EylÜl Fidan AkIncI
This bibliography on performance art reveals the historicity of the indexing and theorizing efforts to capture the somewhat elusive nature of the form. I initially set out to create a reference list to accompany this companion, but soon discovered that the task instead required mapping the epistemological configurations and detournements of the more expanded term “performance,” with its self-referential ellipses, anxieties of influence between artistic disciplines and academic fields, its social and political stakes, and the economic and institutional valorizations that are woven around it. While this bibliography revolves around the studies of performance in the visual art context, the selection of books reflects their aesthetic and conceptual exchanges across experimental theater and choreography as well as the framing devices and methodologies they share with performance studies.
I divided this reference bibliography into eight lists, based on varying historiographies and geographies of performance, its aesthetic-politic vectors, and recent developments in its reception and circulation, although many of the books overlap and could be included in several of the categories I used. While the year 2000 seems like an arbitrary cut-off point, the scholarly literature and other critical writing on performance do proliferate in the first two decades of the new millennium. That said, several key books from the late 1990s are included in this bibliography as they established the conversation and the terms by which we continue to conceptualize and discuss performance in art contexts today. Major limitations of this bibliography are its exclusion of the monograph studies on individual artists and their legacies, and the heavy reliance on anglophone literature.
The first list begins with a brief section of the first few books that defined the form and its artistic scope in order to give the reader a sense of historicity, and continues with the generalist texts, historical surveys, and critical companions on what performance art is and who the prominent figures are. I then pinpoint more specialist histories of performance art from Western Europe and North America, which include artistic movements and groups that led to the emergence of performance art in the 1960s as an autonomous form.
The next list expands the geography of performance outside the margins of the “West.” It was an intriguing discovery that almost all of the books in this list pertain to countries or regions that are physically or politically at the border of the West (e.g., Central and South America, East European and ex-communist countries, Japan with its fractured history of Westernization and postwar occupation), inadvertently implying a dialectic. They offer varying methodologies for historicizing performance art globally, and call for a transformation in our understanding and contextualization of the form as such.
The wealth of scholarship on historical and contemporary performance as a critique of power led me to divide it into two lists based on the primary methodology or the privileged object for ease of navigation, although most of the studies here have overlapping focus. Thus, the third list demonstrates the centrality of feminism, civil rights movements, identity politics, and the intersectional concerns of racial, sexual, and gender identification for performance art. These attest to the intrinsic way performance intervenes in subjecthood and community at the context of systemic injustice, and to the artists’ personal implication in their works as subject matter. The fourth list groups related concerns of corporeality and agency as they center on the pervasive processes of subjectivation, the materiality of the body, its endurance and vulnerability, and disability and expanding the normative limitations of ableism. What the reader could glean from these two lists is how biopolitics and necropolitics, as the concurrent structures of state power and global capital, coincide with the development of performance art, perhaps the latter emerging as an aesthetic response to the former.
The fifth list deals with the philosophical discussions and theories of performance in relation to postmodernism, presence, temporality, liveness, mimesis, dramaturgy, pedagogy, intimacy, selfhood, and neoliberalism. Following up with these concepts and questions, the sixth list zooms in on the sociality and participation that performance art generates (as opposed to other forms of visual art or in distinction from theater). I added monumental art, public art, site-specificity, and documentary performance to this group since it also visits questions on the distinction between public/private, on transforming social habits, on critical community making, as well as on interventions into the everyday life and official memory.
The subsequent list collects research on how performance makes use of and transforms with the impact of intermediality and new media—phenomena that have also shown an exponential development in the past two decades by way of networks, digital platforms, and the capitalization of data. The final list aims to capture the parallel resurgence of institutional concerns regarding performance. It brings together the recently growing literature on the acquisition and curation of performance, archiving and reperforming, and dance and choreography in the gallery and museum context.
The reader will find the special issues and key journal articles, from the same period as the book lists, as a separate section for ease of navigation. Likewise, I made sections for several exhibition catalogs as well as the recently digitized historical zines and web archives, the latter of which also demonstrates the importance of online platforms for the “currency” of performance art in both senses of the word.
1 Histories of Performance Art from Western Europe and North America
Section I: Early Conceptualizations of Performance Art
Battcock, Gregory, and Robert Nickas . The Art of Performance: A Critical Anthology. New York: E.P. Dutton, 1984.
Goldberg, RoseLee. Performance: Live Art, 1909 to the Present. London: Thames and Hudson, 1979.
Henri, Adrian. Total Art: Environments, Happenings, and Performance. New York: Praeger, 1974.
Kostelanetz, Richard The Theatre of Mixed Means: An Introduction to Happenings, Kinetic Environments, and Other Mixed-Means Performances. New York: Dial Press, 1968.
Nuttall, Jeff. Performance Art, Vol I: Memoirs. London: Calder, 1979.
Nuttall, Jeff. Performance Art, Vol II: Scripts. London: Calder, 1979.
Section II: Performance Theory Readers, Surveys, and Critical Companions
Allain, Paul, and Jen Harvie , eds. The Routledge Companion to Theatre and Performance. New York: Routledge, 2006.
Barber, Bruce. Performance, [Performance] and Performers I: Conversations. Edited by Marc James Lger . Toronto: YYZ Books, 2007.
Barber, Bruce. Performance, [Performance] and Performers II: Essays. Edited by Marc James Lger . Toronto: YYZ Books, 2007.
Bial, Henry, and Sara Brady , eds. The Performance Studies Reader. Third edition. New York: Routledge, 2016.
Brimfield, Mel, and Will Fenton . This is Performance Art. London: Black Dog Publishing, 2011.
Carlson, Marvin. Performance: A Critical Introduction. Third edition. New York: Routledge, 2018.
Case, Sue-Ellen, Philip Brett , and Susan Leigh Foster , eds. Decomposition: Post-Disciplinary Performance. Bloomington, IN: Indiana University Press, 2000.
Cheng, Meiling, and Gabrielle Cody , eds. Reading Contemporary Performance: Theatricality Across Genres. New York: Routledge, 2016.
Childs, Nicky, and Jeni Walwin , eds. A Split Second of Paradise: Live Art, Installation and Performance. London: Rivers Oram Press, 1998.
Davis, Tracy C., ed. The Cambridge Companion to Performance Studies. Cambridge: Cambridge University Press, 2008.
Fischer-Lichte, Erika The Routledge Introduction to Theatre and Performance Studies. Edited by Minou Arjomand and Ramona Mosse. Translated by Minou Arjomand . New York: Routledge, 2014.
Freeman, John. New Performance/New Writing. Second edition. Basingstoke, Hampshire: Palgrave Macmillan, 2016 [2007].
Goldberg, RoseLee. Performance Now: Live Art for the 21st Century. Third edition. London: Thames and Hudson, 2018.
Gómez-Peña, Guillermo. Conversations Across Borders: A Performance Artist Converses with Theorists, Curators, Activists, and Fellow Artists. Edited by Laura Levin . New York: Seagull, 2011.
Groom, Amelia ed. Time. London: Whitechapel Gallery, 2013.
Heathfield, Adrian, ed. Live: Art and Performance. New York: Routledge, 2004.
Heddon, Deirdre, and Jennie Klein , eds. Histories and Practices of Live Art. New York: Palgrave Macmillan, 2012.
Hoffmann, Jens, and Joan Jonas , eds. Artworks: Perform. London: Thames & Hudson, 2005.
Howell, Anthony. The Analysis of Performance Art: A Guide to Its Theory and Practice. Amsterdam, The Netherlands: Harwood Academic, 1999.
Johnson, Dominic. The Art of Living: An Oral History of Performance Art. London: Palgrave Macmillan, 2015.
Kaye, Nick. Art into Theatre: Performance Interviews and Documents. Amsterdam, The Netherlands: Harwood Academic, 1996.
Kelleher, Joe, and Nicholas Ridout , eds. Contemporary Theatres in Europe: A Critical Companion. New York: Routledge, 2006.
Lehmann, Hans-Thies. Postdramatic Theatre. Translated by Karen Jürs-Munby . London: Routledge, 2006 [1999].
Lushetich, Natasha. Interdisciplinary Performance: Reformatting Reality. London: Palgrave Macmillan, 2016.
Pontbriand, Chantal, ed. Parachute: The Anthology (1975–2000). Vol. II: Performance & Performativity. Zurich: JRP/Ringier & Dijon: Les Presses du Rel, 2014.
Reinelt, Janelle G., and Joseph Roach , eds. Critical Theory and Performance. Ann Arbor, MI: University of Michigan Press, 2007.
Sandford, Mariellen R., ed. Happenings and Other Acts. London: Routledge, 1995.
Schechner, Richard. Performance Theory. Revised edition. London; New York: Routledge, 2003 [1988].
Schechner, Richard. Performed Imaginaries. New York: Routledge, 2015.
Shepherd, Simon. The Cambridge Introduction to Performance Theory. Cambridge: Cambridge University Press, 2016.
Taylor, Diana. Performance. Translated by Abigail Levine . Durham, NC: Duke University Press, 2016 [2012].
Wood, Catherine. Performance in Contemporary Art. London: Tate Publishing, 2018.
Section III: Specialized Histories and Legacies
Badura-Triska, Eva, and Hubert Klocker , eds. Vienna Actionism: Art and Upheaval in 1960s′ Vienna. Cologne: Buchhandlung Walther König, 2012.
Bennahum, Ninotchka, Wendy Perron , and Bruce Robertson , eds. Radical Bodies: Anna Halprin, Simone Forti, and Yvonne Rainer in California and New York, 1955–1972. Oakland, CA: University of California Press, 2016.
Bonin-Rodriguez, Paul. Performing Policy: How Contemporary Politics and Cultural Programs Redefined U.S. Artists for the Twenty-First Century. Basingstoke: Palgrave Macmillan, 2015.
Burt, Ramsay. Judson Dance Theater: Performative Traces. New York: Routledge, 2006.
Burton, Scott. Collected Writings on Art and Performance, 1965–1975. Edited by David Getsy . Chicago: Soberscove Press, 2012.
Chatzichristodoulou, Maria, ed. Live Art in the UK: Contemporary Performances of Precarity. London: Bloomsbury Methuen Drama, 2020.
Cheng, Meiling. In Other Los Angeleses: Multicentric Performance Art. Berkeley, CA: University of California Press, 2002.
Christov-Bakargiev, Carolyn ed. Arte Povera. Abridged and updated edition. London: Phaidon Press, 2014 [1999].
Harding, James M. The Ghosts of the Avant-Garde(s): Exorcising Experimental Theater and Performance. Ann Arbor, MI: University of Michigan Press, 2013.
Harding, James M., and Cindy Rosenthal , eds. The Sixties, Center Stage: Mainstream and Popular Performances in a Turbulent Decade. Ann Arbor, MI: University of Michigan Press, 2017.
Higgins, Hannah. Fluxus Experience. Berkeley: University of California Press, 2002.
Johnson, Dominic ed. Critical Live Art: Contemporary Histories of Performance in the UK. New York: Routledge, 2013.
Jones, Amelia. Irrational Modernism: A Neurasthenic History of New York Dada. Cambridge, MA: MIT Press, 2004.
Lippard, Lucy R. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkeley: University of California Press, 1997.
Miller, Hillary. Drop Dead: Performance in Crisis, 1970s New York. Evanston, IL: Northwestern University Press, 2016.
Montano, Linda M. Performance Artists Talking in the Eighties. California: University of California Press, 2000.
Phelan, Peggy. Live Art in LA: Performance in Southern California, 1970–1983. New York: Routledge, 2012.
Phillips, Áine, ed. Performance Art in Ireland: A History. London, UK: Live Art Development Agency & Bristol, UK: Intellect Books, 2015.
Rodenbeck, Judith F. Radical Prototypes: Allan Kaprow and the Invention of Happenings. Cambridge, MA: The MIT Press, 2011.
Roms, Heike. What’s Welsh for Performance? Vol 1. Beth yw “performance” yn Gymraeg? Cyf 1. An Oral History of Performance Art in Wales 1968–2008. Cardiff: Samizdat Press, 2008.
Sell, Mike. Avant-Garde Performance and the Limits of Criticism: Approaching the Living Theatre, Happenings/Fluxus, and the Black Arts Movement. Ann Arbor, MI: University of Michigan Press, 2005.
Trimingham, Melissa. The Theatre of the Bauhaus: The Modern and Postmodern Stage of Oskar Schlemmer. New York: Routledge, 2011.
2 Global Performance: Histories and Theories at the Edge of the “West”
Alvarado, Leticia. Abject Performances. Aesthetic Strategies in Latino Cultural Production. Durham, NC: Duke University Press, 2018.
Bago, Ivana, Antonia Majac̆a , and Vesna Vuković . Removed from the Crowd: Unexpected Encounters I. Zagreb: BLOK, 2012.
Berghuis, Thomas J. Performance Art in China. Hong Kong: Timezone 8, 2006.
Bryzgel, Amy. Performance Art in Eastern Europe since 1960. Mancheste: Manchester University Press, 2017.
Bryzgel, Amy. Performing the East: Performance Art in Russia, Latvia and Poland Since 1980. London: I. B. Tauris, 2013.
Cheng, Meiling. Beijing Xingwei: Contemporary Chinese Time-Based Art. London: Seagull Books, 2013.
Citron, Atay, Sharon Aronson-Lehavi , and David Zerbib , eds. Performance Studies in Motion: International Perspectives and Practices in the Twenty-First Century. London: Bloomsbury, 2014.
Cseh-Varga, Katalin, and Adam Czirak , eds. Performance Art in the Second Public Sphere. Event-Based Art in Late Socialist Europe. London: Routledge, 2018.
Eckersall, Peter. Performativity and Event in 1960s Japan: City, Body, Memory. Basingstoke: Palgrave Macmillan, 2013.
Fuentes, Marcela. Performance Constellations: Networks of Protest and Activism in Latin America. Ann Arbor, MI: University of Michigan Press, 2019.
Fusco, Coco. Dangerous Moves: Performance and Politics in Cuba. London: Tate Publishing, 2015.
Fusco, Coco, ed. Corpus Delecti: Performance Art of the Americas. New York: Routledge, 2000.
Geczy, Adam, and Mimi Kelly , eds. What Is Performance Art?: Australian Perspectives. Sydney: Power Publications, 2018.
Harding, James M., and John Rouse , eds. Not the Other Avant-Garde: The Transnational Foundations of Avant-Garde Performance. Ann Arbor, MI: University of Michigan Press, 2006.
Jakovljević, Branislav. Alienation Effects: Performance and Self-Management in Yugoslavia, 1945–91. Ann Arbor, MI: University of Michigan Press, 2016.
McKenzie, Jon, Heike Roms , and C. J. W.-L. Wee , eds. Contesting Performance: Global Sites of Research. Basingstoke: Palgrave Macmillan, 2010.
Morganová, Pavlína. Czech Action Art: Happenings, Actions, Events, Land Art, Body Art and Performance Art Behind the Iron Curtain. Translated by Daniel Morgan . Prague: Karolinum, 2014.
Noszlopy, Laura, and Matthew Isaac Cohen , eds. Contemporary Southeast Asian Performance: Transnational Perspectives. Newcastle upon Tyne: Cambridge Scholars, 2010.
Pather, Jay, and Catherine Boulle , eds. Acts of Transgression: Contemporary Live Art in South Africa. Johannesburg: Wits University Press, 2019.
Sheren, Ila Nicole. Portable Borders: Performance Art and Politics on the U.S. Frontera Since 1984. Austin, TX: University of Texas Press, 2015.
Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, NC: Duke University Press, 2003.
Taylor, Diana, and Sarah J. Townsend , eds. Stages of Conflict: A Critical Anthology of Latin American Theater and Performance. Ann Arbor, MI: University of Michigan Press, 2008.
Tiampo, Ming. Gutai: Decentering Modernism. Chicago: The University of Chicago Press, 2011.
Weisenfeld, Gennifer S. Mavo: Japanese Artists and the Avant-Garde, 1905–1931. Berkeley: University of California Press, 2002.
3 Performance at the Intersection of Feminism, Queerness, and Critical Race Studies
Battista, Kathy. Renegotiating the Body: Feminist Art in 1970s London. London: I. B. Tauris, 2013.
Benston, Kimberly W. Performing Blackness: Enactments of African-American Modernism. New York: Routledge, 2000.
Blomberg, Nancy J., ed. Action and Agency: Advancing the Dialogue on Native Performance Art. Denver, CO: Denver Art Museum, 2010.
Case, Sue-Ellen. Feminist and Queer Performance: Critical Strategies. New York: Palgrave Macmillan, 2009.
Cervenak, Sarah Jane. Wandering: Philosophical Performances of Racial and Sexual Freedom. Durham, NC: Duke University Press, 2014.
Chambers-Letson, Joshua. After the Party: A Manifesto for Queer of Color Life. New York: NYU Press, 2018.
DeFrantz, Thomas F., and Anita Gonzalez , eds. Black Performance Theory. Durham, NC: Duke University Press, 2014.
English, Darby. To Describe a Life: Essays at the Intersection of Art and Race Terror. New Haven: Yale University Press, 2019.
Gaines, Malik. Black Performance on the Outskirts of the Left: A History of the Impossible. New York: New York University Press, 2017.
Greer, Stephen. Queer Exceptions: Solo Performance in Neoliberal Times. Manchester: Manchester University Press, 2019.
Harding, James M. Cutting Performances: Collage Events, Feminist Artists, and the American Avant-Garde. Ann Arbor, MI: University of Michigan Press, 2010.
Harris, Geraldine. Staging Femininities: Performance and Performativity. Manchester and New York: Manchester University Press, 1999.
Johnson, E. Patrick, and Ramón H. Rivera-Servera, eds . Blacktino Queer Performance. Durham, NC: Duke University Press, 2016.
McMillan, Uri. Embodied Avatars: Genealogies of Black Feminist Art and Performance. New York: New York University Press, 2015.
Muñoz, José Esteban. Cruising Utopia: The Then and There of Queer Futurity. New York: New York University Press, 2009.
Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis, MN: University of Minnesota Press, 1999.
Nyong’o, Tavia. Afro-Fabulations: The Queer Drama of Black Life. New York: New York University Press, 2018.
Román, David. Acts of Intervention: Performance, Gay Culture, and AIDS. Bloomington and Indianapolis: Indiana University Press, 1998.
Rosenberg, Tiina. Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance. Stockholm: Stockholm University Press, 2016.
Schneider, Rebecca. The Explicit Body in Performance. New York: Routledge, 1997.
Smith, Cherise. Enacting Others: Politics of Identity in Eleanor Antin, Nikki S. Lee, Adrian Piper, and Anna Deavere Smith. Durham, NC: Duke University Press, 2011.
Smith, Sidonie, and Julia Watson , eds. Interfaces: Women, Autobiography, Image, Performance. Ann Arbor, MI: University of Michigan Press, 2002.
Taylor, Diana, and Roselyn Costantino , eds. Holy Terrors: Latin American Women Perform. Durham, NC: Duke University Press, 2003.
Wark, Jayne. Radical Gestures: Feminism and Performance Art in North America. Montreal: McGill-Queen’s University Press, 2006.
Wilson, Siona. Art Labor, Sex Politics: Feminist Effects in 1970s British Art and Performance. Minneapolis, NC: University of Minnesota Press, 2015.
Yoshimoto, Midori. Into Performance: Japanese Women Artists in New York. New Brunswick, NJ: Rutgers University Press, 2005.
Young, Harvey. Embodying the Black Experience: Stillness, Critical Memory, and the Black Body. Ann Arbor, MI: University of Michigan Press, 2010.
4 Biopolitics—Corporealities—Body Art—Endurance Art
Anderson, Patrick. So Much Wasted: Hunger, Performance, and the Morbidity of Resistance. Durham, NC: Duke University Press, 2010.
Archias, Elise. The Concrete Body: Yvonne Rainer, Carolee Schneemann, Vito Acconci. New Haven, CT: Yale University Press, 2016.
Blocker, Jane. What The Body Cost: Desire, History, And Performance. Minneapolis, MN: University of Minnesota Press, 2004.
Brady, Sara. Performance, Politics, and the War on Terror: “Whatever It Takes.” Basingstoke: Palgrave Macmillan, 2012.
Gonzalez Rice, Karen. Long Suffering: American Endurance Art as Prophetic Witness. Ann Arbor, MI: University of Michigan Press, 2016.
Jones, Amelia. Body Art/Performing the Subject. Minneapolis, MN: University of Minnesota Press, 1998.
Jones, Amelia, and Andrew Stephenson , eds. Performing the Body: Performing the Text. London: Routledge, 1999.
Keidan, Lois, and C. J. Mitchell, eds . Access All Areas: Live Art and Disability. London: Live Art Development Agency, 2012.
Kuppers, Petra. Disability and Contemporary Performance: Bodies on the Edge. New York: Routledge, 2003.
Kuppers, Petra. The Scar of Visibility: Medical Performances and Contemporary Art. Minneapolis, MN: University of Minnesota Press, 2007.
Morrison, Elise. Discipline and Desire: Surveillance Technologies in Performance. Ann Arbor, MI: University of Michigan Press, 2016.
O’Dell, Kathy. Contract with the Skin: Masochism, Performance Art, and the 1970s. Minneapolis, MN: University of Minnesota Press, 1998.
O’Reilly, Sally. The Body in Contemporary Art. London: Thames and Hudson, 2009.
Phelan, Peggy. Mourning Sex: Performing Public Memories. London: Routledge, 1997.
Sandahl, Carrie, and Philip Auslander, eds. Bodies in Commotion: Disability and Performance. Ann Arbor, MI: University of Michigan Press, 2005.
Stiles, Kristine. Concerning Consequences: Studies in Art, Destruction, and Trauma. Chicago: University of Chicago Press, 2016.
Thomas, Nicholas. Body Art. London: Thames and Hudson, 2014.
Vergine, Lea. Body Art and Performance: The Body as Language. Second edition. Milan: Skira, 2000 [1974].
Tracey Warr , Tracey, and Amelia Jones, eds. The Artist’s Body. London: Phaidon Press, 2000.
5 Philosophies of Performance
Auslander, Philip. From Acting to Performance: Essays in Modernism and Postmodernism. London: Routledge, 1997.
Bailes, Sara Jane. Performance Theatre and the Poetics of Failure: Forced Entertainment, Goat Island, Elevator Repair Service. London: Routledge, 2011.
Banes, Sally, and André Lepecki , eds. The Senses in Performance. New York: Routledge, 2007.
Bleeker, Maaike, Adrian Kear , Joe Kelleher , and Heike Roms , eds. Thinking Through Theatre and Performance. London: Bloomsbury Methuen Drama, 2019.
Bleeker, Maaike, Jon Foley Sherman, and Eirini Nedelkopoulou , eds. Performance and Phenomenology: Traditions and Transformations. New York: Routledge, 2015.
Butt, Gavin, ed. After Criticism: New Responses to Art and Performance. Malden, MA: Blackwell, 2005.
Davies, David. Art as Performance. Oxford: Blackwell, 2004.
Davis, Tracy C., and Thomas Postlewait , eds. Theatricality. Cambridge: Cambridge University Press, 2003.
Dertnig, Carola, Felicitas Thun-Hohenstein , eds. Performing the Sentence: Research and Teaching in Performative Fine Arts. Berlin: Sternberg Press, and Vienna: Academy of Fine Arts, 2014.
Doyle, Jennifer. Hold It Against Me: Difficulty and Emotion in Contemporary Art. Durham, NC: Duke University Press, 2013.
Fischer-Lichte, Erika. The Transformative Power of Performance: A New Aesthetics. Translated by Saskya Iris Jain . New York: Routledge, 2008.
Georgelou, Konstantina, Efrosini Protopapa , and Danae Theodoridou , eds. The Practice of Dramaturgy: Working on Actions in Performance. Amsterdam: Valiz, 2017.
Giannachi, Gabriella, Nick Kaye , and Michael Shanks , eds. Archaeologies of Presence: Art, Performance and the Persistence of Being. New York: Routledge, 2012.
Goulish, Matthew. 39 Microlectures: In Proximity of Performance. New York: Routledge, 2000.
Grant, Stuart, Jodie McNeilly , and Maeva Veerapen , eds. Performance and Temporalisation: Time Happens. Basingstoke: Palgrave Macmillan, 2015.
Harvie, Jen. Fair Play: Art, Performance and Neoliberalism. Basingstoke: Palgrave Macmillan, 2013.
Heddon, Deirdre. Autobiography and Performance. Basingstoke: Palgrave Macmillan, 2008.
Hill, Leslie, and Helen Paris . Performing Proximity: Curious Intimacies. Cambridge: Red Globe Press, 2014.
Hill, Leslie, and Helen Paris , eds. Performance and Place. Basingstoke: Palgrave Macmillan, 2006.
Jackson, Shannon. Professing Performance: Theatre in the Academy from Philology to Performativity. Cambridge: Cambridge University Press, 2004.
Jannarone, Kimberly, ed. Vanguard Performance Beyond Left and Right. Ann Arbor, MI: University of Michigan Press, 2015.
Krasner, David, and David Z. Saltz . Staging Philosophy: Intersections of Theater, Performance and Philosophy. Ann Arbor, MI: University of Michigan Press, 2006.
Kunst, Bojana. Artist at Work: Proximity of Art and Capitalism. Winchester: Zero Books, 2015.
Laermans, Rudi. Moving Together: Theorizing and Making Contemporary Dance. Amsterdam: Valiz, 2015.
Lepecki, André. Exhausting Dance: Performance and the Politics of Movement. New York: Routledge, 2006.
Lepecki, André. Singularities: Dance in the Age of Performance. New York: Routledge, 2016.
Lunberry, Clark. Sites of Performance: Of Time and Memory. London and New York: Anthem Press, 2014.
Malzacher, Florian, ed. Not Just a Mirror: Looking for the Political Theatre of Today. Berlin: Alexander Verlag Berlin, 2015.
McEvilley, Thomas. The Triumph of Anti-Art: Conceptual and Performance Art in the Formation of Post-Modernism. Kingston, NY: McPherson, 2005.
McKenzie, Jon. Perform or Else: From Discipline to Performance. New York: Routledge, 2001.
Mock, Roberta, ed. Performing Processes: Creating Live Performance. Bristol: Intellect, 2000.
Phelan, Peggy. Unmarked: The Politics of Performance. London: Routledge, 1993.
Read, Alan. Theatre in the Expanded Field: Seven Approaches to Performance. London: Bloomsbury, 2013.
Reason, Matthew, and Anja Mølle Lindelof , eds. Experiencing Liveness in Contemporary Performance: Interdisciplinary Perspectives. New York: Routledge, 2016.
Ridout, Nicholas. Passionate Amateurs: Theatre, Communism, and Love. Ann Arbor, MI: University of Michigan Press, 2013.
Sack, Daniel. After Live: Possibility, Potentiality, and the Future of Performance. Ann Arbor, MI: University of Michigan Press, 2015.
Torrens, Valentin, ed. How We Teach Performance Art: University Courses and Workshop Syllabus. Parker, CO: Outskirts Press, 2014.
Wickstrom, Maurya. Fiery Temporalities in Theatre and Performance: The Initiation of History. London: Bloomsbury Methuen Drama, 2018.
6 Performance and the Participatory, Social, Public, AND Documentary
Bala, Sruti. The Gestures of Participatory Art. Manchester: Manchester University Press, 2018.
Bianchini, Samuel, Erik Verhagen , Nathalie Delbard , and Larisa Dryansky , eds. Practicable: From Participation to Interaction in Contemporary Art. Cambridge, MA: The MIT Press, 2016.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. New York: Verso, 2012.
Bishop, Claire, ed. Participation. London: Whitechapel, 2006.
Bourriaud, Nicolas. Relational Aesthetics. Translated by Simon Pleasance , Fronza Woods , and Mathieu Copeland . Dijon: Les Presses du réel, 2002 [1998].
Brown, Kathryn, ed. Interactive Contemporary Art: Participation in Practice. London: I.B. Tauris, 2014.
Burton, Johanna, Shannon Jackson , and Dominic Willsdon , eds. Public Servants. Cambridge, MA: MIT Press, 2016.
Cvejić, Bojana, and Ana Vujanović . Public Sphere by Performance. Second edition. Berlin: b_books, and Aubervilliers: Les Laboratoires d’Aubervilliers, 2015 [2012].
Dezeuze, Anna, ed. The “Do-It-Yourself” Artwork: Participation from Fluxus to New Media. Manchester: Manchester University Press, 2012.
Doherty, Claire. Public Art (Now): Out of Time, Out of Place. London: Art Books Publishing Ltd & Sweden: Situations, 2015.
Ferdman, Bertie. Off Sites: Contemporary Performance beyond Site-Specific. Carbondale, IL: Southern Illinois University Press, 2018.
Harpin, Anna, and Helen Nicholson, eds . Performance and Participation: Practices, Audiences, Politics. Basingstoke: Palgrave Macmillan, 2017.
Jackson, Shannon. Social Works: Performing Art, Supporting Publics. New York: Routledge, 2011.
Kaye, Nick. Site-Specific Art: Performance, Place and Documentation. New York: Routledge, 2000.
Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge, MA: MIT Press, 2002.
Lacy, Suzanne, ed. Mapping the Terrain: New genre Public Art. Seattle, WA: Bay Press, 1995.
Martin, Carol. Theatre of the Real. Basingstoke, Basingstoke: Palgrave Macmillan, 2013.
Martin, Carol, ed. Dramaturgy of the Real on the World Stage. Basingstoke: Palgrave Macmillan, 2010.
O’Grady, Alice R., ed. Risk, Participation, and Performance Practice: Critical Vulnerabilities in a Precarious World. Cham: Palgrave Macmillan, 2017.
Pais, Ana, ed. Performance in the Public Sphere. Digital edition translated by Rui Parada Cascais. Lisbon: Centro de Estudos de Teatro / FLUL and Performativa, 2018 [2017].
Patrick, Martin. Across the Art/Life Divide: Performance, Subjectivity, and Social Practice in Contemporary Art. Bristol: Intellect Books, 2017.
Rounthwaite, Adair. Asking the Audience: Participatory Art in 1980s New York. Minneapolis, MN: University of Minnesota Press, 2017.
Shaughnessy, Nicola. Applying Performance: Live Art, Socially Engaged Theatre and Affective Practice. Basingstoke: Palgrave Macmillan, 2012.
Tomlin, Liz. Acts and Apparitions: Discourses on the Real in Performance Practice and Theory, 1990–2010. Manchester: Manchester University Press, 2013.
Ward, Frazer. No Innocent Bystanders: Performance Art and Audience. Hanover, New Hampshire: Dartmouth College Press, 2012.
Widrich, Mechtild. Performative Monuments: The Rematerialisation of Public Art. Manchester: Manchester University Press, 2014.
7 Performance and Intermediality, New Media, and Digital Culture
Auslander, Philip. Liveness: Performance in a Mediatized Culture. Second edition. New York: Routledge, 2008 [1999].
Bay-Cheng, Sarah, Chiel Kattenbelt , Andy Lavender , and Robin Nelson , eds. Mapping Intermediality in Performance. Amsterdam: Amsterdam University Press, 2010.
Bay-Cheng, Sarah, Parker-Starbuck Jennier, and David Z. Saltz . Performance and Media: Taxonomies for a Changing Field. Ann Arbor, MI: University of Michigan Press, 2015.
Benford, Steve, and Gabriella Giannachi . Performing Mixed Reality. Cambridge, MA: MIT Press, 2011.
Berghaus, Günter. Avant-Garde Performance: Live Events and Electronic Technologies. Basingstoke: Palgrave Macmillan, 2005.
Causey, Matthew. Theatre and Performance in Digital Culture: From Simulation to Embeddedness. New York: Routledge, 2006.
Eckersall, Peter, Helena Grehan, and Edward Scheer. New Media Dramaturgy: Performance, Media and New-Materialism. London: Palgrave, Macmillan, 2017.
Giannachi, Gabriella. The Politics of New Media Theatre. New York: Routledge, 2007.
Giannachi, Gabriella, and Nick Kaye . Performing Presence: Between the Live and the Simulated. Manchester: Manchester University Press, 2011.
Harbison, Isobel. Performing Image. Cambridge, MA: The MIT Press, 2019.
Kaye, Nick. Multi-Media: Video—Installation—Performance. New York: Routledge, 2007.
Klich, Rosemary, and Edward Scheer . Multimedia Performance. Basingstoke: Palgrave Macmillan, 2012.
Parker-Starbuck, Jennifer. Cyborg Theatre: Corporeal/Technological Intersections in Multimedia Performance. Basingstoke: Palgrave Macmillan, 2011.
Salter, Chris. Entangled: Technology and the Transformation of Performance. Cambridge, MA: MIT Press, 2010.Stern, Nathaniel. Interactive Art and Embodiment: The Implicit Body as Performance. Canterbury: Gylphi Limited, 2013.
Zurbrugg, Nicholas, ed. Art, Performance, Media: 31 Interviews. Minneapolis, MN: University of Minnesota Press, 2004.
8 Reperformance and Archive; Performance/Dance in the Gallery; Curating Live Arts
Auslander, Philip. Reactivations Essays on Performance and Its Documentation. Ann Arbor, MI: University of Michigan Press, 2016.
Bangma, Anke, Steve Rushton , and Florian Wüst , eds. Experience, Memory, Re-Enactment. Rotterdam: Piet Zwart Institute, 2005.
Borggreen, Gunhild Rune Gade, eds. Performing Archives/Archives of Performance. Copenhagen: Museum Tusculanum Press, University of Copenhagen, 2013.
Büscher, Barbara, and Franz Anton Cramer , eds. Fluid Access: Archiving Performance-Based Arts. Hildesheim: Georg Olms, 2017.
Butte, Maren, Kirsten Maar , Fiona McGovern , Marie-France Rafael , Jorn Schafaff , eds. Assign & Arrange: Methodologies of Presentation in Art and Dance. Berlin: Sternberg Press, 2014.
Calonje, Teresa ed. Live Forever: Collecting Live Art. London: Koenig Books, 2014.
Costinaș, Cosmin, and Ana Janevski , eds. Is the Living Body the Last Thing Left Alive? The New Performance Turn, Its Histories and Its Institutions. Berlin: Sternberg Press, 2018.
Davida, Dena, Jane Gabriels , Véronique Hudon , and Marc Pronovost . Curating Live Arts: Critical Perspectives, Essays, and Conversations on Theory and Practice. New York: Berghahn Books, 2019.
Dziewańska, Marta, and André Lepecki , eds. Points of Convergence: Alternative Views on Performance. Warsaw: Museum of Modern Art in Warsaw, 2017.
Giannachi, Gabriella, and Jonah Westerman . Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. New York: Routledge, 2018.
Gronau, Barbara, and Matthias von Hartz , eds. How to Frame: On the Threshold of Visual and Performing Arts. Berlin: Sternberg Press, 2016.
Groys, Boris. In the Flow. New York: Verso, 2016.
Gumbrecht, Hans Ulrich. Production of Presence: What Meaning Cannot Convey. Stanford, CA: Stanford University Press, 2004.
Guy, Georgina. Theatre, Exhibition, and Curation: Displayed & Performed. New York: Routledge, 2016.
Hantelmann, Dorothea. How to Do Things With Art: The Meaning of Art’s Performativity. Edited by Karen Marta . Zurich: JRP/Ringier & Dijon: Les presses du réel, 2010.
Jones, Amelia, and Adrian Heathfield , eds. Perform, Repeat, Record. Bristol, UK: Intellect Books, 2012.
Malzacher, Florian, and Joanna Warsza , eds. Empty Stages, Crowded Flats: Performativity as Curatorial Strategy. Berlin: Alexander Verlag Berlin, 2017.
Osborne, Peter. The Postconceptual Condition: Critical Essays. New York: Verso, 2018.
Pontbriand, Chantal, ed. Per/form: How to do Things With(out) Words. Berlin: Sternberg Press, 2014.
Remes , Outi , Laura MacCulloch , and Marika Leino , eds. Performativity in the Gallery: Staging Interactive Encounters. New York: Peter Lang, 2014.
Rugg, Judith, and Michèle Sedgwick , eds. Issues in Curating Contemporary Art and Performance. Bristol: Intellect Books, 2007.
Sant, Toni. Documenting Performance: The Context and Processes of Digital Curation and Archiving. London: Bloomsbury, 2017.
Schneider, Rebecca. Performing Remains: Art and War in Times of Theatrical Reenactment. New York: Routledge, 2011.
van Mechelen, Marga. Art at large: Through Performance and Installation Art. Arnhem: Artez, 2013.
9 Exhibition Catalogs
Baker, Simon, and Fiontán Moran , eds. Performing for the Camera. London: Tate Publishing, 2016.
Behar, Katherine, and Emmy Mikelson , eds. And Another Thing: Nonanthropocentrism and Art. New York: Punctum Books, 2016.
Bishop, Claire, ed. Double Agent. London: Institute of Contemporary Arts, 2009.
Charmatz, Boris, Gilles Amalvi , and Martina Hochmuth , eds. expo zéro. Rennes: Édition du Musée de la danse, Rennes, 2011. http://expozero.museedeladanse.org/le-catalogue.php
Clausen, Barbara, ed. After the Act: The (Re)presentation of Performance Art. Vienna: Museum Moderner Kunst Stiftung Ludwig Wien, 2005.
Cullen, Deborah, ed. Arte ≠ vida: Actions by Artists of the Americas, 1960–2000. New York: El Museo Del Barrio, 2008.
Droschl, Sandro, ed. The Only Performances that make It All the Way . . . Yes, but Is it Performable? Berlin: Sternberg Press, 2018.
Elms, Anthony, ed. Endless Shout. Los Angeles, CA: Inventory Press, 2019.
Fajardo-Hill, Cecilia, Andrea Giunta , and Rodrigo Alonso . Radical Women: Latin American Art, 1960–1985. Los Angeles: Hammer Museum, University of California; Munich; New York: DelMonico Books/Prestel, 2017.
George, Adrian, ed. Art, Lies and Videotape: Exposing Performance. London: Tate, 2003.
Goldberg, RoseLee, ed. Performa 15: The Renaissance, Poetry, Pavilion Without Walls. New York: Gregory R. Miller & Company, 2019.
Hendricks, Geoffrey. Critical Mass: Happenings, Fluxus, Performance, Intermedia and Rutgers University 1958–1972. New Brunswick, NJ: Rutgers University, 2003.
Hoffmann, Jens, ed. A Little Bit of History Repeated. Paris: Edition Valerio & Berlin: Kunst-Werke, 2001.
Hoptman, Laura, and Tomáš Pospiszyl , eds. Primary Documents: A Sourcebook for Eastern and Central European Art since the 1950s. New York: Museum of Modern Art, 2002.
Householder, Johanna, and Tanya Mars , eds. Caught in the Act: An Anthology of Performance Art by Canadian Women. Toronto: YYZ Books, 2004.
Janevski, Ana, and Thomas J. Lax , eds. Judson Dance Theater: The Work Is Never Done. New York: Museum of Modern Art, 2018.
Katz, Vincent, ed. Black Mountain College: Experiment in Art. Cambridge, MA: MIT Press, 2002.
Kim, Yu Yeon, ed. Translated Acts: Performance and Body Art from East Asia, 1990–2001. Berlin: Haus der Kulturen der Welt & New York: Queens Museum of Art, 2001.
Larmon, Oraison H., ed. Franklin Furnace: Performance & Politics. New York: HemiPress, 2018.
Lütticken, Sven, ed. Life, Once More: Forms Of Reenactment In Contemporary Art. Rotterdam: Witte de With, 2005.
Maude-Roxby, Alice, ed. Live Art on Camera: Performance and Photography. Southampton: John Hansard Gallery, 2007.
Oliver, Valerie Cassel, ed. Radical Presence: Black Performance in Contemporary Art. Houston, TX: Houston Contemporary Art Museum, 2013.
Pagnes, Andrea, and Verena Stenke , eds. Venice International Performance Art Week I: Hybrid Body—Poetic Body. Venice: VestAndPage Press, 2012.
Rosenthal, Stephanie ed. Move: Choreographing You: Art and Dance since the 1960s. London: Hayward Publishing, 2011.
Sanders, Jay, and J. Hoberman . Rituals of Rented Island: Object Theater, Loft Performance, and The New Psychodrama—Manhattan, 1970–1980. New York: Whitney Museum of American Art & New Haven, CT: Yale University Press, 2013.
Shimmel, Paul and Kristin Stiles eds. Out of Actions: Between Performance and the Object, 1949–1979. Los Angeles: The Museum of Contemporary Art, 1998.
Tancons, Claire, and Krista Thompson , eds. En mas’: Carnival and Performance Art of the Caribbean. New York: Independent Curators International & New Orleans: Contemporary Arts Center, 2015.
Tarsia, Andrea, ed. A Short History of Performance, Part IV. London: Whitechapel Gallery, 2006.
Tonkin, Steven. Political Acts: Pioneers of Performance Art in Southeast Asia. Melbourne: Victorian Arts Centre Trust, 2017.
Yadong Hao, Sophia, and Matthew Hearn , eds. NOTES on a Return. Sunderland: Art Editions North, 2011.
10 Online Resources and Archives
This is Live Art. Specialized research projects, online films, and catalogued documents on performance art, produced by the Live Art Development Agency (LADA). http://www.thisisliveart.co.uk/resources.
The Hemispheric Institute Digital Video Library (HIDVL). The first major digital video library of performance practices in the Americas. https://hemisphericinstitute.org/en/hidvl-collections.html
Re.Act.Feminism: A Performing Archive. An archive and exhibition project on feminism and performance art. Curated by Beatrice E. Stammer and Bettina Knaup. Nürnberg: Verlag für Moderne Kunst, 2014. http://www.reactfeminism.org/
Performa Magazine. In liaison with Performa Institute and Biennial, online reviews dedicated to contemporary performance across disciplines. Founded by RoseLee Goldberg. http://performa-arts.org/magazine
In Terms of Performance. A keywords anthology designed to provoke discovery across artistic disciplines. Edited by Shannon Jackson and Paula Marincola. The Pew Center for Arts & Heritage, Philadelphia and Arts Research Center, University of California, Berkeley. http://intermsofperformance.site/
Living Collections Catalogue 1: On Performativity. Minneapolis: Walker Art Center. https://walkerart.org/collections/publications/performativity
Performance and Performativity: Tate’s interdisciplinary research initiative examining the entwined concepts of performance and performativity, and their application in the field of contemporary art and culture. https://www.tate.org.uk/about-us/projects/performance-and-performativity
Performance at Tate: Collecting the Performative. Tate’s research network examining emerging practice for collecting and conserving performance-based art. https://www.tate.org.uk/about-us/projects/collecting-performative
Performance at Tate: Into the Space of Art. Tate’s research project that explores the history of performance art at Tate from the 1960s to 2016. https://www.tate.org.uk/research/publications/performance-at-tate
The Performative Turn: Open Museum 2011. Organized by the Museum of Modern Art in Warsaw, meetings and conversations dedicated to the relationship between theater, dance and visual arts. https://artmuseum.pl/en/doc/cykle/zwrot-performatywny-muzeum-otwarte-2011
Venice International Performance Art Week Resources. Collection of free downloads and links to performance art related research material, provided by the ART WEEK artist and collaborators. https://veniceperformanceart.org/research
Electronic Arts Intermix selection on Fluxus and Happenings. Includes documentaries on the Fluxus movement, documents of Fluxus events, and works by and about Fluxus artists. https://www.eai.org/series/fluxus-and-happenings
Arte Útil. Draws on artistic thinking to imagine, create and implement tactics that change how we act in society. Formulated by Tania Bruguera and curators at the Queens Museum, New York, Van Abbemuseum, Eindhoven and Grizedale Arts, Coniston. http://www.arte-util.org/
PerformanceProcess. Online archive of documentations and research from two exhibitions on Swiss performance from 1960 to today. https://dev.pprocess.ch/en/preface/1/preface.html
Action Art Beyond the Iron Curtain. Operated by Adam Czirak. http://www.aktionskunst-jenseits.de/en/
Performance Art in Eastern Europe (1950–90). Coordinated by Sylvia Sasse. http://www.performanceart.info/
Performing Arts in the Second Public Sphere. A comparative and coherent analysis of the neo-avant-garde´s event-based art in different regions of Central, East and Southeast Europe. http://www.2ndpublic.org/
Performing the East: Performance Art in Central, Eastern and Southeastern Europe. Operated by Amy Bryzgel. http://performingtheeast.com/
Performance Perspectives: An Archive of Video Interviews Exploring Performance Art in Australia. http://www.performanceperspectives.org/
Ibraaz Platform 009: “Performance.” Essays focusing on genealogies of performance art in North Africa and the Middle East. Edited by Anthony Downey. https://www.ibraaz.org/essays/140
A Performance Affair (APA). A platform for performance art that brings together artists, galleries, collectors and institutions to research and discuss current tendencies in performance art and the economic structures around it. https://aperformanceaffair.com/
Monoskop-Performance Art Bibliography. https://monoskop.org/Performance_art
Ubuweb. An online database for avant-garde art, Ubuweb’s Film and Dance sections have a rich selection of performance documentations. http://ubu.com/
High Performance Mag 1978–97. Digital archive of all issues. https://apionline.org/high-performance-magazine/hpissues/
Performance Magazine UK 1979–92. Digital archive of all issues and a documentary on the magazine. http://www.performancemagazine.co.uk/
Performance Art Magazine. PAJ Publications was founded in 1976. In 1979, the publishing company began to publish books as well as another little magazine called Performance Art (retitled LIVE with the third issue). https://www.mitpressjournals.org/loi/pam
11 Journals and Magazines: Special Issues
Journal of Curatorial Studies 7.2 (2018). Special Issue: “Living Display.” Edited by Jennifer Fisher and Jim Drobnick . https://www.ingentaconnect.com/content/intellect/jcs/2018/00000007/00000002
Texte zur Kunst 110 (2018). “Performance Evaluation.” https://www.textezurkunst.de/110/
Theatre Journal 69.3 (2017). Special Issue: “Theatre and the Museum / Cultures of Display.” http://muse.jhu.edu/issue/36988
Performance Paradigm 13 (2017). “Performance, Choreography, and the Gallery.” Edited by Erin Brannigan , Hannah Mathews , and Caroline Wake . https://www.performanceparadigm.net/index.php/journal/issue/view/22
Theater 47.1 (2017). Special Issue: “Curating Crisis.” https://www.dukeupress.edu/curating-crisis-1
Representations 136.1 (2016). Special Issue: “Time Zones: Durational Art and Its Contexts.” Edited by Shannon Jackson and Julia Bryan-Wilson . https://rep.ucpress.edu/content/136/1
Theater 44.2 (2014). Special Issue: “Performance Curators.” Edited by Tom Sellar and Bertie Ferdman . https://www.dukeupress.edu/performance-curators
Dance Research Journal 46.3 (2014). Special Issue: “Dance in the Museum.” Edited by Mark Franko and André Lepecki . https://muse.jhu.edu/issue/31274
Platform: Journal of Theatre and Performing Arts 8.1 (2014). Special Issue: “Performance Legacies.” Edited by Will Shüler , Diana Damian-Martin , and Sara Reimers . https://www.royalholloway.ac.uk/media/5374/00_full.pdf
Contemporary Theatre Review 22.1 (2012). Special Issue: “Live Art in the UK.” Edited by Dominic Johnson . https://www.tandfonline.com/toc/gctr20/22/1?nav=tocList
MASKA Performing Arts Journal XXVII, No. 147–148 (2012). Special Issue: “The Event as a Privileged Medium in the Contemporary Art World.” Edited by BetiŽerovc . http://www.maska.si/index.php?id=163&L=1&tx_ttnews[tt_news]=1109&cHash=c6635894fa057e789dabbe1fa34c3ebb
Art Journal 70.3 (2011). Forum: “Performance, Live or Dead.” Introduction by Amelia Jones . http://artjournal.collegeart.org/?p=2796
Artforum International 48.9 (2010). Focus: “The Next Act: Issues in Contemporary Performance.” https://www.artforum.com/print/201005
Frakija 55 (2010). Special Issue: “Curating Performing Arts.” Edited by Florian Malzacher , Tea Tupaji ç, and Petra Zanki . http://www.cdu.hr/frakcija/shop/description.php?br=55
Women & Performance: A Journal of Feminist Theory 19.3 (2009). Special Issue: “Women & Fluxus: Toward a Feminist Archive of Fluxus.” Edited by Midori Yoshimoto . https://www.tandfonline.com/toc/rwap20/19/3
TDR: The Drama Review 49.1 (2005). Focus on Franklin Furnace and Martha Wilson. https://muse.jhu.edu/issue/9664
Performance Research 7.4 (2002). Special Issue: “On Archives & Archiving.” Edited by Heike Roms and Richard Gough . http://www.performance-research.org/past-issue-detail.php?issue_id=22
Performance Research 7.3 (2002). Special Issue: “On Fluxus.” Edited by Ric Allsopp , Ken Friedman , and Owen Smith . https://www.performance-research.org/past-issue-detail.php?issue_id=21
Contemporary Theatre Review 10.3 (2000). Focused issue on body and performance. Edited by Patrick Campbell . https://www.tandfonline.com/toc/gctr20/10/3?nav=tocList
Texte zur Kunst 37 (2000). “Performance.” Edited by Sabeth Buchmann , Isabelle Graw , Clemens Krommel , and Susanne Leeb . https://www.textezurkunst.de/37/
Art Journal 56.4 (1997). Special Issue: “Performance Art: (Some) Theory and (Selected) Practice at the End of This Century.” Edited by Martha Wilson . https://www.tandfonline.com/toc/rcaj20/56/4?nav=tocList