Provoking the future: Performa commissions -- Exalting the crowds: performance as spectacle -- The illuminating stage: performance at the edge of theater -- Simultaneous awareness: performance between screens -- The art of noises: music, radio, sound -- Lust is a force: the lust weekend -- The universe will be our vocabulary: on language -- The polyexpressive symphony: captured on film -- A slap in the face of public taste: pushing the audience -- Every generation must build its own city: the Performa hub and urban activism
Histories of Performance Documentation traces the many ways in which museums have approached performance works from the 1960s onwards, considering the unique challenges of documenting live events. From hybrid and interactive arts, to games and virtual and mixed reality performance, this collection investigates the burgeoning role of the performative in museum displays. Gabriella Giannachi and Jonah Westerman bring together interviews and essays by leading curators, conservators, artists and scholars from institutions including MoMA, Tate, SFMOMA and the Whitney, to examine a range of interdisciplinary practices that have influenced the field of performance documentation. Chapters build on recent approaches to performance analysis, which argue that it should not focus purely on the live event, and that documentation should not be read solely as a process of retrospection. These ideas create a radical new framework for thinking about the relationship between performance and its documentation—and how this relationship might shape ideas of what constitutes performance in the first place.
Emphasizing the importance of artists including Bobby Baker, Anne Bean, Catherine Elwes, Rose English, Alexis Hunter, Hannah O'Shea, and Kate Walker, and examining works such as Mary Kelly's Post Partum Document, Judy Clark's 1973 exhibition Issues, and Cosey Fanni Tutti's Prostitution shown in 1976, the author investigates some art pieces from the 1970s in Britain. From the perspective of the feminist body as site for making and exhibiting works the author examines themes that look at the body as material, the body and performance, and the alternative creative platforms in 1970s feminist art.