Simone Forti: Handbook in Motion (1974)

An account of an ongoing personal discourse and its manifestations in dance. Simone Forti is a dancer who has always forged her own path. She arrived in New York in the early 60’s from California. She brought with her a series of pieces that proved to be of serious influence on the development of “post modern” dance and sculpture in years to come. Her “dance-constructions” were based on a concern with bodies in action, the movement not being stylized or presented for its visual line but rather as a physical fact. The artist traces the development of her work intuitively rather than chronologically, including narratives about a time of participation in the drug culture that sheds light on the changes in her dancing. The book includes drawings, “dance reports” (short descriptions of events whose movement made a deep impression on the author’s memory), and documentary materials such as scores, descriptions, and photographic records of performances. Covers work from 1959 – 1973.

First published in 1974
Third edition, 1988
Publisher The Press of the Nova Scotia College of Art and Design, Halifax, Canada; with New York University Press, New York
Editor Kasper Koenig
ISBN 0937645052
152 pages

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James M. Harding, John Rouse (eds.): Not the Other Avant-Garde: The Transnational Foundations of Avant-Garde Performance (2006)

“Almost without exception, studies of the avant-garde take for granted the premise that the influential experimental practices associated with the avant-garde began primarily as a European phenomenon that in turn spread around the world. These ten original essays, especially commissioned for Not the Other Avant-Garde, forge a radically new conception of the avant-garde by demonstrating the many ways in which the first—and second—wave avant-gardes were always already a transnational phenomenon, an amalgam of often contradictory performance traditions and practices developed in various cultural locations around the world, including Africa, the Middle East, Mexico, Argentina, India, and Japan. Essays from leading scholars and critics—including Marvin Carlson, Sudipto Chatterjee, John Conteh-Morgan, Peter Eckersall, Harry J. Elam Jr., Joachim Fiebach, David G. Goodman, Jean Graham-Jones, Hannah Higgins, and Adam Versényi—suggest collectively that the very concept of the avant-garde is possible only if conceptualized beyond the limitations of Eurocentric paradigms.

Not the Other Avant-Garde is groundbreaking in both avant-garde studies and performance studies and will be a valuable contribution to the fields of theater studies, modernist studies, art history, literature, and music history.”

Publisher University of Michigan Press, 2006
Theater: Theory/Text/Performance series
ISBN 0472069314, 9780472099313
312 pages

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Linda M. Montano (ed.): Performance Artists Talking in the Eighties: Sex, Food, Money/Fame, Ritual/Death (2000)

“Performance artist Linda Montano, curious about the influence childhood experience has on adult work, invited other performance artists to consider how early events associated with sex, food, money/fame, or death/ritual resurfaced in their later work. The result is an original and compelling talking performance that documents the production of art in an important and often misunderstood community.

Among the more than 100 artists Montano interviewed from 1979 to 1989 were John Cage, Suzanne Lacy, Faith Ringgold, Dick Higgins, Annie Sprinkle, Allan Kaprow, Meredith Monk, Eric Bogosian, Adrian Piper, Karen Finley, and Kim Jones. Her discussions with them focused on the relationship between art and life, history and memory, the individual and society, and the potential for individual and social change. The interviews highlight complex issues in performance art, including the role of identity in performer-audience relationships and art as an exploration of everyday conventions rather than a demonstration of virtuosity.”

Publisher University of California Press, 2000
ISBN 0520210220, 9780520210226
537 pages

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