The Live Art Almanac Volume 4 is a collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2012 and December 2014. Selected through recommendations and an open call for submissions, Volume 4 reflects the dynamic, international contexts that Live Art and radical performance-based practices occupy.
Live Art is experiencing a huge surge in interest with major museums embracing this disparate area of practice, formerly cult artists becoming household names, and everyone from Shia LaBeouf, Lady Gaga and Jay Z trying to get in on the action.
Reflecting the diversity of approaches and key developments from the last few years, Volume 4 is grouped into seven loosely themed sections: Locating Performance; Performance Under Attack; Speaking Up/Speaking Out; Show Me the Money; High Art in Low Places; Reviews and Dearly Departed.
This volume includes writings by, and about Ai Weiwei, Pussy Riot, Tim Etchells, Karen Finley, Vaginal Davis, Ann Magnuson, Shaheen Merali, Jennifer Doyle, Marilyn Arsem, Guy Brett, Nigel Charnock, Claire Bishop, Bryony Kimmings, Matthew Barney, Coco Fusco, Stuart Hall, Miley Cyrus, Petr Pavlensky, Reverend Billy, Ron Athey, Mike Kelley, Oreet Ashery, CHRISTEENE, Marcia Farquhar, Morgan Quaintance, Adrian Howells, Amelia Abraham, Brian Boucher, Rose Finn-Kelcey, Mat Fraser, José Esteban Muñoz, Kembra Pfahler, Hennessy Youngman, Joan Rivers, Mykki Blanco, Monica Ross, Wu Tsang, boychild, Wendy Houstoun, the vacuum cleaner and many more.
Read article from AQNB: Printing the internet: publishing books is good for posterity, here’s why
Live Art Development Agency and Oberon Books, 2016. 368 pages, paperback, 18.5 x 24.5cm.
Book Launch Event at The Live Art Development Agency, London, 28 June 2016.
Trade orders: Oberon Books. Find the details on Unbound Trade Orders and Distribution Information page.
The nineteenth century was a century of actors. The twentieth century was a century of directors. The twenty-first century is a century of spectators. With Jacques Rancière’s The Emancipated Spectator...
The renewed interest in artistic practices as well as in institutional collaborations with artists seems to be driven by a positive vibe, by an interest in changing the governing structures...
"The publication is a not just equally fascinating and important; for those wanting to engage in acts of intimate performance, it’s possibly the most comprehensive reference book available….Some bits made...