Performance Art literature +

Action Art / Live Art / Performance Art books, writings, podcasts, thoughts, and other resources

Performance art is complicated and hard to pin down. These literature and other information sources will be a good beginning to delving deeper into the forms as a whole, specific regions, and focuses of the performance artists.

“Live Art is a way of thinking about what art is, what it can do, and where and how it can be experienced. “( from the Live Art Development Agency).

Therefore, it must be written about so performance art literature, Arts organizations, Festivals and more follows!

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Writings on Performance Art

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Books, articles, writings on Performance Art
  • Abramovic, Marina, 7 Easy Pieces (Milan: Charta, 2007). Artist Body: Performances 1969-1998 (Milan: Charta, 1998).
  • “Body Art,” in Marina Abramovic, by Marina Abramovic and the Fondazione Antonio Ratti (Milan: Charta, 2002), 27-40.
  • Abramovic, Marina in conversation with Adrian Heathfield, “Elevating the Public,” in Live: Art and Performance, ed. Adrian Heathfield (New York: Routledge, 2004), I44-51.
  • Academy Editions (Author). Performance Art into the 90s (Art and Design) Paperback
  • Acconci, Vito: Some Notes on Illegality in Art, Art Journal Volume 50, 1991 – Issue 3: Censorship I
  • ADA. Aktionen der Avantgarde Berlin 1973. Environments. Happenings. Prosper. Aktionen. Video, Neuer Berliner Kunstverein, Berlin, 1973, ca. 400 p., ill., b&w
  • Ammann, Jean Christophe. Manon, a person : a Swiss pioneer of body and performance art (2008)
  • Anderson, Patrick, So Much Wasted: Hunger, Performance, and the Morbidity of Resistance (Durham, NC and London: Duke University Press, 2010).
  • Anzaldua, Gloria; Borderlands/La Frontera: The New Mestiza, Aunt Lute Books, 2007 -Cultural Writing. Essays. Latino/Latina Studies. Rooted in Gloria Anzaldua’s experience as a Chicana, a lesbian, an activist, and a writer, the groundbreaking essays and poems in this volume profoundly challenged how we think about identity. BORDERLANDS/LA FRONTERA remapped our understanding of what a “border” is, seeing it not as a simple divide between here and there, us and them, but as a psychic, social, and cultural terrain that we inhabit, and that inhabits all of us.
  • Aravena, Christin ,Henaro, Sol, Moreno, Alejandra, Smith, Brian – Action art in Mexico
  • Archer, Michael. Art Since 1960.
  • Arenas-Carter, Rodrigo: The Committed Body: Political Performance Art From Latin America
  • Auyero, Javier. Portraits of persistence : inequality and hope in Latin America (2024)
  • Political Performance Art From Latin America
  • Ruben Arevshatyan, “Between Illusions and Reality,” in Hedwig Saxenhuber (ed.) Adieu Paradjanov: Contemporary Art From Armenia, Springerin, Vienna, 2003
  • Arn, Jackson: When performance art takes to the streets, the results are moving. Artsy, 2019.
  • Auslander, Philip, From Acting to Performance: Essays in Modernism and Postmodernism (London: Routledge, 1997).
  • Auslander, Philip, “The Performativity of Performance Documentation,” PAJ: A Journal of Performance and Art 28.3 (Sept. 2006), 1-10.
  • Bachelard, Gaston. The Dialectic of Duration (Manchester: Clinamen, 2000)
  • Zdenka Badovinac (ed.), Body and the East (Ljubljana: Moderna galerija, 1998).
  • Balfour, Alexandra and Pitchaya Sudbanthad, “Interview with Marina Abramovic,” Museo: Contemporary Art Magazine 2 1999), http://www.columbia .edu/cu/museo/2/marina.html.
  • Bajo, Delia and Brainard Carey, “In Conversation: Teching Hsieh,” The Brooklyn Rail, August 1, 2003, http://brooklynrail.org.
  • Banes, Sally. Subversive expectations : performance art and paratheater in New York, 1976-85 (1998)
  • Bangladesh. Dhaka: Britto Arts Trust, 2003.
  • Bao, Weihong et al., Reflections on Durational Art, Berkeley: University of California Press Books Division
  • Barber: The Function of Performance in Post Modern Culture
  • Barber, Bruce: “Indexing: Conditionalism and Its Heretical Equivalents”  on how the term “performance art” came to dominate a once open and variable nomenclature defining a broad field of live art activities. Extensive bibliography. (English),(French)
  • Barber, Bruce. The Gift in Littoral Art Practice
  • Barber, Bruce. Littoral Art and Communicative Action. Common Ground Publishing, 2013.
  • Jozsef Bárdosi Expansion 1989-93. I-II, Cathedral. Literary and Art and the periodical of philosophy (double special issue), 1994
  • Andrea Bátorová, Aktionskunst in der Slowakei in den 1960er Jahren. Aktionen von Alex Mlynárčik (Berlin: Lit, 2009)
  • Battcock, Gregory and Robert Nickas: The Art of Performance: A Critical Anthology, eds. Gregory Battcock and Robert Nickas, New York: E.P. Dutton, 1984; repr., ed. Lucia della Paolera, New York: UbuWeb, 2010. In three sections—”Historical Introduction,” “Theory and Criticism,” and “The Artists”—the volume contains essays by scholars, critics, curators, and art historians, including Peter Gorsen’s “The Return of Existentialism in Performance Art,” Françoise Pluchart’s “Risk as the Practice of Thought,” and David Shapiro’s “Poetry and Action: Performance in a Dark Time,” as well as interviews with artists Terry Fox, Chris Burden, and Laurie Anderson, and writings by Vito Acconci and Les Levine. (English)
  • Beccaria, Marcella: Vanessa Beecroft: Performances 1993-2003 (2003) – Inventor of a unique artistic language in her performance pieces, the Italian artist Vanessa Beecroft directly addresses themes central to contemporary culture everywhere: identity, multiplicity, the body and sexuality, and in the process, mixes glamour with the history of art.
  • Becker, Jürgen and Wolf Vostell: Happenings: Fluxus, Pop Art, Nouveau Realisme: Eine Dokumentation, eds. Jürgen Becker and Wolf Vostell, Rheinbeck: Rowohlt, 1965, 470 pp. Historical resource for the original interconnection among these four overlapping, once mutually enhancing, artistic movements, aesthetic concerns that have subsequently been pried apart in the history of art. (German)
  • Hans Belting, Andrea Buddensieg and Peter Weibel: The Global Contemporary and the Rise of New Art Worlds
  • Benamou, Michel – Charles Caramello (eds.): Performance in Postmodern Culture, Center for Twentieth Century Studies – Coda Press, Inc., Madison, Wisconsin, 1977, 232 p.
  • Bhabha, Homi K., The Location of Culture, 2nd edition (London: Routledge,2004). Bhabha, Homi K., The Location of Culture, 2nd edition (London: Routledge,2004). Rethinking questions of identity, social agency and national affiliation, Bhabha provides a working, if controversial, theory of cultural hybridity – one that goes far beyond previous attempts by others. In The Location of Culture, he uses concepts such as mimicry, interstice, hybridity, and liminality to argue that cultural production is always most productive where it is most ambivalent. Speaking in a voice that combines intellectual ease with the belief that theory itself can contribute to practical political change, Bhabha has become one of the leading post-colonial theorists of this era.
  • Bhattacharya, Malini. “Performance as Protest: Cultural Strategies in the Era of ‘Globalisation.’” Social Scientist, vol. 26, no. 7/8, 1998, pp. 21–31. JSTOR, https://doi.org/10.2307/3517612 –
  • Biesenbach, Klaus and Critophe Cherix, Yoko Ono: One Woman Show, 1960-1971 (New York: Museum of Modern Art, 2015).
  • Bishop, Claire: Documents of Contemporary Art: Participation
  • Bishop, Claire: Installation Art – a critical history, Tate Publishing (2005)
  • Blessing, Jennifer, Gina Pane John Hansard Gallery (1 January 1999)
  • Blessing, Jennifer, “Gina Pane’s Witnesses: The Audience and Photography,” Performance Research 7.4 (2002), 14-26.
  • Blocker, Jane: Where Is Ana Mendieta: Identity, Performativity and Exile (Durham and London: Duke University Press, 1999)
  • Blocker, Jane, What the Body Cost: Desire, History, and Performance (Minneapolis, MN: University of Minnesota Press, 2004). Reexamines rebelliousness and desire in the history of performance art
  • Bogart, Anne. The art of resonance (2021)
  • Boon, Errol: Art and Migration: on cultural internationalisation in the age of displacement
  • Bossi, Lorena Fabrizia. GAC : pensamientos, prácticas, acciones. Este libro es un registro y una mirada reflexiva sobre las acciones llevadas adelante por el GAC (Grupo de Arte Callejero), formado en 1997 y que junto a H.I.J.O.S. y otras organizaciones de DDHH le han puesto militancia y creatividad a la construcción de la condena social al terrorismo de estado mediante la práctica de los escraches, acciones de protesta en las cuales, mediante dispositivos artísticos como el graffitti, la intervención de la señalética urbana, la performance y otras; se señalaban los domicilios de los represores impunes antes de que fueran anuladas las leyes de obediencia debida y punto final que impedían la condena judicial a los represores de la última dictadura militar. 2009 Downloadle PDF, En Español.
  • Boren, Mark Edelman, Student Resistance: A History of the Unruly Subject (New York: Routledge, 2001). Using a uniquely international approach, the book offers a comprehensive introduction to the history of university activism and its influence on national politics and broader social movements. Specific instances of resistance, from medieval uprisings across European universities to the Tiananmen Square Massacre, are explored to produce a detailed historical study of power relations and oppression. Globalization and rapid technological advances have established more accessible platforms for collective activism whilst recent political upsets have generated a ripe environment for students to increase their efforts of resistance. This second edition addresses repercussions of the internet and social media age on the evolution of campus activism in the United States and abroad, from #blacklivesmatter to the Palestinian West Bank protests.
  • Botero, Isabel Cristina Ramírez. Latin American Art in the Colombian Caribbean. The Inter-American Modern Art Salons of Cartagena (1959) and Barranquilla (1960 and 1963), Universidad del Atlántico, Colombia) 2017
  • Bourdon, David, “An Eccentric Body of Art,” in The Art of Performance: A Critical Anthology, ed. Gregory Battcock and Robert Nickas (New York:E.P. Dutton, 1984).
  • Bourriaud, Nicolas, Relational Aesthetics, trans. Simon Pleasance and Fronza Woods (Dijon: Les Presses du Réel, 2002).
  • Bracewell, Michael, “Review: Yoko Ono, Théâtre du Ranelagh, Paris, France,” Frieze 79, November 11, 2003, https://frieze.com.
  • Christopher Braddock, Ioana Gordon-Smith, Layne Waerea and Victoria Wynne-Jones. Resetting the Coordinates: An anthology of performance art in Aotearoa New Zealand. Massey University Press. 2024
  • Brentano, Robyn; “Outside the Frame: Performance, Art, and Life,” in Outside the Frame: Performance and the Object, A Survey History of Performance Art in the USA since 1950 (Cleveland: Cleveland Museum of Contemporary Art, 1995), PDF catalog download
  • Brimfield, Mel. This is performance art, (2011, English, Book)
  • Broms, Gustaf: 9Questions, an artist project by Gustaf Broms
  • Bronson, A.A. and Peggy Gale: Performance by Artists, eds. A.A. Bronson and Peggy Gale, Toronto: Art Metropole, 1979, 318 pp. Begins with a section of texts by artists not often cited in anthologies, such as Chalemange Palestine, Clive Robertson, Tom Sherman, Ben d’Armagnac, and Ulricke Rosenbach, among others. “Commentaries” follow written by artists and art historians, including Bruce Barber’s pivotal essay “Indexing: Conditionalism and Its Heretical Equivalents” on how the term “performance art” came to dominate a once open and variable nomenclature defining a broad field of live art activities. Extensive bibliography. (English),(French)
  • D. Brook, ‘Blur between Art and Life’, Nation Review, 1973
  • D. Brook, Reaching the Fatal Zenith of Body Art’, Nation Review, December 29, 1972 – January 4, 1973
  • D. Brook, ‘Dividing the Single Skin of Color into Two’, Nation Review, June 8-14 1973
  • Brown, Kate. Performance Optimisation: Are Algorithms Changing Performance Art?, Artnet, june, 2024
  • Bruguera, Tania: Vigilantes: The dream of Reason
  • Günter Brus: Aktionen 1964 65, Mazzotta; 1st Paperback Edition (January 1, 2005)
  • Brus, Günter. Das gute alte West-Berlin, Jung und Jung Verlag GmbH (January 1, 2010)
  • Brus, Günter. Günter Brus, Palm Beach Institute of Contemporary Art
  • Bryan-Wilson, Julia, “Remembering Yoko Ono’s Cut Piece” Oxford Art Journal 26.1 (2003), 99-123.
  • Amy Bryzgel, Performance Art in Eastern Europe since 1960 (Manchester University Press, 2017).
  • Amy Bryzgel: Performing in the East – An Explosion of Performance Art in Estonia
  • Amy Bryzgel, Performing the East: Performance Art in Russia, Latvia and Poland Since 1980 (I.B.Tauris & Co Ltd., 2012),
  • Amy Bryzgel: The Trouble with Living Artists
  • Bueys, Joseph: Image of Humanity
  • Bürger, Peter, Theory of the Avant-Garde, trans. Michael Shaw Minneapolis, MN: University of Minnesota Press, 1984).
  • Burnham, Linda Frye, ”High Performance; Performance Art, and Me, TDR: The Drama Review 30.1 (Spring 1986), 15-51.
  • Burden, Chris – Burton, Johanna – Moore, Jenny – Phillips, Lisa – Gioni, Massimiliano. Chris Burden : extreme measures New Museum (New York, N.Y.) 2013
  • Burton, Johanna, “Repeat Performance: Johanna Burton on Marina Abramovie’s Seven Easy Pieces,” Artforum International 44.5 Uan. 2006), 55-6.
  • Butler, Judith: Performative Arts and Gender Constitution
  • Butler, Judith, Giving an Account of Oneself (New York: Fordham University Press, 2005).
  • Calirman, Claudia: Brazilian Performance Art, 1960s to 1980s: An Aesthetics of the Margins
  • Calirman, Claudia: Case Study: Antonio Manuel’s Body Art and Media Appropriation
  • Luis Camnitzer et al., Global Conceptualism: Points of Origin, 1950s‒1980s (New York: Queens Museum of Art, 1999).
  • Carlson, Marla, Performing Bodies in Pain: Medieval and Post-Modern Martyrs, Mystics, and Artists (New York: Palgrave Macmillan, 2010).
  • Carlson, Marvin, Performance: A Critical Introduction (London and New York: Routledge, 1996).
  • Carr, C., On Edge: Performance at the End of the Twentieth Century (Hanover, NH: Wesleyan University Press/University Press of New England, 1993).
  • Cesare, T. Nikki and Jenn Joy, “Performa/(Re) Performa,” TDR: The Drama Review 50.1 (Spring 2006), 170-7.
  • Case, Sue-Ellen ed. Performing Feminisms: Feminist Critical Theory and Theatre, Baltimore and London: John Hopkins University Press, 1990.
  • Catanese, Brandi Wilkins. The Problem of the Color[blind]: Racial Transgression and the Politics of Black Performance (Ann Arbor: University of Michigan Press, 2011)
  • Chak, Ashlyn. How performance art is thriving in Hong Kong despite new laws and political climate, MyNews, June 2024
  • Champagne, Lenora: Out from Under: Texts by Women Performance Artists, ed. & intro. Lenora Champagne, New York: Theatre Communications Group, 1990, xiv+185 pp. Anthology of writings exploring sex, race, religion, and autobiography, and containing texts by performance artists Holly Hughes, Laurie Anderson, Karen Finley, Laurie Carlos, Robbie McCauley, and Jessica Hagedorn, Rachel Rosenthal, Beatrice Roth, Leeny Sack, Lenora Champagne and Fiona Templeton. (English)
  • Chantal (ed.): Performance Text(e)s and Documents. Actes du colloque: Performance et Multidisciplinarté Postmodernism. Proceedings of the Conference: Multidisciplinary Aspects of Performance: Postmodernism, Parachute, Montréal, 1981, 237 p., respectively., b&w
  • Cheng, Meiling, In Other Los Angeleses: Multicentric Performance Art (Berkeley, CA and London: University of California Press, 2002).
  • Cheng, Meiling. Beijing Xingwei: Contemporary Chinese Time-Based Art (‎ Seagull Books, 2013)
  • Eds. Meiling Cheng and Gabrielle Cody: Reading Contemporary Performance: Theatricality Across Genres. Routledge. (2016)
  • Chiu, Melissa; Benjamin, Genocchio: Asian Art Now
  • Cianetti, Alessandra: Performing Borders – A study room guide on physical and conceptual borders within Live Art
  • Claasen-Schmal, Barbara (ed.): Der Raum. Malerei, Skulptur, Installation, Video, Performance, Gesellschaft für Aktuelle Kunst, Bremen, 1987, 58 p., and color
  • Clausen, Barbara: After the act : the (re)presentation of performance art, Wien : MUMOK Museum Moderner Kunst Stiftung Ludwig, 2007
  • Club 57: Film, performance, and art in the East Village, 1978-1983 (MOMA, New York 2017)
  • Colbert, Soyica Diggs. Black movements : performance and cultural politics (2017)
  • Concannon, Kevin, “Yoko Ono’s Cut Piece: From Text to Performance and Back Again,” PAJ: A Journal of Performance and Art 30.3 (2008), 81-93.
  • Crow, Thomas: The Rise of the Sixties: American and European Art in the Era of Dissent One of Thomas Crow’s most influential titles, The Rise of the Sixties , first published in 1996, provides an excellent overview of the major themes and figures in one of art history’s most radical and complicated decades. Presenting an international array of artists against the background of world events in the 1960s, Crow portrays the ways in which the American art scene—including such key figures as Leo Castelli, Eva Hesse, Jasper Johns, Robert Morris, Robert Smithson, Cy Twombly, and Andy Warhol—fit into the corresponding European and international movements of the time, among them Situationalism, Conceptualism, Feminism, Environmentalism, and Op Art.
  • Cohen-Cruz, Jan: Radical Street Performance: An International Anthology, ed. Jan Cohen-Cruz, London and New York: Routledge, 1998. Anthology on invisible theater, demonstrations and rallies, direct action, puppetry, parades and pageants, performance art, guerrilla theater, and circuses, with contributors from Eugenio Barba, Augusto Boal, Yolanda Broyles-González, Dwight Conquergood, Abbie Hoffman, Baz Kershaw, Adrian Piper, Nellie Richard, Richard Schechner, Diana Taylor, Ngũgĩ wa Thiong’o, and David Welch. (English)
  • Couillard, Paul: From Ironic to Iconic: The Performance Works of Tanya Mars (2009)
  • Couillard, Paul: La Dragu: The living Art of Margaret Dragu (2002)
  • Couillard, Paul and Liva, Alexandra: Alain-Martin Richard: Performances, Manoeuvres and Other Hypotheses for Disappearing (2014)
  • Cox, Anthony, “Instructive Auto-Destruction,” Art and Artists I.5 (Aug. 1966), 16-20.
  • Cox, Emily: Performance and Migration
  • Crow, Thomas, The Rise of the Sixties: American and European Art in the Era of Dissent (New York: Harry N. Abrams, 1996).
  • Dander, Heike – Dr. Michael Haerdter Annette Sievert – Christoph Tannert (eds.): Performance, BE Magazine, No. 2, 1994 Autumn
  • Davis, Ben, “Columbia Student’s Striking Mattress Performance,” Artnet News, September 4, 2014, http://news.artnet.com
  • De Bellis, Vincenzo: The Paradox of Stillness: Art, Object, and Performance – 2020 -Presenting works from the early 20th century to today, The Paradox of Stillness: Art, Object, and Performance examines the notion of stillness as both a performative and visual gesture, featuring practitioners who have constructed static or near-static experiments that hover somewhere between action and representation as they are experienced in the gallery space. The exhibition investigates performance from the perspective of the object rather than the body…
  • Demnig, Gunter-Elishabeth Jappe (eds.): Wellenlängen. Eine Klausurtagung zu initiative Kunstformen, Moltkerei Werkstatt, Cologne, 1986, 137 p., , b&w
  • Díaz, Laura Elvira. 2021. “Lo hipofronterizo. El discurso del arte en Tijuana-San Diego 2017-2020”. Mitologías hoy 23 (junio): 135-145.
  • Dixon, Steve: Digital Performance: A history of new media in theater, dance, performance art, and installation
  • Doris, David T., “Zen Vaudeville: A Medi(t)ation in the Margins of Fluxus,” in The Fluxus Reader, ed. Ken Friedman (West Sussex: Academy 1998), 91-135. Editions,
  • Doyle, Jennifer. Hold It Against Me: Difficulty and Emotion in Contemporary Art (Duke University, 2013
  • Dreher, Thomas. Performance Art Nach 1945 Aktionstheater Und Intermedia, Wilhelm Fink, 2001
  • Duarte, E., Merkle, L., Baranauskas, M.: The Interface between Interactive Art and Human-Computer Interaction: Exploring Dialogue Genres and Evaluative Practices
  • Dupuy, Jean : Collective Consciousness: Art Performances in the Seventies, ed. Jean Dupuy, New York: Performing Arts Journal Publications, 1980, 245 pp. With introductory conversations between Dupuy, John Howell, Peter Frank, and Paul Miller, and an essay by Tim Maul, the anthology contains documents and statements by performance artists who performed at Dupuy’s loft space at 405 East 13th Street in New York, as well as actions that he documented in other spaces in the city. Vintage photographs of performances artists, both famous and obscure. [11] (English)
  • Engelken, Dierk – Elisabeth Jappe (eds.): D-5300 Kunst. Künstlerzel, Freundlichter Unterstützung des Bundesministers des Innern – Verlag Siering KG, Bonn, 1984, 140 p., ill., b&w
  • English, Darby, How to See a Work of Art in Total Darkness (Cambridge, MA and London: MIT Press, 2007).
  • Eraña, María. 1991. “Aires Tijuaneros. Un recuento de algunos sucesos extraños ocurridos en el primer y/o último rincón de la patria [todavía] mexicana”. En Taller de Arte Fronterizo 1984-1991: Una documentación continua de siete años de proyectos de arte interdisciplinarios sobre asuntos de la frontera de México con Estados Unidos, 54- 61. Las Ángeles: LACE.
  • Erdemir, Çağla, Die Reproduzierbarkeit der Performancekunst am Beispiel ausgewählter Werke der Künstlerin Marina Abramović aus der Ausstellung The Cleaner im Palazzo Strozzi in Florenz
  • Erickson, Jon: ‘Performing Distinctions’, in PAJ: A Journal of Performance and Art, Vol. 21, No. 3, September 1999
  • Exit Art, Endurance Art, The MIT Press
  • Feigenbaum, Anna, Fabian Frenzel, and Patrick McCurdy, Protest Camps (London and New York: Zed Books, 2013).
  • Filliou, Robert: Lehren und Lernen als Auffuehrungskuenste. Teaching and Learning as Performance Arts, Verlag Gebr. König, Cologne – New York, 1970, 229 p., ill.
  • Finley, Karen: Constant State of Desire
  • Finley, Karen: Enough Is Enough: Weekly Meditations for Living Dysfunctionally
  • K. Finley, ‘The Constant State of Desire’, The Drama Review, vol. 32, 1988
  • Fischer-Lichte, Erika, “Performance Art – Experiencing Liminality,” in 7 Easy Pieces, by Marina Abramovié (Milan: Charta, 2007).
  • Fisk, Jennifer N., Performing Boundaries: An Expansion of the One to One Performance Framework (Ohio University, 2013).
  • Fleetwood, Nicole R.. Troubling Vision: Performance, Visuality, and Blackness (Chicago: The University of Chicago Press, 2011)
  • Forte, Jeanie: Focus on the Body: Pain, Praxix and Pleasure in Feminist Performance Art
  • Forte, Jeanie: “Women’s Performance Art: Feminism and Postmodernism”, Performing Feminisms: Feminist Critical Theory and Theatre, ed. Sue-Ellen Case. Baltimore and London: John Hopkins University Press, 1990. pp. 251-69
  • Fortis, Daril. ¿Cómo llegamos a La performance fronteriza? Universidad San Francisco de Quito, Ecuador, 2021 -Comparto una reflexión acerca de mi propio proceso de investigación sobre la historia de la práctica del performance en Tijuana (México) y la concepción del proyecto curatorial La performance fronteriza. Este explora la ‘desaparición‘ de las artistas/activistas, propiciada por la narrativa hegemónica del Arte Fronterizo, conceptualizado ‘en‘ la frontera Tijuana-San Diego (EE. UU.), debido a su condi­ción de ‘indocumentadas‘, a través de la rememoración colectiva del pasado del performance para diversificar la narrativa histórica de la práctica artística.
  • Foster, Hal, The Retrn of the Real The Avant-Garde at the End of the Century (Cambridge, MA: MIT Press, 1996)
  • Foster, Susan Leigh, “Choreographies of Protest,” Theatre Journal $5.3 (Oct. 2003)
  • Foucault, Michel, The History of Sexuality: An Introduction, Vol. 1, trans. Robert Hurley (New York: Vintage Books, [1978] 1990).
  • Maja Fowles, The Green Bloc. Neo-avant-garde Art and Ecology under Socialism (Budapest‒New York: Central European University Press, 2015).
  • Fried, Michael, “Art and Objecthood,” in Minimal Art: A Critical Anthology, ed. Gregory Battcock (New York: E.P. Dutton, 1968), 116-47.
  • Friedman, Ken (ed.): The Fluxus Perormance Workbook (sic!), [The Fluxus Performance Workbook] El Djarida Magazine (special issue), 1990, 63 p.
  • E. Fuchs, ‘Staging the Obscene Body’, The Drama Review, vol. 33, No. 1, Spring, 1989
  • Fuentes, Marcela A. , Performance Constellations: Networks of Protest and Activism in Latin America (University of Michigan Press, 2019; Eterna Cadencia, 2020)
  • Fuentes, Marcela A.: 2019 Performance Constellations: Networks of Protest and Activism in Latin America. Ann Arbor, Michigan: University of Michigan Press.
  • Fusco, Coco. Corpus delecti : performance art of the Americas (2000)
  • Fusco, Coco: The Other history of Intercultural Performance
  • Gedin, Andreas, “Teching Hsieh: Passing Time,” Nu: The Nordic Art Review 4.1-2 (2002), 66-73.
  • Getnick, Brian and Rubbak, Tanya: Final Transmission: Performance Art and AIDS in Los Angeles
  • Getsy, David. Queer behavior Scott Burton and performance art (2022)
  • Gilroy, Paul: The Negative Dialectics of Conviviality
  • Glimcher, Mildred and Robert R. Robert R. McElroy (Photographer). Happenings New York, 1958 – 1963 (Pace Gallery, New York: Exhibition Catalogues)
  • Glusberg, Jorge (ed.): Journées interdisciplinaires sur l’art corporel et performances, Centro de Arte y Comunicatión, Buenos Aires, 1979, ca. 60 p., ill., b&w
  • Glusberg, Jorge (ed.): The Art of Performance, Palazzo Grassi, Venice – New York University Art Department, New York – CAYC, Buenos Aires, 1979, ca. 20 p.
  • Goldberg, Roselee: Performance Art: From Futurism to the Present, London: Thames and Hudson, 2001.
  • Goldberg, Rose Lee : Performance: Live Art 1909 to the Present (New York: Harry N. Abrams, 1979).
  • Goldberg, Roselee: Performane Now: Live art for the 21st century
  • Goldberg, Roselee: Performance: Live Art Since 1960 – [The] mainstreaming of performance art began in the 1960s when an increasing number of artists and dancers influenced by Happenings sought to address the interface between art and life by engaging time and presence in newer, less fixed ways. With chapter headings such as “performance, politics, real life,” “dance, or the body,” “ritual, living sculpture,” “performed photography,”
  • Gomez-Peña, Guillermo: Ethno Techno
  • Gomez-Peña, Guillermo. Gómez-Peña unplugged : texts on live art, social practice and imaginary activism (2008-2020) (2021)
  • Gonzalez, Malala. Organizacion Negra Performances Urbanas Entre La Vanguardia Y El Espectaculo (Rustico) Argentina  – “Durante la obligada detención del semáforo, un acto insólito ocurre. Un joven y otro y otro más allá vomitan al unísono ante los desconcertados automovilistas que −forzados espectadores− se preguntan pasmados: ¿qué fue eso? Ese relato mítico da cuenta de los inicios de La Organización Negra, grupo artístico cuyas derivas posteriores dieron lugar a Ar Detroy, De la Guarda y Fuerza Bruta. Surgidos en 1984 como organización estudiantil crítica a la representación política −batiendo y regando su cocktail de punk, anarquismo y ganas de tomar la calle−, fueron los aguafiestas del retorno democrático. Sus acciones −tan potentes como efímeras− dislocaron la Buenos Aires de los 80.
  • Gonzalez, Rice K.. Long Suffering: American Endurance Art As Prophetic Witness (Ann Arbor: University of Michigan Press, 2016
  • Gorashi, Hannah: ‘…But We Can’t Pay You’: Performance Art and Money’s Knotty Relationship
  • Grant, Catherine, “Private Performances: Editing Performance Photography,” Performance Research 7.1 (2002), 34-44.
  • Graver, David: Violent Theatricality: Displayed Enactments of Agression and Pain
  • Gray, John. Action Art: A Bibliography of Artists’ Performance from Futurism to Fluxus and Beyond. Westport, CT: Greenwood, 1993.
  • Grey, Alex and Allyson Grey, “The Year of the Rope: An Interview with Linda Montano and Tehching Hsich,” in The Citizen Artist: 20 Years of Art in the Public Avena, ed. Linda Frye Burnham and Steven Durland (New York: Critical Press, 1998), 29-39:
  • Gubord, Guy: Theory of the Dérive
  • Hammond, Barbara J.. We are Pussy Riot or everything is P.R. : a play about the most famous performance art piece in history (2020)
  • Harder, Kelsie B., “Coinages of the Type ‘Sir-In,” American Speech 43.1 (1968)
  • Harding, James, Cutting Performances: Collage Events, Feminist Artists and she American Avant-Garde (Ann Arbor, Ml: University of Michigan Press,
  • Harutyvunyan, Angela: The Political Aesthetic of the Armenian Avant-Garde
  • Vít Havránek (ed.), Jiří Kovanda, 2005‒1976. Actions and Installations (Zürich: tranzit & JRP Ringier, 2006)
  • Hay, Jennifer: Thresholds : Gesture, idea and action in the Performance Art of Andrew Drummond, Di ffrench and David Mealing
  • Hay, Jennifer. Trans-Marginal: New Zealand Performance Art 1970—1985.Intervention Post Object and Performance Art in New Zealand in 1970 and Beyond
  • Heathfield, Adrian: Live Art and Performance
  • HEATHFIELD, Adrian, and Amelia JONES, eds. Perform, Repeat, Record: Live Art in History. Bristol: Intellect, 2012.
  • Helena Reckitt, Peggy Phelan: Art and Feminism – Peggy Phelan, among the best known contemporary feminist theorists, surveys the history of feminist art, opening up new perspectives on the work of artists ranging from Georgia O’Keeffe and Louise Bourgeois to Cindy Sherman and Pipilotti Rist. The Documents include the key critical texts of each period, ranging from the writings of Simone de Beauvoir, to the pioneering art criticism of Lucy R. Lippard, to Craig Owens’ feminist-derived contributions to postmodern criticism, as well as many important…
  • Henri, Adrian: Total Art: Environments, Happenings, and Performance – Since WWII artists have made increasing use of technological media, and, in their search for new art forms, have collaborated with filmmakers, dancers, actors, musicians, and other artists, to stage controversial, often outrageous and hilarious, seemingly spontaneous public gatherings. Happenings, first seen in New York in the early ’60s, use live performers without the logical structure of drama, in an attempt to break down the customary distinctions between life and art.
  • Hernandez, Bernadine: The Next Stage: The Legacy of Latinx Performance Art in L.A. Lives On
  • Hill, Leslie. The guerilla guide to performance art (2004)
  • Hincapie, Maria Teresa: Accion, Corporeidad y el Dominio de lo Feminino en Columbia
  • Hiuni, Dahn: Education, Activism, Performance Art: Sharing Metaphors for Cultural Work
  • Hiuni, Dahn: Performing Identity: The Politics and Pedagogy of Witnessing the Self
  • Hoptman , Laura and Tomáš Pospiszyl: “Body Unbound”, ch. 4 in Primary Documents: A Sourcebook for Eastern and Central European Art since the 1950s, eds. Laura Hoptman and Tomáš Pospiszyl, New York: Museum of Modern Art, 2002, pp 196ff. [12] TOC. (English)
  • Horowitz, Joseph: Artists in Exile: How Refugees From Twentieth-Century War and Revolution Trasformed The American Performing Arts
  • Howell, Anthony: Being Clothes: The Analysis of Performance Art
  • Humbert, Brianna: PERFORMING CITIZENSHIP: DECOLONIZING PUBLIC SPACE THROUGH PARTICIPATION IN CONTEMPORARY LATIN AMERICAN ART (downloads PDF)
  • Hung, Wu and Peggy Wang: in Contemporary Chinese Art: Primary Documents, eds. Wu Hung and Peggy Wang, New York: Museum of Modern Art, 2010. Primary documents and review of Chinese avant-garde art from 1976 until 2006. (English)
  • Victoria Hunter: Moving Sites: Investigating Site-Specific Dance Performance
  • Huxley, Michael, and Noel Witts, eds. The Twentieth Century Performance Reader. London and New York: Routledge, 1996/2013, 514 pp. First edition contains 50 critical, theoretical, and some canonical 20th-century texts on performance. Reviews: Chamberlain (Contemporary Theatre Rev), Grady (TDR), Makeham (Australasian Drama Studies), Taylor (TDPT). (English)
  • Intervention Post Object and Performance Art in New Zealand in 1970 and Beyond. Robert McDougalI Art Gallery and Annex. 2000.
  • Irani, Tara Fatehi : Mishandled Archive
  • Irwin, ed. East Art Map: Contemporary Art and Eastern Europe. London: Afterall, 2006.
  • Wolf, Jahn. The Art of Gilbert and George Hardcover, thames and Hudson, 1989
  • Jane Franklin Dance co. Migration Project
  • Jappe, Elisabeth: Performance. Ritual. Prose. Handbuch der Aktionskunst in Europa, Prestel-Verlag, Munich – New York, 1993, 219 p., ill., and b&w
  • Johnson, Caleb and Pratt, Geraldine: Migration in Performance: crossing the colonial present
  • Johnson, Dominic. Live Art in the UK (Abingdon: Routledge Journals, 2012)
  • Johnson, Dominic. The art of living : an oral history of performance art (2015)
  • Jonas, Joan; Pane, Gina: Parallel Practices – Parallel Practices: Joan Jonas & Gina Pane brings together a selection of works by two artists born a short time apart who are renowned for their foundational contributions to the field of performance art. Jonas (U.S., born 1936) and Pane (France, 1939-1990) are proto-feminist artists…
  • Jonas, Joan. “Transmission.” In Parallel Practices: Joan Jonas & Gina Pane, edited by Dean Daderko, 112–127. Houston: Houston
  • Jones, Amelia: Body Art / Performing the Subject (Minneapolis: University of Minnesota Press, 1998)
  • Jones, Amelia: Pollackian Performative
  • Jones, Amelia: Perform, Repeat, Record: Live Art in History (Bristol; Chicago: Intellect, 2012)
  • Amelia Jones, “‘Presence’ in Absentia: Experiencing Performance as Documentation,” Art Journal 56 (no. 4, 1997), pp. 11‒18.
  • Jones, Amelia: Seeing differently: a history and theory identification and the visual arts (Abingdon, Oxon, Oxon: Routledge, 2012)
  • Jones, Amelia. Queer communion : Ron Athey (2020)
  • Jottar, Berta. 1992. “Works en Progress: Intervenciones Across d’Line”. Video Networks 16 (agosto-septiembre), no. 4.
  • Jottar, Berta. 2000. “Interview with Berta Jottar/Border Swings”. En Been There and Back to Nowhere, editado por Ursula Biemann: 162-172. Berlín: b_books.
  • Jottar, Berta. 2002. “Performing the Border. Interview with Berta Jottar”. En Remote Sensing. Laboratories of Art and Science, editado por Leonie Baumann, Adrienne Goehler y Barbara Loreck: 63-66. Berlín: Vice Versa Verlag.
  • Kaprow, Alan: Assemblages, Environments and Happenings, ed. Allan Kaprow, New York: H.N. Abrams, 1966, 341 pp. Survey of the evolution of happenings as partially rooted in assemblage and environments, with attention to the happenings of Wolf Vostell (Germany), Jean-Jacques Lebel (France), the Gutai (Japan), Kudo (Japan), Oldenburg (United States), a.o. [10] (English)
  • Kaprow, Allan: Assemblage, environmentek & happenings, Artpool – Balassi Publishing – BAE Durable Wave, Budapest, 1998, 75 p., ill., b&w
  • Kaprow, Alan: Happenings in the New York Scene
  • KAPUR, Geeta. “When Was Modernism: Essays on Contemporary Cultural Practice in India.” New Delhi: Tulika, 2000.
  • Katz, VIncient (ed.). Black Mountain College – Experiment in Art (MIT Press 2013, Museo Nacional Centro de Arte Reina Sofia (2002)
  • Kaye, Nick: Art Into Theatre Performance Interviews and Documents (Routledge, 1996) Art Into Theatre investigates the processes of hybrid forms of performance developed between 1952 and 1994 through a series of interviews with key practitioners and over 80 pieces of documentation, many previously unpublished, of the works under discussion. Ranging from the austerity of Cage’s 4’33” through the inter-species communication of Schneeman’s Cat Scanand the experimental theatre work of Schechner, Foreman, and Kirby, to the recent performances of Abramovic, Forced Entertainment and the Wooster Group,
  • Kaye, Nick: Conceptual Performance – Enacting Conceptual Art (Routledge 2023) Conceptual Performance explores how the radical visual art that challenged material aesthetics in the 1960s and 1970s tested and extended the limits, character and concept of performance.
  • Kaye, Nick: Site-Specific Art Performance Place Documentation (Routledge, 2020) Site-Specific Art charts the development of an experimental art form in an experimental way. Nick Kaye traces the fascinating historical antecedents of today’s installation and performance art, while also assembling a unique documentation of contemporary practice around the world. The book is divided into individual analyses of the themes of space, materials, site, and frames. These are interspersed by specially commissioned documentary artwork from some of the world’s foremost practitioners and artists working today. This interweaving of critique and creativity has never been achieved on this scale before.
  • KAJIYA Kenji: Japanese Art Projects in History
  • Kemp-Welch, Klara , Antipolitics in Central European Art. Reticence as Dissidence under Post-Totalitarian Rule 1956‒1989 (London‒New York: I. B. Tauris, 2014).
  • Kirby, Michael; Happenings: An Illustrated Anthology, ed. & intro. Michael Kirby, New York: E.P. Dutton, 1965, 287 pp. Analyzes happenings as a new form of theater comparable to collage and “compartmented” theater. Composed of statements, scripts, and illustrations of happenings by Allan Kaprow, Red Grooms, Robert Whitman, Jim Dine, and Claes Oldenburg. (English)
  • Melanie Kloetzel and Carolyn Pavlik: Site Dance: Choreographers and the Lure of Alternative Spaces
  • Knížák, Milan: Aktual Schmuck, Czechoslovakia, ed. Milan Knížák, Cullompton, UK: Beau Geste, 1974. Assembled by Knížák, who was the principal theorist and leader of the Aktual group, and the publication by Beau Geste Press a much admired alternative press includes texts, photos, drawings, and ideas related to Aktual art actions, happenings, rituals, and ceremonies; profusely illustrated. (English)
  • Knížák, Milan: 1965-86: Kleider auf den Körper gemalt : Sprengel Museum Hannover, 24.3.-28.4.1987 (German Edition) Perfect Paperback – January 1, 1987
  • Knížák, Milan: Karel Teige: Captain of the Avant-Garde, Aug 28, 2018
  • Koddenberg, Matthias. Yves Klein : in/out studio (2016)
  • Helena Kontová, interview with Petr Rezek, Karel Miler, Jan Mlčoch and Petr Štembera, April 4th 1977, published in the catalogue Karel Miler, Petr Štembera, Jan Mlčoch, 1970‒1980 (Prague: Gallery of the City of Prague, 1997), pp. 78‒79.
  • Aapo Kustaa Korkeaoja ed., Performance Art in Practice, Pedagogical Approaches. Intellect Books, 2024
  • Kostelanetz, Richard: Scenarios: Scripts to Perform, ed. Richard Kostelanetz, Brooklyn, NY: Assembling Press, 1980. This veritable treasure trove of difficult to find, primary texts provides readers immediate access to the musical and conceptual scores, poetry, plays, commentaries, drawings, and performance practices driving experimental art of the period. (English)
  • Kottwitz, Augusto: Performance-Kunst (German), Arte performativa (Italian), Performance Art (English), Verlag Unser Wissen 2023 – La performance art stata oggetto di sguardi curiosi da parte di diversi campi del sapere umano. Formando un terreno ibrido e trans/interdisciplinare, gli studi sulla performance in ambito artistico offrono la possibilit di produrre conoscenza con una lente multifocale, aprendo spazi per l’incrocio di epistemologie diverse e ampliando gli spazi di discussione.
  • Kultermann, Udo: Leben – Undo Kunst. Zur Funktionen der Intermedia, Verlag Ernst Wasmuth, Tübingen, 1970, 210 p., ill., b&w
  • Kuppers, Petra. The scar of visibility : medical performances and contemporary art (2007)
  • Kuppers, Petra. Disability culture and community performance : find a strange and twisted shape (2013)
  • KuroDalaiJee or Kuroda Raiji: Video Screening of Performance Art in the 1960s Japan
  • KuroDalaiJee: Anarchy of the Body: Undercurrents of Performance Art in 1960s Japan
  • Krauss, Rosalind: he Originally of the Avant-Garede and Other Moderist Myths, MIT press 1986
  • Kwok Kian Chow: Channels and Confluences – A History of Singapore Art, Singapore Art Museum 1996
  • Kwon, Miwon: One Place After Another: Notes on Site Specificity Space, Site, Intervention: Situating Installation Art pp38-63 University of Minnesota Press
  • Kwon, Miwon: Genealogy of Site-Specificity
  • La dècada de 1990: Rewind & Forward. Cap a una competència pública de l’art
  • Lacy, Suzanne: Mapping The Terrain: new Genre Public Art
  • La Ribot, Maria: Art and Performance Live: La Ribot
  • Lamarque, Peter, Stein Haugom Olsen: Aesthetics and the Philosophy of Art: The Analytic Tradition: and Anthology, Blackwell, 2004
  • Langenbach, Ray: Performing the Singapore State 1988-1995 PhD Thesis Center for Cultural Research University of Sydney aug 2003
  • Lasch, Christopher: The Culture of Narcissism: American Life in an Age of Dinimishing Expectations, W.W. Norton London 1991
  • Layton, James; Bergson and durational performance : (re)ma(r)king time
  • Lee Wen: A Waking Dream drawings and poetry 1981 Select Books, Singapore
  • Lee Wen: The Future of Imagination 3, Catalog, Singapore 2006
  • Lee Weng Choy: Chronology of a Controversy and A Review of Joseph Ng’s Performance edited S.K. Sanjay Krishnan 1996
  • Lee Weng Choy, Ansar Sadali: Lim Tzay Chuen Makes a Proposition Broadsheet Vol. 33 No. 2 2004 p 33-34
  • Le Grange, J..: Celebrating Performance: Cabaret Performing Artists of Pattaya, Thailand, Performing Dignity Project 2017
  • Lippard ,Lucy: Six Years: The dematerialization of the art object from 1966 to 1972 (ny Praeger 1973)
  • Lippard ,Lucy: Overlay: Contemporary Art and The Art Of Prehistory
  • Lischka, Gerhard Johann (ed.): Performance und Performance Art. Ein Bild-Zitate-Essay, Kunstforum International, No. 96 (special issue), 1988 August-October
  • Loeffler, Carl E. and Darlene Tong: Performance Anthology: Source Book for a Decade of California Performance Art, eds. Carl E. Loeffler and Darlene Tong, San Francisco: Contemporary Arts Press, 1980, xii+500 pp; 2nd ed., upd., as Performance Anthology: Source Book of California Performance Art, San Francisco: Last Gasp, 1989. The second edition begins with introductory statements by Loeffler, Tom Marioni, and Allan Kaprow, followed by Tong’s literature review and her valuable annotated chronology (beginning in 1970) of performance art in California realized by US and international artists. Also contains essays by Loeffler, Linda Frye Burnham, Judith Barry, and Moira Roth. Many b&w photographs. (English)
  • Loisy, Jean de (ed.): Hors limit. L’art et la vie 1952-1994, Centre Georges Pompidou, Paris, 1994, 383 p., respectively., b&w
  • Looser, Diana: Moving Islands: Contemporary Performance and the Global Pacific, University of Michigan Press, 2021. Moving Islands reveals the international and intercultural connections within contemporary performance from Oceania, focusing on theater, performance art, art installations, dance, film, and activist performance in sites throughout Oceania and in Australia, Asia, North America, and Europe. Diana Looser’s study moves beyond a predictable country-specific or island-specific focus to encompass an entire region defined by diversity and global exchange, showing how performance operates to frame social, artistic, and political relationships across widely dispersed locations.
  • Lushetich, Natasha. Interdisciplinary performance : reformatting reality (2016)
  • Maciunas, George: Writings, diagram, Artpool Booklets, Artpool, Budapest, 1996, 23 p., respectively., b&w
  • Marcal, Helia, Matos de Oliveira, Fernando, Barques, Bruno, Mourao, Rui, PINA, Osnia, Carmo, Alexandra: Portuguese Performance art: Special Issue
  • Maretti, Franco: Dialectic of Fear, New Left Review 136 (Nov. Dec>) p 67-85 1982
  • Martel, Richard ed: Art Action 1958-1998 Quebec 2001
  • Martel, Richard (ed.): L’art en actes. Le Lieu Centre en art actuel. 1982-1997, Editions Intervention, Québec, 1998, 305 p., ill., b&w
  • Martel, Richard. L’art dans l’action / l’action dans l’art – Textes 2002-2012, 2012
  • Martin, Michael T., and David C. Wall. “‘Where Are You From?’: Performing Race in the Art of Jefferson Pinder,” Black Camera,Vol. 2, No. 1: 72-105
  • McEvilley, Thomas: Stages of Energy: Performance Art Ground Zero?, in Art, Love, Friendship: Marina Abromovic and Ulay Together and Apart, McPherson and Co. 2010, pg 255
  • McEvilley, Thomas: The triumph of anti-art : conceptual and performance art in the formation of post-modernism (2005)
  • McMillan, Uri. Embodied avatars : genealogies of black feminist art and performance (2015)
  • Md. Matiul Hoque Masud, Md. Niaz Morshed: Internal Migration of Dubaiwala Families to Suburban Areas in Bangladesh: Exploring Links between Internal and International Migration
  • Mbembe, Achille: On the postcolony, Berkeley, University of California Press, 2001
  • McLuhan, Marshall: Understanding Media: The Extensions of Man, Ginko Press, 1964
  • Meerzon, Yana, David Dean, Daniel McNeil: Migration and Stereotypes in Performance and Culture
  • Neery Melkonian, “Azat Sargsyan: Azatapolitanas,” in Alfons Hug (ed.), Catalogue 25th Bienal de São Paulo, Fundação Bienal de São Paulo, 2002
  • Mengesha, Lilian: Indigenous Theater
  • MERCER, Kobena, ed. Pop Art and Vernacular Cultures. London, Cambridge: Institute of International Visual Arts (iniva), The MIT Press, 2007.
  • Merewether, Charles and Hiro, Rika Iezumi. Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan, 1950–1970, Getty Research Institute, Los Angeles, March 6–June 3, 2007
  • Mersch, Dieter. Performance Art and Improvisation, The Routledge Handbook of Philosophy and Improvisation in the Arts, July 23, 2021
  • Metello, Verónica: From first Portuguese Performance Art to Transmission MoMA, Varsóvia, 2015
  • Meyer, Mónica: Mujeres y Performance en México
  • Meyerhold: The Biomechanics of worker management theory
  • Miller, Tim: My Queer body
  • Miller, Tim and Roman, David: Preaching to the Converted
  • Moloney, Ciara. Interview with Barbara T. Smith
  • Moore, Barbara Bound & Unbound publisher: The Book is in the Mail Bound & Unbound Exhibition Catalog (1990) artists: Barbara Moore, Eleanor Antin, George Brecht, Buster Cleveland, Peter Faeke, Robert Filliou, Henry Flynt, Gilbert & George, Guerilla Art Action Group, Ray Johnson, On Kawara, George Maciunas, Mieko Shiomi, Daniel Spoerri, Roland Topor, Wolf Vostell, Robert Watts
  • Morganová, Pavlína. Performance Art in Czechoslovakia – Remembered, Described, Interpreted, Photographed and Filmed, Sometimes Even Reenacted
  • Morganová, Pavlína. A Walk through Action Prague: Actions, Performances, Happenings 1949-1989 Akademie výtvarných umění (2014)
  • Morganová, Pavlína. 2020. “Performance Art in Czechoslovakia – Remembered, Described, Interpreted, Photographed and Filmed, Sometimes Even Reenacted.” Sandra Frimmel, Tomáš Glanc, Sabine Hänsgen, Katalin Krasznahorkai, Nastasia Louveau, Dorota Sajewska, Sylvia Sasse (eds.). 2020. Doing Performance Art History. Berlin: Apparatus Press. DOI: http://dx.doi.org/10.17892/app.2020.0000.206
  • Miyamoto, Bénédicte, Ruiz, Marie: Artand MIgration: Revisioning the Borders of Community
  • Linda M. Montano (ed.), Performance Artists Talking in the Eighties: Sex, Food, Money/Fame, Ritual/Death, afterw. Kristine Stiles, University of California Press, 2000, 537 pp. Illuminating, humorous, and thoughtful interviews conducted by the performance artist Linda Montano with a diverse group of artists, who opine on sex, food, money/fame, and ritual/death, including artist’s biographies. (English) – Performance artists talking in the eighties (PDF – Book)
  • Morandi, Jessica: Performance Art as an Activist Tool, Harvard Political Review, March 7, 2020
  • Muñoz, José Esteban: Cruising Utopia: The Then and There of Queer Futurity
  • Muñoz, José Esteban. The sense of brown (2020)
  • Nöth, Winfried: Strukturen des Happenings, Georg Olms Verlag, Hildesheim – New York, 1972, 271 p., ill., b&w
  • O’Dell, Kathy: Contract with the Skin: Masochism, Performance Art, and the 1970s, University of Minnesota Press, 1998 – describes masochistic performance practices, including Gina Pane, Vito Acconci, Chris Burden and early Abramovic/ULAY.
  • Oliver, Valerie Cassel. “Putting the Black Body on the Line: Endurance in Black Performance” in Radical Presence: Black Performance in Contemporary Art Catalogue (Houston: Contemporary Art Museum Houston, 2013
  • Oredsson, Ellen . A Brief Introduction to Performance Art and Its History in Asia
  • Ormiston, Rosalind.  50 art movements you should know : from impressionism to performance art (2014)
  • Pagnes, Andrea. The Fall of Faust – Considerations on Contemporary Art and Art Action. VestAndPage press, July 2010
  • Paramana, Katerina and Gonzalez, Anta (ed.). Performance, dance and political economy : bodies at the end of the world (2021)
  • Pavlína Morganová, Czech Action Art. Happenings, Actions, Events, Land Art, Body Art and Performance Art Behind the Iron Curtain, Karolinum Press, Prague 2014, p. 233, also Tomáš Poszpiszyl, “A Replica Does Not Represent Merely a Copy but Part of a Dialogue,” in Barbora Klímová (ed.), Replaced, Brno 2006.
  • Pavlína Morganová ‒ Terezie Nekvindová ‒ Sláva Sobotovičová (eds.), Czech Performance Art: Film and Video, 1956–1989 (Prague: VVP AVU, 2015).
  • Pavlína Morganová, “Fluxus in the Czech Period Press,” in Petra Stegman (ed.), Fluxus East. Fluxus Netzwerke in Mittelosteuropa (Berlin: Künstlerhaus Bethanien GmbH, 2000), pp. 177‒196; also Pavlína Morganová, “České akční umění 60. let v dobovém tisku” (Czech Action Art of 1960s in the Press), in Akce, slovo, pohyb, prostor / Experimenty v umění šedesátých let (Action, Word, Movement, Space / Experimental Art of the Sixties), catalogue of the exhibition, Gallery of the City of Prague, Prague 1999.
  • Julia Antivilo Peña, “‘Entre lo sagrado y lo profano se tejen rebeldías’: Arte feminista latinoamericano; México, 1970–1980” (MA thesis, Universidad de Chile, 2006). La Revuelta is a female collective that names and recognizes its members and other women in cultural, political, and social scenes. Its purpose is to retell history under its own terms and experiences by creating intersectional and decentralized spaces. By using art as a tool, it proposes insurrection as a means to recover the spaces and voices that have been silenced throughout history. We aim to strengthen the social fabric by weaving women back into it as if they were strong, different and colorful threads. Members include: Maya Juracán (Activist and Art Curator), Renata Alvarez (Architect and Art Curator), Jimena Galán Dary (Communicator and Investigator), and Christa Krings (Cultural Manager).
  • Phaidon Editors: African Artists From 1882 to Now
  • Phelan, Peggy ed., Live Art In LA: Performance in California, 1970-1983, ed. Peggy Phelan (Routledge, 2012)
  • Peggy Phelan, “The ontology of performance: representation without reproduction,” in Unmarked: The Politics of Performance (London and New York, Routledge, 1995).
  • Performance, Studio International, Vol. 192, No. 982, July-August 1976
  • Performanc e, New Symposion, XXI. yearf, 236th (thematic number), August 1985
  • Performance Art. Into the 90s, Art & Design Profile, No. 38 (special issue), 1994
  • Perovic, Sanja. Performance Art and Revolution Stuart Brisley’s Cuts in Time (2023, English, book)
  • Phelan, Peggy: ‘On Seeing the Invisible: Marina Abramovic’s The House with the Ocean View’, Milan: Charta, 2003. Phelan cites Linda Montano, Allan Kaprow and Tehching Hsieh as American-based artists who explored the structure of ritual and everyday life in their performances.
  • PIJNAPPEL, Johan, and Betty SEID. New Narratives: Contemporary Art from India. Ahmedabad: Mapin Publishing, 2007.
  • Pinder, Jefferson. “About Jefferson Pinder,” http://www.jeffersonpinder.com/about/ (website)
  • Piotr Piotrowski, In the Shadow of Yalta: Art and the Avant-garde in Eastern Europe, 1945–1989 (Reaktion Books, 2009).
  • Piotrowski, Zygmunt: Theory of Performance, Warsau, 1987, ca. 16 p.
  • Morganová, Pavlína. 2020. “Performance Art in Czechoslovakia – Remembered, Described, Interpreted, Photographed and Filmed, Sometimes Even Reenacted.” Sandra Frimmel, Tomáš Glanc, Sabine Hänsgen, Katalin Krasznahorkai, Nastasia Louveau, Dorota Sajewska, Sylvia Sasse (eds.). 2020. Doing Performance Art History. Berlin: Apparatus Press. DOI: http://dx.doi.org/10.17892/app.2020.0000.206
  • Pavlína Morganová, „Untitled“, in: Jiří Kovanda – I Haven’t Been Here Yet (Wroclaw: Muzeum Wspótezesne Wroclaw, 2013).
  • Pavlína Morganová, A Walk Through Prague: Actions, Performances, Happenings 1949−1989 (Prague: VVP AVU 2017), Czech Action Art / Happenings, Actions, Events, Land Art, Body Art and Performance Art Behind the Iron Curtain (Prague: Karolinum Press 2015).
  • Pavlína Morganová ‒ Terezie Nekvindová ‒ Sláva Sobotovičová (eds.), Czech Performance Art: Film and Video, 1956–1989 (Prague: VVP AVU, 2015).
  • Pavlína Morganová, Procházka akční Prahou (A Walk Through Action Prague), 1949‒1989 (Prague, VVP AVU, 2014). The book is going to be published in English at the end of 2017.
  • See Epilogue in Pavlína Morganová, Czech Action Art. Happenings, Actions, Events, Land Art, Body Art and Performance Art Behind the Iron Curtain, Karolinum Press, Prague 2014, p. 233, also Tomáš Poszpiszyl, “A Replica Does Not Represent Merely a Copy but Part of a Dialogue,” in Barbora Klímová (ed.), Replaced, Brno 2006, p. 74.
  • Muñoz, José: Performing Disidentifications
  • Munroe, Alexandra: Japanese Art after 1945: Scream Against the Sky, Harry n Abrams NY 1994.
  • Noguera, Ana María Enciso : How performance art has united women’s voices in Latin America and throughout the world
  • O’Donnell, Darren: Social Acupuncture
  • Oliver, Valerie Cassel; “Putting the Black Body on the Line: Endurance in Black Performance” in Radical Presence: Black Performance in Contemporary Art Catalogue (Houston: Contemporary Art Museum Houston, 20
  • Olsen, Andrea; The Place of Dance: A Somatic Guide to Dancing and Dance Making
  • Open Research Amsterdam various resources
  • Ovejero, G. (2001). El origen como fantasma en tránsito perpetuo. La transparencia del origen (pp. 173-213). Universidad Politécnica de Valencia.
  • Paltriwieri, Roberta, PArmiggian, Paola, Musaró, Pierluigi, Moralli, Meissa: Right to the City: performing arts and migration
  • Pather, Jay and Catherine Boulle, Ed.: Acts of Transgression: Contemporary Live Art in South Africa; Wits University Press, 2019
  • Pearson, Mike: Site-Specific Performance
  • Petrešin-Bachelez, Nataša: Resilient Practices: A Few Case Studies on Performances in Public Spaces and their Controversies in the former Eastern Europe
  • Phelan, Peggy: Acting Out: Feminist Performances (University of Michigan Press, 1993
  • Phelan, Peggy: Art and Feminism, ed. by Helena Reckitt (Phaidon, 2001)
  • Phelan, Peggy co-editor with Jill Lane. The Ends of Performance (New York University Press, 1997
  • Phelan, Peggy ed.. Live Art in Los Angeles, (Routledge, 2012)
  • Phelan, Peggy: Mourning Sex: performing public memories (Routledge, 1997;
  • Phelan, Peggy: Ontology of Performance
  • Phelan, Peggy: Unmarked: the Politics of Performance (London: Routledge, 1992)
  • Piotr Piotrowski, In the Shadow of Yalta: Art and the Avant-garde in Eastern Europe, 1945–1989 (Reaktion Books, 2009).
  • Polgovsky Ezcurra, Mara. Touched bodies : the performative turn in Latin American art (2019)
  • Pope, William: Sandwich Lecture
  • Porkola, Pilvi. Performance artist’s workbook : on teaching and learning performance art : essays and exercises. (2017) The aim of this book is to offer perspectives on performance art practice with a focus on teaching. This subject has been rarely approached in the literature and this book gives insights and inspiration for all those teaching performance art as well as to anyone else interested in this art form.
  • Prieto, A. (1999). Border Art as a Political Strategy. ISLA – Information Services Latin America.
  • Oryor, Jaclyn I.. Time slips : queer temporalities, contemporary performance, and the hole of history (2017)
  • Purseglove, Laura Ed.: Bodies of Knowledge
  • Quick, Sophie, Putting in time : long-durational performance art spectatorship
  • Ramirez, Mari Carmen, and Héctor Olea, eds. Inverted Utopias: Avant-Garde Art in Latin America. New Haven, CT: Yale University Press, 2004. Assembly of primary documents on and writings by Latin American artists and critics. (English)
  • Ranjana DAVE, Improvised Futures: Encountering the Body in Performance: India Since the 90s: Volume 2, Tulika Books (New Delhi, India) 2022
  • Reckitt, Helena: The Art of Feminism: Images that shaped the fight for Equality, 1857-2017, Chonicle Books
  • Reen, Alison Rose. Love and abolition : the social life of Black queer performance (2022)
  • Reinelt, Janelle and Rai, Shirin M (eds). The grammar of politics and performance (2016)
  • Reiss, Julie H.: From Margin to Center The Spaces of Installation Art – A study of installation art, from its marginalized beginnings in the late 1950s to its central position in today’s art world.
  • Karen Gonzalez Rice. Long Suffering: American Endurance Art as Prophetic Witness. Ann Arbor: University of Michigan Press, 2016. 206 pp., 15 b/w ills.
  • Richard, Alain-Martin Robertson, Clive: Performance au/in Canada 1970-1990, Éditions Intervention, Quebec, 1991, 395 p., respectively., b&w
  • Ritondale, Elena y Roxana Rodríguez Ortiz. 2021. “Sobre fronteras, cuerpos y prácticas artísticas situadas: un diálogo colectivo”. Mitologías hoy 23 (junio): 195-205.
  • Ritter, Julia; Tandem Dances: Choreographing Immersive Performance
  • Rimmaudo, Annalisa, The Body as Language: Women and Perfor­mance
  • Rivera, Nelson; Visual Artists and the Puerto Rican Performing Arts, 1950-1990: The Works of Jack and Irene Delano, Antonio Martorell, Jaime Suarez, and Oscar Mestey-Villamil. New York: Peter Lang, 1997. xvii + 232 pp. $47.95 (cloth), ISBN 978-0-8204-2620-4
  • Roms, Heike. What’s Welsh for Performance? Beth Yw ‘performance’ Yn Gymraeg?: An Oral History of Performance Art in Wales 1968 – 2008 (Samizdat Press) Paperback – 2008
  • Rosenthal, Rachel, Chaudhuri, Una (Ed.). Rachel’s Brain and Other Storms
  • Roth, Moira (ed). Amazing Decade: Women and Performance Art in America, 1970-1980 Paperback – January 1, 1984 Astro Artz
  • Roth, Moira (ed). Rachel Rosenthal (1997)
  • Russel, Mark: Out of Character: Rants, Raves, and Monologues from Today’s Top Performance Artists, Wonder Books, 1997
  • Zora Rusinova (ed.), Action Art 1965‒1989 (Bratislava: SNG, 2001),
  • Sandoval, Rosemberg: artist catalog 2004, bogota
  • Sandford, Mariellen R. (ed.): Happenings and Other Acts, Routledge, London, New York, 1995, 397 p., ill., b&w
  • Sajewska, Sylvia Sasse (eds.). 2020. Doing Performance Art History. Berlin: Apparatus Press.
  • Saurisse, Pierre. ‘Performance Art in the 1990s and the Generation Gap’
  • Sayre, Henry M. The Object of Performance The American Avant-Garde since 1970. University of Chicago Press,
  • Schaefer, Sandrine. It’s About Time: Thoughts on the Rise of Extended Duration in Performance-based Practices
  • Schimmell, Paul: Out of Actions: Between Performance and the Object, 1949-1979 – The rise of performance art, and its merging with more traditional forms like painting and sculpture, is the great revolution of postwar art. Its links to theater, photography, music, dance, politics, and popular culture have made it especially appealing to contemporary artists in remote areas; more than any other movement in recent art, performance has found a place throughout the world. Covering three decades of significant and original art, this book features work by more than one hundred artists from the United States, South America, Eastern and Western Europe, and Japan who have had a profound impact on the relationship between visual and performance art in the postwar era.
  • Schneemann, Carolee. More Than Meat Joy: Performance Works and Selected Writings Paperback – March 1, 1997
  • Schneider, Rebecca: Explicit Body in Performance
  • Sell, Mike. Avant-Garde Performance and the Limits of Criticism. Approaching the Living Theatre, Happenings/Fluxus, and the Black Arts Movement. University of Michigan Press. 2008.
  • Lara Shalson, Performing Endurance: Art and Politics since 1960.
  • Shanken, Edward A., ed. Art and Electronic Media. London and New York: Phaidon, 2009.
  • Sheren, Ila: Performing Migration: Art and Site-Specificity at the U.S.-Mexico Border
  • Sheren, I. (2011). Portable Borders/Mythical Sites: Performance Art and Politics on the US Frontera, 1968-Present [Disertación doctoral no publicada]. Massachusetts Institute of Technology.
  • Shiraga, Kazuo. “ Only Action,” Gutai 3 ( October 20, 1955): 22, as quoted in Munroe, Japanese Art after 1945, 372–73.
  • Simone, Lara and Shalson, Esme. Endurance: Art, Politics, and Performance (Berkeley: University of California, 2008
  • Sinclair, Nicholas, Morgan, Stuart , Keidan, Lois. Franko B, Black Dog Publishing (October 1, 1998)
  • Smirna K. Performance Art and its Journey to Recognition Art History – Widewalls.ch
  • Smith and Sawchyn: Fluxus Performance Workbook
  • Sobczak, Janina (ed.): Galeria Dzialan. The Gallery of Action. 1986-1989, Sztuka Polska, Warsaw, 1989, ca. 50 p., ill., b&w
  • Sohm, Hans. Happening & Fluxus: Materialen. Koelnischer Kunstverein, 1970, in German, English, and French. Includes Sohm, Hans, Allan Kaprow, Wolf Vostell, Ben Vautier, Ay-o, Nam June Paik, Dick Higgins, Yoko Ono, Ken Friedman, Al Hansen, John Cage, Claes Oldenburg, Robert Watts, Robert Filliou, George Brecht, Bazon Brock, Red Grooms, Carolee Schneemann, et al.
  • Somaya, Sandra: Primer Encuentro Mundial de Arte Corporal (caracas: Ministerio de la Cultura 2006)
  • Spoerri, Daniel. An Anecdoted Topography of Chance: By Daniel Spoerri, Robert Filliou, Emmett Williams, Dieter Roth, Roland Topor. Hardcover – February 23, 2016
  • Sprinkle, Annie, Cody, Gabrielle (ed). Hardcore from the Heart: The Pleasures, Profits and Politics of Sex in Performance (Critical Performances) Paperback – June 7, 2006
  • Stephano, Effie (1973) Gina Pane, performance of concern. Art and Artist
  • Petra Stegmann (ed.), Fluxus East. Fluxus Networks in Central Eastern Europe (Berlin: Künstlerhaus Bethania GmbH, 2007).
  • Kristine Stiles et al., Out of Actions: Between Performance and the Object 1949‒1979 (London: Thames and Hudson, 1998).
  • Stiles, Kristine: Performance Art -ch 8 in Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings, eds. Kristine Stiles and Peter Selz, University of California Press, 1996, pp 679ff; 2nd ed., 2012, pp 798-954. Introduction. Writings by an international selection of performance artists, with an introduction to the history of performance art from the 1950s to the present. See also chapter 5, “Art and Technology”, for video and multimedia performance, and chapter 9, “Language and Concepts”, for conceptual performance. (English)
  • Stiles, Kristine, and Peter Selz, eds. Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings. Rev. ed. Berkeley: University of California Press, 2012.
  • Stiles, Karen and schneemann, Carolee 2010 – COrrespondence course: An Epistolary history of Carolee Schneeman and her circle Duke University Press
  • Studies in International Performance
  • Sundell, Nina; Rauschenberg, Robert. Rauschenberg performances 1954-1979. Pesaro, Italy : Galleria di Franca Mancini, 1983.
  • Swidzinski, Jan: 20 ans d’artinteruel, Les Éditions Intervention, Quebec, 1997, 16 p., ill., b&w
  • Annamária Szőke (ed.): The performance art, Artpool – Balassi Publishing House – Durable wave, Budapest, 2000, 348 p., respectively., b&w
  • Tancons, Claire and Krista Thompson (ed): EN MAS’: Carnival and Performance Art of the Caribbean, Independent Curators International
  • Tankha, Akshaya, An Aesthetics of Endurance Art, Visual Culture and Indigenous Presence in Nagaland, India
  • Tarver, Gina McDaniel: Art Does Not Fit Here – Colombian Conceptual Art between the International ‘New Avant-Garde’ and Colombian Politics
  • Taylor, Diana. Holy Terrors: Latin American Women Perform, Duke University Press Books (December 24, 2003)
  • Torr, Diane and Bottoms, Stephen. Sex, Drag, and Male Roles: Investigating Gender as Performance. Ann Arbor: University of Michigan Press, 2010 (online)
  • Torrens, Velentín: How We Teach Performance Art – University Courses and Workshop Syllabus
  • The Transparent Performer/Surface Tension. New Delhi: Art Heritage Gallery, 2014.
  • Truax, Raegan: Durational Performance: Temporalities of the Untimely Body – focuses on global women and/or genderqueer artists who bend, suspend, and manipulate time as a political material.
  • Turner, Victor: From Ritual to Theatre: The Human Seriousness of Play, New York: PAJ Publications, 1984
  • Jiří Valoch, Epilogue to Akční umění (Action Art) by Pavlína Morganová (Olomouc, Votobia, 1999), p. 143.
  • Vergine, Lea: Body Art and Performance: The Body as Language 1974
  • Vidal, Javier. Nuevas tendencias teatrales: la performance : historia y evolución de las vanguardias clásicas
  • Vostell, Wolf. Aktionen: Happenings und Demonstrationen seit 1965. Hamburg: Rowohlt, 1970
  • Wagner, Anne: Performance, Video, and the Thetoric of Presence
  • Wark, Jayne: On the Road Again: Metaphors of Travel in Cultural Criticism in Resident Alien: Feminst Cultural Criticism Cambridge 1995
  • Wark, Jayne – Radical Gestures: Feminism and Performance in North America, McGill-Queen’s University press (2006)
  • Warr, Tracey: “Documents”, in The Artist’s Body, ed. Tracey Warr, London: Phaidon, 2000, pp 190-287; abr., rev. & upd.ed., 2012. (English)
  • Werth, Brenda and Zien, Katherine (ed.). Bodies on the front lines : performance, gender, and sexuality in Latin America and the Caribbean (2024)
  • Wooden, Isaiah Matthew, Jefferson Pinder and the Art of Black Endurance
  • Wrights and Sites: A manifesto for a new Walking Culture
  • Wu Hung, and Peggy Wang, eds. Contemporary Chinese Art: Primary Documents. New York: Museum of Modern Art, 2010.
  • Wynne-Jones, Victoria. Choreographing intersubjectivity in performance art (Published: 2021 | English)
  • Yoshimoto, Midori. Into Performance: Japanese Women Artists in New York, Rutgers University Press, 2005
  • Zellinger, Alfred. Die Sinnlichkeit der Theorie : zur Ästhetik des industriellen Systems , performances, environments, action. Wien : Falter-Verl.
  • Zerihan, Rachel: ‘Revisiting Catharsis in Contemporary Live Art Practice: Kira O’Reilly’s Evocative Skin Works’, in Theatre Research International, Vol. 35, No. 1
  • Zinn, Howard: artists in times of war, New York, Seven Stories Press, 2003
  • Ziter, Edward: Migration in the theater, film and performance art. Class at NYU< Tisch
  • Zurbrugg, Nicholas. Art, Performance, Media: 31 Interviews. Univ Of Minnesota Press
  • Zutter, Jörg F. (ed.): Persönliche Welten. Die Wirklichkeit als Metapher. Personal Worlds. Reality as Metaphor, Amt Bildende Künste Ausland vom Ministerium für Kultur. Office for Abroad of the Ministery for Cultural Affairs, Amsterdam, 1978, 63 p., ill., b&w
Interviews
Regional and focused Performance Art Resources
Performance Art / Performance Journals, Museums, websites, museum shows, and resources
  • Affect and Colonialism – The «Affect and Colonialism» Web Lab brings together researchers, journalists, activists, and artists all over the world
  • Art in the Public Interest (API) – API is a nonprofit organization formed in 1995 to serve the information needs of artists and organizations who are bringing the arts together with community and social concerns. Based in North Carolina, API was founded by co-directors Linda Frye Burnham and Steven Durland. Burnham chairs API’s national board of directors, which also includes William Cleveland, director of the Center for the Study of Art and Community in Bainbridge Island, Wash., Kathie deNobriga, consultant and former director of Alternate ROOTS in Atlanta, and Robert Donnan, independent community and economic development consultant in North Carolina. The name “Art in the Public Interest” was taken with permission from the excellent book of the same name written by late Arlene Raven,Village Voice art critic and longtime contributing editor to API’s magazine, High Performance. (US)
  • Art-Rite – 1973-1978 in New York City. out of print
  • Artishock – the most viewed digital magazine of contemporary art in Chile
  • AYMOlive – Streaming / worldwide
  • Centro de investigación y documentación de la performance – Art Museum
  • https://contemporaryperformance.com/
  • Contemporary And América Latina – Contemporary And América Latina is a dynamic, critical art magazine focusing on the connection between Afro-Latin America, The Caribbean and Africa.
  • ECC – Performance Art (EU) – education, research, and exchange
  • Ecumenica: Performance and Religion – attends to the combination of creativity, religion, and spirituality in expressive practice. A peer-reviewed journal, Ecumenica regards performance and religion as overlapping and often mutually-constituting categories, preferring no particular form of creative expression, and privileging no particular religious tradition. The journal’s very aim is to consider the variety of modes in which creative and religious impulses might be realized. Ecumenica ’s interdisciplinary premise welcomes all critical approaches to such topics as performance art, theatre, ritual, contemplative and devotional practices, and expressions of community.
  • European Journal of Theatre and Performance – The objective of the journal is to become an open window onto Theatre and Performance. It is a place in which to develop our discipline as well as to search for new directions. It will stimulate a close dialogue between theory and practice, and between theatre and performance scholars and artists across Europe.It is a space where theatre can reflect and be critical about itself, and a space intimately connected with the world that surrounds it. Starting from the local, it is also a place in which to question the global and to promote boundary-crossing, taking in consideration European backgrounds and the variety of methodologies and theoretical approaches to our field. It also will work to enable a number of languages to be used within the journal. – Each issue of the European Journal for Theatreand Performance consists of four recurring sections that have their own aims and scopes, but which are all intended to contribute to the journal’s overarching objectives to stimulate a close dialogue between theory and practice, to navigate between local traditions (of research and practice) and global tendencies (within and beyond Europe), and to promote historical and contemporary perspectives on the performing arts.
  • High Performnace Magazine – 1978- 1997 High Performance started out covering exclusively performance art and gradually grew to include video, sound, and public art.[2][3] It dealt with viewing the arts in the larger context of contemporary life, examining how the arts contribute in addressing social and cultural concerns, and also how those concerns impact the arts. Published Los Angeles, CA, US
  • The International Performance Association. The International Performance Association (IPA) is an expanding network of process oriented artists, devoted to cultural awareness through the professional practice of performance art. IPA strives to provide a platform for such artists from all over the globe to exchange ideas and initiate progress in the world of performance art. Founded as IPAH e.V. in 2006, we have formed a series of workshops, performance festivals and meetings that encourage the development of participants‘ artistic endeavors. – In 2012 the original organization was split. IPAH e.V. still remains in Hildesheim/Germany. The original IPAH Summercamp and the Platform For Young Performance Artists is from now on organized by IPA, seated in Hanau/Germany, under the new title IPA Summer. In 2012, IPA Istanbul was established as partner organizations, followed by IPA Bucharest in 20014, IPA Bristol in 2015 and IPA The Hague in 2017.
  • Goldberg, RoseLee: 100 Years: A History of Performance Art, MOMA (Museum of Modern Art) New York 2010
  • Live art and per­for­mance stud­ies (LAPS), masters (Finland) – degree program)
  • monoskop.org/Performance_art
  • https://www.onlineperformanceart.com/
  • On The Move – (France, EU) On the Move provides information on cultural mobility that is clear, up-to-date, and always free to use. Drawing on the expertise of our network and partners, we source open calls for our website, maintain a collection of more than 60 funding guides, and point to external guidance on specialist topics like visa and tax law. We also publish thematic reports and publications, undertake research, and design mentoring programmes for artists and organisations. All our work is underpinned by a commitment to engaging with the context, environmental impacts and ethics of mobility.
  • Performance Art Museum – The Performance Art Museum advances the visibility, legacy, and scholarship of artists working in performance.
  • Performance Art Index
  • PAJ: A Journal of Performance and Art. MIT Press Direct
  • Performance Philosophy
  • Performance Studies International
  • Performance Studies internationalhttps://www.psi-web.org/
  • Performers– Patrick Morarescu’s photo series of performance artists
  • Performancelogia
  • performingborders – is a curatorial research-platform that explores the relations between Live Art and notions and lived experiences of intersectional and transnational borders.
  • MA in Contemporary Performance Practices (UK)
  • The Roberts Institute of Art -a non-profit contemporary arts organisation. We commission pioneering performance art, run a residency programme in Scotland and collaborate with national partners on exhibitions to research and share the David and Indrė Roberts Collection. 
  • Stir World – performance art links – Our ethos since inception has been to stir up creative thought, practice and discourse – while fostering innovation in design, architecture and the arts. Our accolades, including the Cannes Gold Lion, inspire us to strive further, not rest on our laurels.
  • This enables our mantra #thinkNEXT. STIRworld.com, launched in 2019, is a global digital magazine distinguished by its curated, thought-provoking content. A launchpad for the ‘new’, STIRpad.com (2021) enables creatives, gallerists and manufacturers to narrate stories 365 days a year. STIRfri, our weekly newsletter makes your Fridays matter with a well-read weekend. Looking ahead, we continue to focus on community and collaboration, leveraging technology to shape our pursuit of the NEXT.
  • Women & Performance: a journal of feminist theory – Women & Performance: a journal of feminist theory publishes scholarly essays from interdisciplinary feminist perspectives. For us, “women” and “performance” denote not simply what we study but how we study it—that is, not preconceived objects of analysis, but rather an open assembly of political, ethical, and aesthetic orientations, feminism chief among them. We encourage dialogues among various fields of performance scholarship, including theater and performance studies, dance studies, music history and criticism, ethnography, new and digital media, cinema studies, and cultural studies; as well as queer, critical race, and post- and decolonial theory. Working with/in this disciplinary hybridity, we explore critiques of gender, race, ethnicity, class, sexuality, dis/ability, technology, nation, and capitalism.
Performance Art Video Sites
  • Ubu Web – UbuWeb is pleased to present thousands of avant-garde films & videos for your viewing pleasure. However, it is important to us that you realize that what you will see is in no way comparable to the experience of seeing these gems as they were intended to be seen: in a dark room, on a large screen, with a good sound system and, most importantly, with a roomful of warm, like-minded bodies. – However, we realize that the real thing isn’t very easy to get to. Most of us don’t live anywhere near theatres that show this kind of fare and very few of us can afford the hefty rental fees, not to mention the cumbersome equipment, to show these films. Thankfully, there is the internet which allows you to get a whiff of these films regardless of your geographical location.
  • EAI – Since 1971, EAI has fostered the distribution, preservation, and study of artists’ video and media.
  • Class perf art video list
  • Contemporary Cruising – We have no information on goals of site.
Performance Art Podcasts
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