Performance Art

Publié le par Olivier Lussac

– ABRAMOVIC Marina, Balkan Epic, Skira. 2006. (see Dvd Destricted)

– ABRAMOVIC Marina, Sur la voie, Paris, Musée National d’Art Moderne, Centre Georges Pompidou, 1990.

– Allan Kaprow. A Bibliography, Edited By Giorgio Maffei, Milan, Mousse Publishing, Bookspace 01, 2011.

– ANDROULA Michael, Les Happenings de Jean-Jacques Lebel, Paris. Hazan. 2009.

– Art-Rite, no.10, Fall 1975. Guest Editor: John Howell. Performance issue.

– Arte Immateriale. Arte Vivente, Collectif, Ravenne, Edizioni Essegi, Bibliotecca Universitaria, 1994.

– AUSLANDER Philip, Liveness. Performance in a Mediatized Culture, New York, Routledge, 1999.

– AUSLANDER Philip, Presence and Resistance. Postmodernism and Cultural Politics in Contemporary American Performance, Ann Arbor, The University of Michigan Press, 1992.

– BANES Sally, Democracy’s Body. Judson Dance Theater. 1962-1964, Durham, North Carolina, Duke University Press, 1995.

– BANES Sally, Greenwich Village 1963. Avant-Garde Performance and the Effervescent Body, Durham, Londres, Duke University Press, 1993.

– BARTHELMES Barbara, « Der Komponist als Ausführender und der Interpret als Komponist. Zur Ästhetik der Musikperformance », Improvisation-Performance-Szene, Mainz, Schott Verlag, ED 8763, 1997, p. 9-18.

– BATAILLE Georges, « L’art primitif » (1929), Documents, Paris, Jean-Michel Place, 1991, p. 389-97.

– BAUGH Christopher, Theatre Performance and Techhnology. The Development of Scenography in the Twentieth Century, NYC, Palgrave, Macmilan, 2005.

– BENAMOU Michel et CARAMELLO Charles, Performance in Postmodern Culture, Milwaukee, University of Wisconsin, Center for Twentieth Studies, Wisconsin, Coda Press, 1977.

– BERGHAUS Günther, Avant-Garde Performance. Live Events and Electronic Technologies, Palgrave, MacMillan, 2005.

– BERGHUIS Thomas J., Performance Art in China, Timezone 8. 2007.

– BEUYS Joseph, Qu’est-ce que l’art ?, entretien avec Volker Harlan, Paris, L’Arche, 1992 (trad. de Laurent Cassagnau).

– BIAL Henry, The Performance Studies Reader,  NYC-Londres. Routledge. 2003

– BLOCKER Jane, What the Body Cost. Desire, History, and Performance, Londres, Minneapolis, University of Minnesota Press, 2004.

– BROADHURSTSusan, Liminal Acts. A Critical Overview of Contemporary Performance and Theory, Londres, New York, Cassell, 1999.

Bruce Nauman, Edited by Robert C. Morgan, The John Hopkins University Press, Art + Performance, 2002.

– BUTT Gavin, After Criticism. New Responses to Art and Performance, Blackwell Publishing, New Interventions in Art and Technology, Malden, Oxford, 2005.

– CARLSON Marvin, Performance. An Introduction, New York, Londres, Routledge, 1996.

– CASSAGNAU Pascale, « l’hypothèse critique au travail » (« Critique as Work »), Paris, revue Artpress, n° 331, dossier spécial « performance », février 2007, p. 56-59.

– CAUSEY Matthew, Theatre and Performance, NYC-Londres, Routledge, 2009.

– CAUX Jacqueline et RASPAIL Thierry, Anna Halprin à l’origine de la performance, Panama Éditions. 2006.

– CHARLES Daniel, La Fiction de la postmodernité selon l’esprit de la musique, Paris, PUF, Thémis Philosophie, 2001.

– CHARLES Daniel, Musiques nomades, écrits réunis et présentés par Christian Hauer, Paris, Éditions Kimé, 1998.

– Chris Burden, Robert Storr, Kristina Stiles & Paul Schimmel. Locus +. 2007.

– Claes Oldenburg, edited by Nadja Rottner, Massachussetts Institute of Technology, Cambridge, October Files, no. 13, 2012.

– CLAUSEN Barbara, After the Act : The (Re)Presentation of Performance Art, Theories Series 3, Mumok, Vienne 2005.

– COLLINS Nicholas, « Ubiquitous Electronics. Technology and Live Performance 1966-1976 », Improvisation-Performance-Szene, Mainz, Schott Verlag, ED 8763, 1997.

– Corps et performance, Paris, revue Ligeia, n° 121-124, janvier-juin 2013.

– DIMITRIADIS Greg, Performing Identity/Performing Culture. Hip Hop as Text, Pedagogy, and Lived Practice, New York, Peter Lang, Intersections in Communication and Culture, 2005.

– DIXON Steve, Digital Performance. A History of New Media in Theater, Dance, Performance Art, and Installation, Cambridge, Massachussetts Institute of Technology, The MIT Press, 2007.

– DORITA Hannah et HARSLOEF Olav, Performance Design, Museum Tusculanum Press, University of Copenhagen, 2008.

– DREHER Thomas, Performance Art nach 1945. Aktionstheater und Intermedia, Munich Wilhem Fink Verlag, 2001.

– Entre-deux. Du théâtral et du performatif, Montreuil, revue Théâtre/Public, n° 205, juillet-septembre 2012, sous la direction de Josette Féral.

– FÉRAL Josette, Pratiques performatives. Body Remix, Presses de l’Université du Québec, Presses universitaires de Rennes, 2012.

– FÉRAL Josette et PERROT Edwige, Le Réel à l’épreuve des technologies. Les Arts de la scène et les arts médiatiques, Presses universitaires de Rennes, 2013.

– FORMIS Barbara, Esthétique de la vie ordinaire, Paris, PUF, coll. « Lignes d’art », 2010.

– FREEMAN John, New Performance/New Writing, New York, Palgrave-MacMillan. 2007.

– GOLDBERG RoseLee, Performa, Bar Code Graphics. 2007.

– GOLDBERG RoseLee, Performance Art. From Futurism to The Present, NYC/Londres, Thames and Hudson, 1995 (first edition 1979).

– GOUMARRE Laurence, « La vacance du spectateur » (« Vacating the Spectator »), Paris, revue Artpress, n° 331, dossier spécial « performance », février 2007, p. 60-64.

– HANSEN Al, A Primer of Happenings & Time/Space Art, New York, Something Else Press, 1965.

– HASKELL Barbara, Yoko Ono. Arias & Objects, Utah, Layton, Peregrine Smith Book, 1991.

– HASSAN Ihab, The Postmodern Turn. Essays in Postmodern Theory and Culture, Ohio State University Press, 1987.

– HEATHFIELD Adrian, Live, New York, Routledge, 2004.

– HEATHFIELD Adrian, Small Acts edited by Adrian Hearthfield. Black Dog Publishing. 2003.

– HENRI Adrian, Total Art. Environments, Happenings, and Performance, New York, Toronto, Oxford University Press, 1974.

– HIGGINS Dick, Modernism Since Postmodernism. Essays on Intermedia, San Diego, San Diego State University Press, 1997.

– HILL Leslie & PARIS Helen, Performance and Place (Performance Interventions), Palgrave Macmillan, 2006.

– HOFFMANN Jean & JONAS Joan, Perform (Art Works), Londres, Thames & Hudson, 2005.

– HOFFMANN Justin, Destruktionkunst. Der Mythos der Zerstörung in der Kunst der frühen sechziger Jahre, München, Silke Schreiber Verlag, 1995.

Improvisation-Performance-Szene, Mainz, Schott Verlag, ED 1997.

– JAPPE  Elisabeth, « Plastik hört man bevor man sie sieh ». Klangperformance von bildenden Künstlern », Improvisation-Performance-Szene, Mainz, Schott Verlag, ED 8763, 1997.

– JONES Amelia, Body Art. Performing the Subject, Londres, Minneapolis, University of Minnesota Press, 1998.

– KAPROW Allan, « Interview with Richard Kostelanetz. » In The Theater of Mixed Means, by Richard Kostelanetz. New York: Dial Press, 1968, pp.100-132.

– KAPROW Allan, « On Happenings, » Arts in Society, « Happenings and Intermedia issue », 1968, pp.28-37. 

Article enumerates major « principles of action » related to a Happening, stressing the importance of the non-art world for the substance and form of the happenings. include photos.

– KAUFFMAN Linda S., Bad Girls and Sick Boys. Fantasies in Contemporary Art and Culture, Berkeley, Los Angeles, Londres, University of California Press, 1998.

– KAYE Nick, Site Specific Art: Performance, Place and Documentation, NYC-London, Routledge, 2000.

– KELLEY Mike, Foul Perfection. Essays And Criticism, Edited by John C. Welchman, Massachussetts Institute of Technology, Cambridge, Londres, The MIT Press, 2003.

– KERSHAW Baz, The Radical in Performance: Between Brecht and Baudrillard, New York, Londres, Routledge, 1998.

– KIHM Christophe, « Repères pour une définition » (« Defining Performance: Some Points »), Paris, revue Artpress, n° 331, dossier spécial « performance », février 2007, p. 51-55.

-– KIRBY Michael, Happenings. An Illustrated Anthology, NYC, E.P. Dutton & Co, Inc., 1965.

– KIRBY Michael, The New Theatre. Performance Documentation, New York, New York University Press, The Drama Review Series, 1974.

– KOSTELANETZ Richard, The Theater of Mixed Means, New York: Dial Press, 1968.

– KOZEL Susan, Closer. Performance, Technologies, Phenomenology, The MIT Press. 2008.

– L.A.-ex Performances, catalogue Munich, Hatje Cantz Verlag, Reihe Verlag, 2001.

– LAMARCHE-VADEL Bernard, Joseph Beuys. it is about a bicycle ?, Paris, Marval, Paris, Galerie Beaubourg, Vérone, Sarenco-Strazzer, 1985.

– LEBEL Jean-Jacques, Le Happening, Paris, Denoël, 1966.

– LEBEL Jean-Jacques et LABELLE-ROJOUX Arnaud, Poésie directe. Happening/Intervention, Paris, Opus International, 1994.

– LAMARCHE-VADEL Bernard, Is it about a Bicycle ?, Paris, Marval, Galerie Beaubourg, Vérone, Sarenco/Strazzer, 1985.

– LIPPARD R. Lucy, Six Years: The Dematerialization of the Art Object from 1966 to 1972, University of California Press, Berkeley, Los Angeles, London, 1997 (première édition : 1977).

– LUSSAC Olivier, Fluxus et la musique, Dijon, Les Presses du réel. 2010.

– LUSSAC Olivier, Happening & Fluxus, Paris, L’Harmattan, 2004.

– MARRANCA Bonnie & DAGUSPTA Gautam, Conversations on Art and Performance, Baltimore, The John Hopkins University Press, PAJ Books, 1999.

– MARRANCA Bonnie & DAGUSPTA Gautam, Interculturalism & Performance, New York, PAJ Publications, 1991.

– McEVILLEY Thomas, The Triumph of Anti-Art: Conceptual & Performance Art in the Formation of Post-Modernism, NYC, McPherson & Co. 2006.

– MONTANO Linda, Performance Artists Talking in the Eighties, University of California Press, Berkeley, Los Angeles, London, 2000.

– ONO Yoko, Grapefruit. A Book of Instructions And Drawings by Yoko Ono, (Introduction de John Lennon, with a new introduction by the autor), New York, Londres, Toronto, Sydney, Singapour, Simon & Schuster, 2000 (version originale : 1964).

– Yoko Ono. Have You Seen The Horizon Lately ?, catalogue Oxford, Museum of Modern Art, 1997.

– ONO Yoko, Yoko Ono. Instructions Paintings, New York & Tokyo, 1995.

– Parti-pris sur le happening, Rouen, Derrière la salle de bains, 1999, première publication : Identités n° 13-14 février 1966.

– Performance, Paris, Seuil, revue Communications, n° 92, 2013, sous la direction de Christian Biet et Sylvie Roques.

– Performance Anthology. Source Book of California Performance Art. Updated Edition, Edited by Carl E. Loeffler and Darlene Tong, Last Gasp Press and Contemporary Arts Press, San Francisco, 1989 (First Edition : 1980).

– Performance Artists Talking in the Eighties, edited by Linda Montano, Berkeley, University of California Press, 2000.

– Performance und Performance Art, revue Kunstforum International, Band 96, Köln, August-Oktober 1988.

– Performance. Valie Export, Immendorf, Sieverding, Schlingensief, Interview mit Judith Halberstam, revue Text zur Kunst, mars 2000, helft 37.

– PERNIOLA Mario, Le Sex-Appeal de l’inorganique, Paris, Éditions Léo Scheer, coll. Lignes, 2003.

– PHELAN Peggy, Unmarked. The Politics of Performance, New York, London, 1996.

– PHELAN Peggy & LANE Jill, The Ends of Performance, New York, Londres, New York University Press, 1998.

– PONTBRIAND Chantal, Fragments critiques (1978-1998), Nîmes, Éditions Jacqueline Chambon, coll. Critiques d’Art, 1998.

– SALTER Chris, Entangled. Technology and The Transformation of Performance, Cambridge, Massachussetts Institute of Technology, The MIT Press, 2010.

– SAYRE Henri, The Object of Performance. The American Avant-Garde since 1970, Chicago, The University of Chicago Press, 1989.

– SCHECHNER Richard, Between Theater & Anthropology, Philadelphia, University of Pennsylvania Press, 1985.

– SCHECHNER Richard, Performance Theory, New York, Routledge, 2003 (1988).

– SCHECHNER Richard, Performance Studies. An Introduction, London & New York, Routledge, 2002.

– SCHECHNER Richard, The Future of Ritual. Writings on Culture and Performance, New York, Londres, Routledge, 1993.

– SCHNEEMANN Carolee, « A conversation with Carolee Schneemann by Ted Castle, NYC, May 22, 1982 », in Carolee Schneemann, I. Early Work 1960/70, NYC, Max Hutchinson Gallery/Documentext, 1983. 

– SCHNEEMANN Carolee, More Than Meat Joy. Performance Works and Selected Writings, Documentext, McPherson & Co., NYC.

– SCHNEEMANN Carolee, Imaging Her Erotics. Essays, Interviews, Projects, Cambridge, Massachussetts, London, England, 2002.

– SCHNEIDER Rebecca, The Explicit Body in Performance, New York, Londres, Routledge, 1997.

– SPECTOR Nancy, Marina Abramovic: Seven Easy Pieces, Éditions Charta. 2007.

– The Amazing Decade. Women and Performance Art in America. 1970-1980. A Source Book Edited by Moira Roth, Los Angeles, Astro Artz, 1983.

-– The Art of Performance. A Critical Anthology, Edited by Gregory Battcock and Robert Nickas, New York, E. P. Dutton, 1984.

– TRONCHE Anne, Gina Pane, Paris, Fall Éditions, 1997.

– TURNER Victor, The Anthropology of Performance, New York, PAJ Publications, 1987.

– VAUTIER Ben, Me Ben I Sign, Londres, Beau Geste Press, 1975.

– VERGINE Lea, Body Art and Performance. The Body as Language, Milan, Skira, 2000.

– WOOD Catherine, Yvonne Rainer. The Mind Is a Muscle, London, Afterall Books, 2007.

– YOSHIMOTO Midori, Into Performance, Rutgers University Press. 2006.

– ZURBRUGG Nicholas, Art. Performance. Media. University of Minnesota Press. 2004.



Publié dans Bibliographies

Commenter cet article

lukas zpira 25/02/2009 23:06

excellent blog .
je l ai mis en liens depuis le blog de hacking the future :
http://hackingthefuture.blogspot.com/