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Perform, Repeat, Record
Amelia (Ed) Jones
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Description for Perform, Repeat, Record
Paperback. .
Bringing together contributors from dance, theatre, visual studies and art history, Perform, Repeat, Record addresses the conundrum of how live art is positioned within history. Set apart from other art forms in that it may never be performed in precisely the same way twice, ephemeral artwork exists both at the time of its staging and long after in the memories of its spectators and their testimonies, as well as in material objects, visual media and text. These multiple occurrences and iterations offer new critical possibilities for thinking and writing the histories of performance. Among the artists, theorists and historians who ... Read morecontributed to this volume are Marina Abramovic, Guillermo Gómez-Peña, Rebecca Schneider, Boris Groys, Jane Blocker, Carolee Schneemann, Tehching Hsieh, Orlan, Tilda Swinton and Jean-Luc Nancy.
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Product Details
Publisher
Intellect Books United Kingdom
Place of Publication
Bristol, United Kingdom
Shipping Time
Usually ships in 4 to 8 working days
About Amelia (Ed) Jones
Amelia Jones is an art theorist, curator and researcher. She is the author of several books, including Seeing Differently: A History and Theory of Identification and the Visual Arts. Adrian Heathfield is a writer, curator and professor of performance and visual culture at the University of Roehampton, London. He is the author of Live: Art and Performance ... Read moreand Out of Now, among others. Show Less
Reviews for Perform, Repeat, Record
'A work of art can never be produced the same way twice. ... this concern ... continues to provoke a multitude of questions and opinions regarding how works should be documented and re-created. ... [Jones and Heathfield] address these concerns in relation to performance art, body art, and live art; simultaneously, they construct a history of these broad artistic fields.' – ... Read moreCaylin Smith, Moving Image Archive News 'The breadth and depth of Perform, Repeat, Record are astonishing and the range of artists, scholars and insights invigorating ... It leaves me overwhelmed.' – Caroline Wake, RealTime Arts 'An impressive collaboration between two of the field's most dedicated scholars.' – Lisa Newman, Artillery 'This is a weighty text in all senses of the term' – New Theatre Quarterly, Chris Gilligan 'In its exhaustive presentation of different types of performances, documentation, and critical approaches, it suggests a way of reading performance that is no longer beholden to modernist notions of transgression, transformation, and the avant-garde.' – A Journal of Performance and Art, Jennie Klein '“[A] broad and thoughtful investigation of how the history of performative art should be documented and studied….The book covers a particularly international scope, with essays devoted to performance art in the U.S., Western Europe, South America, China, the Middle East, Australia, and the Soviet Union, including a timeline of Soviet and Post-Soviet performance and another of performance historiography–that is, surveys and re-performances. The final section records eleven conversations between scholars and performance artists, including Carolee Schneemann, Tehching Hsieh, Ron Athey, Janine Antoni and Marina Abromavic…. The book will be very useful for scholars of performance and can serve as an introduction to the history and questions around the field for performance artists themselves.”' – The Drama Review, Pannill Camp 'The collection offers a wealth of research on previously little researched work.' – Drama and Performance Studies 'Taken as a whole, then, 'Perform, Repeat, Record' embraces the mammoth task of challenging how history making occurs within this field of contemporary art. Embracing a diverse and unconventional range of responses to the provocation ‘How does live art get remembered?’, it has implications for the broader field of historical discourse' – Limina, Janet Carter 'A valuable sourcebook and toolbox' – Theatre Journal, Marie Pecorari '[A] broad and thoughtful investigation of how the history of performative art should be documented and studied….The book covers a particularly international scope, with essays devoted to performance art in the U.S., Western Europe, South America, China, the Middle East, Australia, and the Soviet Union, including a timeline of Soviet and Post-Soviet performance and another of performance historiography–that is, surveys and re-performances. The final section records eleven conversations between scholars and performance artists, including Carolee Schneemann, Tehching Hsieh, Ron Athey, Janine Antoni and Marina Abromavic…. The book will be very useful for scholars of performance and can serve as an introduction to the history and questions around the field for performance artists themselves.' – Artblog, Andrea Kirsh Show Less
