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Martin Patrick explores the ways in which contemporary artists across media continue to reinvent art that straddles both public and private spheres. Examining the impact of various art movements on notions of performance, authorship, and identity, Across the Art/Life Divide argues that the most defining feature of contemporary art is the ongoing interest of artists in the problematic relationship between art and life. Looking at underexamined forms, such as stand-up comedy and sketch shows, alongside more traditional artistic media, he situates the work of a wide range of contemporary artists to ask: To what extent are artists presenting themselves? And does the portrayal of the "self" in art necessarily constitute authenticity? By dissecting the meta-conditions and contexts surrounding the production of art, Across the Art/Life Divide examines how ordinary, everyday life is transformed into art.
A black minister and a white businessman candidly discuss the obstacles, stereotypes, and sins that inhibit interracial reconciliation. Provocative and honest.
There’s nothing pure about modernism. For all the later critical emphasis upon “medium specificity”, modernist artists in their own times revel in the exchange of motifs and tropes from one kind of art to another; they revel in staging events where different media play crucial roles alongside each other, where different media interfere with each other, to spark new and surprising experiences for their audiences. This intermediality and multi-media activity is the subject of this important collection of essays. The authoritative contributions cover the full historical span of modernism, from its emergence in the early twentieth century to its after-shocks in the 1960s. Studies include Futurism’s struggle to create an art of noise for the modern age; the radical experiments with poetry; painting and ballet staged in Paris in the early 1920s; the relationship of poetry to painting in the work of a neglected Catalan artist in the 1930s; the importance of architecture to new conceptions of performance in 1960s “Happenings”; and the complex exchange between film, music and sadomasochism that characterises Andy Warhol's “Exploding Plastic Inevitable”.
This volume is a study of the connected ideas of "queer" and "gender performance" or "performativity" over the past several decades, providing an ambitious history and crucial examination of these concepts while questioning their very bases. Addressing cultural forms from 1960s–70s sociology, performance art, and drag queen balls to more recent queer voguing performances by Pasifika and Māori people from New Zealand and pop culture television shows such as RuPaul’s Drag Race, the book traces how and why "queer" and "performativity" seem to belong together in so many discussions around identity, popular modes of gender display, and performance art. Drawing on art history and performance studies but also on feminist, queer, and sexuality studies, and postcolonial, indigenous, and critical race theoretical frameworks, it seeks to denaturalize these assumptions by questioning the US-centrism and white-dominance of discourses around queer performance or performativity. The book’s narrative is deliberately recursive, itself articulated in order performatively to demonstrate the specific valence and social context of each concept as it emerged, but also the overlap and interrelation among the terms as they have come to co-constitute one another in popular culture and in performance and visual arts theory, history, and practice. Written from a hybrid art historical and performance studies point of view, this will be essential reading for all those interested in art, performance, and gender, as well as in queer and feminist theory.
Live Art is a contested category, not least because of the historical, disciplinary and institutional ambiguities that the term often tends to conceal. Live Art can be usefully defined as a peculiarly British variation on particular legacies of cultural experimentation – a historically and culturally contingent translation of categories including body art, performance art, time-based art, and endurance art. The recent social and cultural history of the UK has involved specific factors that have crucially influenced the development of Live Art since the late 1970s. These have included issues in national cultural politics relating to sexuality, gender, disability, technology, and cultural policy. In the past decade there has been a proliferation of festivals of Live Art in the UK and growing support for Live Art in major venues. Nevertheless, while specific artists have been afforded critical essays and monographs, there is a relative absence of scholarly work on Live Art as a historically and culturally specific mode of artistic production. Through essays by leading scholars and critical interviews with influential artists in the sector, Critical Live Art addresses the historical and cultural specificity of contemporary experimental performance, and explores the diversity of practices that are carried out, programmed, read or taught as Live Art. This book is based on a special issue of Contemporary Theatre Review.
Yaddo is a rich account of America's premier artists' retreat, which has hosted some of the twentieth century's most renowned writers, composers, and visual artists. Hannah Arendt, James Baldwin, Saul Bellow, Leonard Bernstein, Elizabeth Bishop, Truman Capote, Flannery O'Connor, Aaron Copland, Langston Hughes, Carson McCullers, Sylvia Plath, Philip Roth, Clyfford Still, and William Carlos Williams all lived and worked at Yaddo. Richly illustrated with photographs, prints, intimate letters, papers, and ephemera from archives and collections at both Yaddo and TheNew York Public Library, this collection provides a window into the famously private institution, recounting the experiences of the artists who took advantage of a bucolic retreat to tap into--and mingle with--genius. With essays by Marcelle Clements, David Gates, Allan Gurganus, Tim Page, Ruth Price, Barry Werth, Karl Emil Willers, and Helen Vendler, and an overview by curator Micki McGee, Yaddo is a collaborative project that revisits the major moments of twentieth-century American culture and history.
The Methuen Drama Companion to Performance Art offers a comprehensive guide to the major issues and interdisciplinary debates concerning performance in art contexts that have developed over the last decade. It understands performance art as an institutional, cultural, and economic phenomenon rather than as a label or object. Following the ever-increasing institutionalization and mainstreaming of performance, the book's chapters identify a marked change in the economies and labor practices surrounding performance art, and explore how this development is reflective of capitalist approaches to art and event production. Embracing what we perceive to be the 'oxymoronic status' of performance art-where it is simultaneously precarious and highly profitable-the essays in this book map the myriad gestures and radical possibilities of this extreme contradiction. This Companion adopts an interdisciplinary perspective to present performance art's legacies and its current practices. It brings together specially commissioned essays from leading innovative scholars from a wide range of approaches including art history, visual and performance studies, dance and theatre scholarship in order to provide a comprehensive and multifocal overview of the emerging research trends and methodologies devoted to performance art.
What Happens When Your Best Friend ought to be Your Enemy? Liam and Nora form an unlikely friendship when he lends her a helping hand during a music competition. Liam's father, a mechanic, is a proud trade union member, while Nora's father is a prosperous wine importer. When Jim Larkin takes on the might of the employers in 1913, resulting in strikes, riots and lockouts, Liam and Nora's friendship is challenged and their loyalties torn. Caught up in events that they don't fully understand, the two come face to face with hardship and danger, but also find humour and generosity as they set out on an adventure that may make or break their friendship, but will definitely change their lives forever. The historical events of the Dublin 1913 Lockout vividly portrayed through the lives of two young friends.
"The publication of translated essays by Dr. Abraham Coralnik is an important step in enlarging our understanding of the cultural milieu of the early twentieth century in which Jewish immigrants from eastern Europe become Americanized."--Professor Eli Katz, University of California, Berkeley In 1937, when the essayist Abraham Coralnik died of a heart attack, Yiddish speakers in the United States lost one of their most articulate guides. As a columnist for the New York newspaper Der Tog (The Day) during the 1920's and 1930's, Coralnik moved effortlessly from discussions of Zionist politics to analyses of Marx and Plato to travelogues through the American heartland. As Europe exploded in anti-Semitism, and American Jewish life continued its spectacular transformation into the land of promise and confusion, Coralnik provided both insight and context for an immigrant community desperate to understand the changes taking place around it. Today, Coralnik's essays can be enjoyed not just for their perspective on two crucial decades of Jewish history, but for their timeless wisdom about culture, spirituality, philosophy and history. In Volume One of Across the Great Divide, Coralnik analyzes a European Jewish community in the process of disintegration, and an American Jewish society on the rise; the politics surrounding the development of pre-state Israel; the broad impact of the Hasidic movement; and the quirky existence of European Jewish refugees in places like Mexico and Cuba. About the Translator: Beatrice Coralnik Papo, the eldest daughter of Abraham Coralnik, was born in Berlin in 1913. Educated in Germany, Russia and France, she came to the U.S. in her early 20s. A social worker by profession, Mrs. Papo is a lifelong student of literature, and has spent the last two decades translating her father's essays. She lives in San Jose, California.