more than eight thousand Bosnian Muslims. Jakovijević’s essay appears in the special issue of the Art Journal on performative reenactments with contributions by Ron Athey, Amelia Jones, Sophia Yadong Hao, William Pope.L, a.o. (English)
  • Jessica Santone, "Documentation as Group Activity: Performing the Fluxus Network", Visual Resources 32:3-4, pp 263-281. (English)
  • Martha Barratt, "Autobiography, Time, and Documentation in the Performances and Auto-Archives of Carolee Schneemann", Visual Resources 32:3-4, pp 282-305. [148] (English)

Performance theory, Performance studies[edit]

Books
  • Richard Schechner, Essays on Performance Theory, 1970-1976, New York: Drama Book Specialists, 1977; new ed., rev. & exp., as Performance Theory, London: Routledge, 1988, xv+304 pp; new ed., new pref., 2003, xix+407 pp. (English)
  • Andrew Parker, Eve Kosofsky Segwick (eds.) Performativity and Performance, London and New York: Routledge, 1995. The editors assembled texts concerned with performativity of interrelated populations of the Atlantic world (Joseph Roach), the performativity of African-American literature (Sandra L. Richards), catharsis in 20th-century performance (Elin Dimond), the performativity of trauma awakenings (Cathy Caruth), and injurious speech (Judith Buter), among other topics. Bibliography. (English)
  • Peggy Phelan, Jill Lane (eds.), The Ends of Performance, New York University Press, 1998, 372 pp. Collection of articles and papers from the event Performance Studies: The Future of the Field, Northwestern University, 1995. Phelan and Lane ground performance studies in the post-theatrical, post-anthropological age. Together with other leading scholars, such as Della Pollock, Eve Kosofsky Sedgwick, Joseph Roach, Richard Schechner, Diana Taylor, and Robert Sember, the editors write on artists like David Wojnarowicz, Orlan, and Amanda Denise Kemp, taking into consideration topics ranging from AIDS and death to virtual technology, medical discourses, race, and citizenship. (English)
  • Amelia Jones, Andrew Stephenson (eds.), Performing the Body, Performing the Text, London: Routledge, 1999. Eighteen essays and an introduction by the editors. Essays range from performing modernity (Donald Preziosi), the performativity of homosexual camp (Gavin Butt), performing race (Jennifer Devere Brody), and the body politics of feminist performance (Jonathan Katz) to the performativity of marginality (Meiling Cheng) and lesbian aesthetics (B. J. Wray). Some black and white illustrations and notes as a bibliographical resource. (English)
  • Charles R. Garoian, Performing Pedagogy: Toward an Art of Politics, Albany: State University of New York Press, 1999. A pivotal early text on performativity, integrating theory and practice on the aesthetic and ethical role and ability of performance art (in politics and pedagogy) to revive memory and enliven history through analysis of cultural assumptions about, and constructs of, identity and personal agency. Bibliography. (English)
  • Geraldine Harris, Staging Femininities: Performance and Performativity, Manchester: Manchester University Press, 1999. Compares British and North American women’s performance art, theories, and practices, taking into account the similarities and differences among theatrical performance, performance art, and performativity, and drawing on a wide range of theorists, from Judith Butler, Julia Kristeva, and Luce Irigaray to Antonin Artaud, Jean Baudrillard, Bertolt Brecht, Michel de Certeau, Jacques Derrida, and Jacques Lacan, a.o. (English)
  • Anthony Howell, The Analysis of Performance Art: A Guide to its Theory and Practice, Routledge, 1999, 276 pp. [149] (English)
  • Sue-Ellen Case, Philip Brett, Susan Leigh Foster (eds.), Decomposition: Post-disciplinary Performance, Bloomington: Indiana University Press, 2000. Published following the 1997 Unnatural Acts conference at the University of California at Riverside. Essays cross the disciplines of music, art history, dance, and English with contributions by the editors and Amelia Jones, Deborah Wong, George Lipsitz, Ronald Radano, Philip Brett, Kristine C. Kuramitsu, Jeffrey Tobin, Timothy D. Taylor, Catherine Lord, B. J. Wray, and Elizabeth Wood. (English)
  • Jon McKenzie, Perform or Else: From Discipline to Performance, London: Routledge, 2001, x+306 pp. Reviews: Sabatini (Theatre J), Sayre (Modernism/modernity), Kershaw (NTQ). (English)
  • Richard Schechner, Performance Studies: An Introduction, London: Routledge, 2002, x+288 pp; 3rd ed., with Sara Brady, 2013, 359 pp. Companion website. Reviews: Dolan (Modern Drama), Harding (Theatre J), Kershaw (NTQ), Miller (J Dance Education). (English)
  • David Davies, Art as Performance, Oxford: Blackwell, 2004. (English)
    • trans. Fong Jun, Nanjing: Jiangsu Meishu Chubanshe, 2008. (Chinese)
  • Erika Fischer-Lichte, Ästhetik des Performativen, Frankfurt am Main: Suhrkamp, 2004, 376 pp. Theorizes the appearance of performance as being an event comparable to, and as significant as, the emergence of art objects. Chapters include essays on performativity and performance, bodily co-presence, performance as event, and the role of performance in the revivification of life. [150] (German)
    • The Transformative Power of Performance: A New Aesthetics, trans. Saskya Iris Jain, New York and London: Routledge, 2008, vii+232 pp. (English)
    • Estetika performativnega, trans. Jaša Drnovšek, intro. Lado Kralj, Ljubljana: Študentska založba, 2008, 375 pp. (Slovenian)
    • Estetyka performatywności, trans. Mateusz Borowski and Małgorzata Sugiera, Kraków: Księgarnia Akademicka, 2008, 353 pp. (Polish)
    • Pafōmansu no bigaku, Tokyo: Ronsōsha, 2009, 351 pp. (Japanese)
    • Estética de lo performativo, trans. Diana González Martín and David Martínez Perucha, intro. Óscar Cornago, Madrid: Abada, 2011, 427 pp. (Spanish)
    • Estetika performativity, trans. Markéta Polochová, Mníšek pod Brdy: Na Konári, 2011, 336 pp. (Czech)
    • Xing wei biao yan mei xue: guan yu yan chu de li lun, trans. Kuangfu Yu, Shanghai: Hua dong shi fan da xue chu ban she, 2012, 309 pp. (Chinese)
    • Performatyvumo estetika, trans. Austėja Merkevičiūtė, Vilnius: Menų Spaustuve, 2013, 344 pp. (Lithuanian)
    • Estetica del performativo: una teoria del teatro e dell'arte, trans. Tancredi Gusman, Rome: Carocci, 2014, 376 pp. (Italian)
  • Shannon Jackson, Professing Performance: Theatre in the Academy from Philology to Performativity, Cambridge University Press, 2004. Undertakes an analysis of the history of theater as it relates to the evolution of performance studies, with chapters devoted to disciplinary genealogies, institutions, cultures, practices, and histories of performance and performativity. (English)
  • Christian Janecke (ed.), Performance und Bild. Performance als Bild, Hamburg: PHILO & PhiloFineArts, 2004. [151] (German)
  • Dorothea von Hantelmann, How to Do Things with Art: zur Bedeutsamkeit der Performativität von Kunst, Zürich and Berlin: Diaphanes, 2007, 223 pp. [152] (German)
  • Jon McKenzie, Heike Roms, C.J.W.L. Wee (eds.), Contesting Performance: Global Sites of Research, Palgrave Macmillan, 2010. Essayists think through themes related to global performance research: the "turn" to performativity in the British Academy (Heike Roms); performance studies and the "Americanization" of the American University (Shannon Jackson); performance as an interdisciplinary field (Gay McAuley); and performance and postcoloniality (Khalid Amine). Contains scholarly essays on performance in the Americas and South East Asia, and in Australia, Croatia, Germany, Israel, Japan, Morocco, Singapore, Slovenia, and South Africa.
  • David Davies, Philosophy of the Performing Arts, Oxford: Blackwell, 2011. (English)
  • Shannon Jackson, Social Works: Performing Art, Supporting Publics, New York: Routledge, 2011, x+299 pp. Examines performativity in community activism. Reviews: Klein (CAA), Harvie (Contemporary Theatre Rev). (English)
  • Diana Taylor, Marcela Fuentes (eds.), Estudios avanzados de performance, Mexico: Fondo de Cultura Económica, 2011. Excerpt. [155] (Spanish)
  • Gabriella Giannachi, Nick Kaye, Michael Shanks (eds.), Archaeologies of Presence: Art, Performance, and the Persistence of Being, New York: Routledge, 2012. Reviews: Sack (J Dramatic Theory and Criticism), Sherman (Theatre J). (English)
  • Karen O’Rourke, Walking and Mapping: Artists as Cartographers, MIT Press, 2013. Surveys artists’ generative ideas for the systematic performativity of everyday encounters. Drawing on theories and events from Alfred Jarry’s pataphysics and Lettrist’s drift to Stalkers traversing the periphery of Rome, and from artists tracing Mexican and Moroccan border and immigration routes to microscopic landscapes, intifada checkpoints, and GPS technology. Illustrations and bibliography. (English)
  • Bojana Kunst, Artist at Work: Proximity of Art and Capitalism, Winchester: Zero Books, 2015, 230 pp. (English)
  • Bojana Cvejić, Ana Vujanović, Public Sphere by Performance, Berlin: b_books, 2015. (English)
  • André Lepecki, Marta Dziewańska (eds.), Points of Convergence: Alternative Views on Performance, Warsaw: Museum of Modern Art in Warsaw, 2017, 240 pp. [156] (English)

Research projects, resources[edit]

  • Fluxus & Happening, ed. Co Seegers.
  • Re.Act.Feminism: A Performing Archive, an archive and exhibition project on feminism and performance art. Curated by Beatrice E. Stammer and Bettina Knaup. The core archive contains more than 250 videos, photographs and other documentation of gender-oriented, feminist and queer performance art, from the 1960s to the early 1980s.
  • Collecting the Performative: A research network examining emerging practice for collecting and conserving performance-based art, Tate London, Apr 2012-Jan 2014. Project leader: Pip Laurenson. Funded by the Arts and Humanities Research Council (AHRC) and the Netherlands Organisation for Scientific Research. Recordings of talks. [157]
  • Performance at Tate: Collecting, Archiving and Sharing Performance and the Performative, Oct 2014-Sep 2016. A major initiative aiming to research and document the role performance – in all its forms – has played in the history of modern and contemporary art at Tate since the 1960s. It looked at the museum’s practices of collecting, displaying, documenting and sharing performance and explored how performance practices have reframed conventional understanding of an art collection. Funded by the Arts and Humanities Research Council (AHRC), the twoyear project was a collaboration between the Centre for Intermedia at the Department of English at the University of Exeter and Tate. It was led by Professor Gabriella Giannachi, Catherine Wood (Senior Curator, International Art (Performance) and Jennifer Mundy (Head of Collection Research). PDF publication.
  • Performing the East, a resource on performance art in Eastern Europe since 1960, operated by Amy Bryzgel.
  • Performance Art in Eastern Europe (1950-1990), a research project coordinated by Sylvia Sasse, U Zurich; collaborators: Sylvia Sasse, Sabine Hänsgen, Tomáš Glanc, Kata Krasznahorkai. Funded by ERC. [158]
  • Performing Arts in the Second Public Sphere, initiated by Katalin Cseh, Ludwig-Maximilians-U, and Adam Czirak, Free U Berlin. Funded by Erste.
  • Action Art Beyond the Iron Curtain, a research project convened by Adam Czirak, Free U Berlin. Funded by the German Research Society (DFG).
  • Glimpses of Before 1970s Performance Art in the UK. A study room guide compiled and edited by Helena Goldwater and produced by the Live Art Development Agency (LADA). The guide includes framing texts by Helena Goldwater and Dominic Johnson, as well as artists’ information and images, including links to online content and hard copy materials available in LADA’s Study Room, a free, open access research facility specialising in Live Art and Performance. Part of a larger series of research activities on Performance and Politics in the 1970s organised by Dominic Johnson and Nicholas Ridout of the the Department of Drama at Queen Mary, University of London (2015-16). PDF publication.
  • Performance Perspectives, an archive of video interviews exploring performance art in Australia.
  • The Performance Club, a platform for art criticism, ed. Claudia La Rocco.

Works[edit]

Works in museum collections.

Artist Born Title Year Coll. Acq. Coll. no. Coll. URL Medium Dept / Type / Tags Image
Roman Ondák SK Good Feelings in Good Times 2003 Tate 2005 T11940 [159] Performance, people Performance Art [160]
Tino Sehgal UK This is Propaganda 2002 Tate 2005 T12057 [161] Performance, 1 person
David Lamelas AR Time 1970 Tate 2006 T12208 [162] Performance, people and photograph
Tania Bruguera CU Tatlin's Whisper #5 2008 Tate 2009 T12989 [163] Performance, 2 people and 2 horses Altermodern, New genre public art [164]
Amalia Pica AR Strangers 2008 Tate 2014
Tino Sehgal UK This is Exchange 2002 Van Abbe 2006 2853 [165] Performance
Tino Sehgal UK Kiss 2003 MoMA 2008 592.2008 [166] Constructed situation Media and Performance Art
Jennifer Allora, Guillermo Calzadilla US, CU Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano, No.1 2008 MoMA 2009 369.2009 [167] Performance, prepared Bechstein Piano Media and Performance Art [168]
Roman Ondák SK Measuring the Universe 2007 MoMA 2009 375.2009 [169] Performance Media and Performance Art [170]
Michelangelo Pistoletto IT Seventeen Less One 2008 MoMA 2009 1668.2009 [171] Performance with seventeen mirrors in gilded frames Media and Performance Art [172]
Andrés Jaque ES Ikea Disobedients 2011 MoMA 2012 156.2012 [173] Performance with Ikea objects Architecture and Design [174]
Guy de Cointet FR GSBHNFOUT 1971 MoMA 2012 611.2012 [175] Performance, artist book Media and Performance Art
Guy de Cointet FR The brilliant artist Huzo Lumnst presents her new work: CIZEGOH TUR ND JMB [aka Huzo Lumnst] 1973 MoMA 2012 612.2012 [176] Performance, twelve silkscreen prints on paper Media and Performance Art
Guy de Cointet FR At Sunrise a Cry Was Hear...or The Halved Painting 1974 MoMA 2012 613.2012 [177] Performance, acrylic on Masonite Media and Performance Art
Guy de Cointet FR Sophie Rummel 1974-75 MoMA 2012 615.2012 [178] Performance, artist notebook with 127 sheets Media and Performance Art
Guy de Cointet FR Two Drawings 1977 MoMA 2012 617.2012 [179] Performance, prop Media and Performance Art
Guy de Cointet FR Going to the Market 1978 MoMA 2012 618.2012 [180] Performance, prop Media and Performance Art
Guy de Cointet FR A New Life 1981 MoMA 2012 620.2012 [181] Performance, 26 props Media and Performance Art
Kevin Beasley US I Want My Spot Back 2011-2012 MoMA 2014 1108.2014 [182] Performance with 39 processed a cappella tracks (28 min.), sealed letter Media and Performance Art [183]
Alex Schweder, Ward Shelley US Counterweight Roommate 2011 MoMA 2015 103.2015 [184] Installation and performance Architecture and Design
Tania Bruguera CU Untitled (Havana, 2000) 2000 MoMA 2015 303.2015 [185] Sugar cane bagasse, video (b&w, silent, 4:37 min.), and live performance Media and Performance Art
Simone Forti US Censor 1961 MoMA 2015 1761.2015.1 [186] Performance with metal pan, screws, audio Media and Performance Art
Simone Forti US Censor 1960-1961 MoMA 2015 1761.2015.1-2 [187] Performance and drawing Media and Performance Art
Simone Forti US From Instructions 1961 MoMA 2015 1764.2015 [188] Performance with rope and hardware Media and Performance Art
Simone Forti US Hangers 1961-2010 MoMA 2015 1765.2015.1-3 [189] Performance and drawings Media and Performance Art
Simone Forti US Huddle 1961 MoMA 2015 1766.2015.1 [190] Performance Media and Performance Art
Simone Forti US Huddle 1961-1974 MoMA 2015 1766.2015.1-3 [191] Performance, video, and handwritten draft Media and Performance Art
Simone Forti US Platforms 1961 MoMA 2015 1767.2015 [192] Performance with two plywood boxes, sound Media and Performance Art
Simone Forti US Roller Boxes 1961 MoMA 2015 1768.2015 [193] Performance with three plywood boxes on wheels and rope Media and Performance Art
Simone Forti US See Saw 1961-2011 MoMA 2015 1769.2015.1-3 [194] Performance, drawing, and notebook Media and Performance Art
Simone Forti US Slant Board 1961 MoMA 2015 1770.2015 [195] Performance with plywood and rope Media and Performance Art
Tino Sehgal UK This is New 2003 Serralves 2008 [196] Concept and performance
Tino Sehgal UK This is About 2003 Serralves 2008 [197] Concept and performance
Tino Sehgal UK This Progress 2006 Guggenheim 2010 2010.7 [198] Situation
Tania Bruguera CU Tatlin's Whisper #6 2009 Guggenheim 2014 2014.11 [199] Installation with stage, podium, loudspeaker, video camera, microphones, and color video, with sound, 40 min., 32 sec. Film/Video, Installation [200]
Roman Ondák SK Swap 2011 Guggenheim 2014
Amalia Pica AR A ∩ B ∩ C 2013 Guggenheim 2014 2014.45 [201] Acrylic shapes and occasional performance Installation [202]
Gerard & Kelly US Timelining 2014 Guggenheim 2014 2014.75 [203] Performance - [204]
Kevin Beasley US Strange Fruit (Pair 2) 2015 Guggenheim 2015
Amie Siegel US Winter 2013 Guggenheim 2015 2015.44 Color video, transferred from 16 mm film, with sound, 33 min. and performance with objects [205]
Amalia Pica AR Asamble 2015 Guggenheim 2015 2015.58 [206] Performance [207]
Naama Tsabar IL Work on Felt (Variation 4) 2015 Guggenheim 2015
Amalia Pica AR Now Speak! 2011 MFA Boston 2013 2013.1829 [208] Cast concrete, live performance Sculpture

Recent events[edit]

Festivals, exhibitions[edit]

See also group exhibition catalogues above.

Symposia, conferences[edit]

Upcoming[edit]

See also[edit]


Art

Styles and movementsCollectionsHistorians and criticsReference works