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Consumerism and alienation in 1950s comedies
Dave Rolinson

Film Culture (Flicks Books, 1997), p. 11. 4 Stuart Laing, Representations of Working-Class Life: 1957–1964 (Macmillan, 1986), p. 113. 5 John Ellis, ‘Cinema as performance art’, in Justine Ashby and Andrew Higson (eds), British

in British cinema of the 1950s
Dr Jenny Barrett

tirelessly through his various projects for race equality in this country and the promotion of performance art. In this interview with Dr Jenny Barrett, which took place at the Liverpool symposium of the ‘Arts, Culture and Ethics in Black and White’ project in November 2015, Kunle talks about the issues that drive his work and his hopes for Black British artists and filmmakers in the centenary year of D. W

in D.W. Griffith’s The Birth of a Nation
Paul Auster’s fiction and film

so, Fanny’s actions were not vengeful, but a ‘pure and luminous gesture of self-sacrifice’. ‘Is such a thing possible?’, Aaron wonders, ‘Can a person actually go that far for the sake of someone else?’ (89). What are the limits of our generosity towards each other, and how will we know a gift when we receive it? Maria’s performance art also poses these questions. There is a clear parallel between Aaron’s narrative task in Leviathan – in which he tries to ‘pick up the pieces’ of Sachs’s life – and one of Maria’s performances, in which she attempts to create a

in The politics of male friendship in contemporary American fiction
A feminist reading of NSK
Jasmina Tumbas

situated in public or working-class spaces, such as city squares or even inside an active mine in Trbovlje, NSK's artworks were “public” in appearance, but “underground” in content. That is to say, NSK deliberately activated tensions between aesthetics and politics in vigilantly manufactured music and theater performances, art exhibitions, and artistic interventions in political spectacles like the Youth Day celebration in public, but their artistic power came from the friction between the “underground” Yugoslav alternative and a repeatedly confused public

in “I am Jugoslovenka!”
Mechtild Widrich

sites pays off here, where history is layered so densely and jumbled so disorientingly. In the process, the question of art geography, and the way acts, artists, and the built environment contribute to the understanding of political pasts and futures, will be answered in a way bearing on the further case studies in this book, and, I believe, more generally. Hysterical history? One way to introduce the entanglement of site and history under Socialist conditions is with a piece of performance art by Dan

in Monumental cares
Representation and the real in the twentieth-century avant-gardes
Liz Tomlin

The discursive act new performance practices following in the wake of the neo-avantgarde period are variously identified as the next wave of the avant-garde, performance art, performance art theatre, performance, performance theatre, alternative theatre, postmodern performance, contemporary performance, live art or postdramatic theatre. It is beyond the scope of this chapter to attempt to map the distinctions between the different terminologies precisely; a task, in any case, made more difficult by the absence of definitive definitions to which all scholars and

in Acts and apparitions
The visual art of Tim Robinson/Timothy Drever
Catherine Marshall

Robinson/Timothy Drever 16 Robert Ballagh, ‘A Sense of Ireland’, unpublished Arts Festival Catalogue, ed. Simon Oliver (London, 1980), 50. 17 Paul Henry, An Irish Portrait (London: B.T. Batsford, 1951), 98. 18 See J. Crampton Walker, Irish Life and Landscape (Dublin, Talbot Press, 1926), n.p. 19 Caroline McCarthy, Greetings (Dublin: Irish Museum of Modern Art, 1996). 20 Tim Robinson, Connemara: Listening to the Wind (Dublin: Penguin, 2006), 3. 21 Robinson, Setting Foot, 77. 22 For more on map-making as a form of performance art, see Derek Gladwin’s essay in this

in Unfolding Irish landscapes
Richard Lapper

reference to a 2017 controversy about a performance art exhibit at the Museum of Modern Art in São Paulo, in which Brazilian dancer Wagner Schwartz lay naked on a plinth and invited visitors to the show to manipulate his body. 35 At some point a fellow artist had taken her four-year-old daughter and the young girl had been filmed touching the man’s leg (in the presence of her mother). The images were circulated on social media and caused a furore. But I got the sense that Guimarães, who described himself as a Christian in the Wesleyan tradition, would have voted the

in Beef, Bible and Bullets
Open Access (free)
Jen Archer-Martin
Julieanna Preston

-in-the-world. Entering the space of maintenance work, Ukeles employs performance art to draw undervalued labour into a space of critical aesthetic consideration. In Touch Sanitation Performance , Ukeles shook hands with 8,500 New York City sanitation workers over eleven months. Through this act, the artist-at-work met the maintenance-worker-at-work face-to-face. The importance of touch cannot be understated here: perhaps the most powerful gesture of care in Ukeles’ work is the recognition of mutual humanity, through skin-to-skin contact, with the performer of a labour perceived as

in Performing care
Death, decay, and the Technological reliquaries, 1637–67
Erika Doss

fifty years), Thek returned to the United States and, living with Hujar in New York, began following the assembly-line ‘death-schedule’ that resulted in approximately forty-four meat sculptures. Meat-themed art was actually prevalent at the time. In 1964, for example, performance-art pioneer Carolee Schneemann staged Meat joy , an ‘erotic rite’ in which eight scantily clad

in Republics and empires