syllabus and rpadings

A History of Performance

Moira Roth

As with all syllabi, this one is imperfect. U.S. Happenings, Music, Theater, and Critical Introduction (New York: Rout­ Readers will see that the course in no way Dance Experiments in the 1960s; 7) ledge). Two other major new source books aspires to be global, but rather focuses on Fluxus Sensibilities; 8-9) Introduction to are Kristine Stiles and Peter Selz, eds., earlier historical material from Europe, U.S. Performance Art, Late 1960s-1980s; Theories and Documents of Contemporary together with contemporary U.S. happen­ 10) Pushing the Boundaries: Performance Art: A Sourcebook of Artists' Writings ings and performances, focusing on the Art, Censorship, and AIDS. The remain­ (Berkeley: University of California Press, 1960s and 1970s. There is much further ing weeks were devoted to student presen­ 1996), and Jerome Rothe~berg and Pierre 73 work to be done, not only in bringing it tations/performances. Joris, ed., Poems for the Millennium, Vol­ "up-to-date" chronologically, but also the­ ume One: From Fin-de-Siecle to Negritude oretically. Equally, the selection of artists Course Description (Berkeley: University of California Press, and works needs to be revised to present a 1995). Important forthcoming publica­ more balanced reading in terms ofcultural Historically the seminar begins with the tions include Charles R. Garoian, Perfor­ diversity, gender, and sexual orientation. I European antecedents of this art form in mance Art Anthology and Peformance Art, want to stress, too, that although I use the Futurist, Dada, and Russian revolu­ Culture, Pedagogy (the edited proceed­ many videos and audiotapes, I I have not tionary art movements, and so on. Simul­ ings of a symposium held at Penn State been able to include a list ofthem here. taneously it places the history of University in University Park, Pennsylva­ performance art in the wider context of the nia, November 13-17, 1996) and Amelia nineteenth-century dandy tradition and Jones, Body Art: Performing the Subject have taught performance classes since the history of avant-garde theater (includ­ (Minneapolis: University of Minnesota I the 1970s, first at the University of Cal­ ing cabaret), dance, and music. The focus Press, 1998). In addition, there will be an ifornia, San Diego, and now at Mills Col­ then shifts to the United States. important catalogue for the exhibition Out lege in Oakland. This current seminar is Performance art develops here in ofActions: Between Performance and the part of our regular curriculum, and I teach the 1960s, a highly theatrical as well as Object, 1949-1979 (Los Angeles: Museum it every other year, revising it extensively political decade, in the context of experi­ of Contemporary Art and London: Thames each time. In recent years, I have pro­ mental theater, music, dance, and hap­ and Hudson, 1998), edited by Paul duced photocopied "books" of students' penings, the Conceptual and earthwork art Schimmel and Russell Ferguson, with essays. I also have selected one or two movements, and a deep questioning of art essays by Guy Brett, Kellie Jones, Hubert artists on whom to focus; in 1995, these institutions and the role of the artist. As Klocker, Shinichiro Osaki, Schimmel, and were Suzanne Lacy and Joyce Scott (see performance art formally emerges as a Kristine Stiles. readings for Weeks 2 and 4).2 Additional­ recognized genre in the late 1960s and Downloaded by [Flinders University of South Australia] at 17:40 05 January 2015 ly, we always do some sort of collective early 1970s, it becomes a major vehicle Frequently Cited Sources event. Among the most memorable were a for contemporary artists in the United twelve-hour theater piece (each piece, States; from the beginning, women artists Benedikt, Michael, and George E. Well­ beginning on the hour, was located on the play leading roles in developing its char­ worth, eds. Modern French Theater: Mills campus); a red banquet (attended by acter and scope. The Avant-Garde, Dada, and Surreal­ a large audience that wore red to this lav­ The readings "required" for the ism, An Anthology ofPlays. New York: ish eight-course "red" meal with many 1995 seminar came from a photocopied Dutton, 1966. performances); and a seven-course break­ anthology of texts (which I revised each Carr, C. On Edge: Performance at the fast (designed in seven different colors in time I teach this material) and Robyn End ofthe Twentieth Century. Middle­ honor of Linda Montano's Seven Years of Brentano and Olivia Georgia, Outside the town: Wesleyan University Press, c. Living Art). Frame: Performance and the Object, A 1993. In 1995, I divided the material and Survey History of Performance Art in the Goldberg, RoseLee. Performance Art: readings into thirteen weeks as follows: 1) USA since 1950 (Cleveland: Cleveland From Futurism to the Present. New General Introduction; 2) Suzanne Lacy; 3) Center for Contemporary Art, 1994). York: Abrams, 1988. Dada, Futurism, and Dandyism; 4) Joyce NB. In 1996, Marvin Carlson pub­ Hart, Lynda, and Peggy Phelan, eds. Acting Scott; 5) Revolutionary Russian, German, lished an interesting text, which includes Out: Feminist Performances. Ann Arbor: and French Theater; 6) Introduction to a useful bibliography: Performance: A University of Michigan Press, 1993.

ART JOURNAL 74

Suzanne Lacy and collaborators, The Turning Point Pro;ect, Vancouver, 1997 (a yearlong performance series on young girls and self-esteem).

Juno, Andrea, and V. Vale, eds. Angry "Lacy: Some of Her Own Medicine," York: Oxford University Press, 1973. Women. San Francisco: Re/Search 71-76; Roth, "Selected Bibliography Futurist texts by Balla, Boccioni, Cangiul­ Publications, no. 13, 1991. on Suzanne Lacy," 77-81. 10, Marinetti, and Rognoni. In Kirby Kirby, Michael, and Victoria Nes Kirby. and Kirby, Futurist Performance, Futurist Performance. New York: Per­ Further Recommended Reading 233-37,252-53,294-95,301. forming Arts Journal Publications, Glassberg, David. American Historical Jarry, Alfred. Editor's introduction and 1986. Pageantry. Chapel Hill: University of selections from King Ubu (1896). In North Carolina Press, 1990. Benedikt and Wellwarth, Modern Lacy, Suzanne, ed. Mapping the Terrain: French Theater, x-xiii, 1-15. New Genre Public Art. Seattle: Bay Marinetti, Filippo Tommaso. "The Vari­ WEEK 2 Press, 1994. ety Theater" (1913). In Kirby and Suzanne Lacy, Performance Work Kirby, Futurist Performance, 179-86. Brentano, foreword, introduction, and Russolo, Luigi. "The Art of Noise" Olivia Georgia, "Framing Out," in (1913). In Kirby and Kirby, Futurist Outside the Frame, 85-107, and WEEK 3 Performance, 166-74. plates 21-29, 109-34,215-35. Dada, Futurism, and Dandyism Schwitters, Kurt. "Theo van Doesburg

Downloaded by [Flinders University of South Australia] at 17:40 05 January 2015 Symbolist, Dada, and Surrealist and Dada" (1931). In Robert Mother­ Photocopy Anthology theater and persona experiments; well, ed. The Dada Painters and Kelley, Jeff. "The Body Politics of Suzanne Futurist "evenings"; theories about Poets: An Anthology, 275-76_ New Lacy." In Nina Felshin, ed. But Is It theater and sound. York: Wittenborn, Schultz, 1985. Art? The Spirit ofArt as Activism, Segel, Harold B. "Zurich: Dada Voltaire." 221-50. Seattle: Bay Press, 1995. Brentano, performance art timeline, in In Turn-ofthe-Century Cabaret: Paris, Roth, Moira. "Visions and Re-Visions: A Outside the Frame, 137-50. Barcelona, Berlin, Munich, Vienna, Conversation with Suzanne Lacy." Art­ Cracow, Moscow, St. Petersburg, forum 19, no. 3 (November 1980): Photocopy Anthology Zurich, 321-{)5, 389-91. New York: 42-45. Apollinaire, Guillaume. The Breasts of Columbia University Press, 1987. TDR (The Drama Review) 32, no. 1 Tiresias (1917). In Benedikt and Well­ Tzam, Tristan. "The Gas Heart" (1920). (Spring 1988). Special section on warth, Modern French Theater, 63-79. In Benedikt and Wellwarth, Modern Suzanne Lacy with the following texts: Duchamp, Marcel (Rrose Selavy). "Men French Theater, 131-46. Moira Roth, "Suzanne Lacy: Social before the Mirror." In Michel Sanouil­ Zdanevich, lIya, and Mikhail Larionov. Reformer and Witch," 42-60; Diane let and Elmer Peterson, eds. Salt Sell­ "Why We Paint Ourselves: A Futurist Rothenberg, "Social Art/Social er: The Writings ofMarcel Duchamp Manifesto" (1913). In John E. Bowlt, Action," 61-70; Lucy R. Lippard, (Marchand du Sel), 188-89. New ed. Russian Art ofthe Avant-Garde:

WINTER 1997 Theory and Criticism 1902-1934, kins University Press, 1994. Photocopy Anthology 80-83. New York: Viking Press, 1976. Motherwell, Robert, ed. The Dada Sims, Lowery. "Aspects of Performance in Painters and Poets: An Anthology. the Work of Black American Women Further Recommended Reading New York: Wittenborn, Schultz, 1985. Artists." In Joanna Frueh, Cassandra Naumann, Francis M., and Beth Vann, L. Langer, and Arlene Raven, eds. General eds. Making Mischief Dada Invades Feminist Art Criticism: An Anthology, Goldberg, "Futurism" and "Dada," in New York. Exh. cat. New York: Whit­ 207-25. Ann Arbor: UMI Research Peiformance Art, 11-30,50-74. ney Museum of American Art/Abrams, Press, i988. Avant-Garde and Theater History/Texts 1997. Benedikt and Wellwarth, Modem French Roth, Moira. "Marcel Duchamp in Ameri­ Theater. ca: A Self Ready-Made." Arts Maga­ Deak, Frantitek Symbolist Theater: The zine 51, no. 5 (May 1977): 92-96. WEEK 5 Formation ofan Avant-Garde. Balti­ Rothenberg, Jerome, and Pierre Joris, more: Johns Hopkins Press, 1993. eds. Kurt Schwitters: Poems Peifor­ Revolutionary Russian, Shattuck, Roger. The Banquet Years: The mance Pieces Proses Plays Poetics. German, and French Theater Origins ofthe Avant Garde in France, Philadelphia: Temple University Russian Revolutionary mass theater, 1895 to World War I: Alfred larry, Press, 1993. Bauhaus theater experiments, and the Henri Rousseau, Erik Satie, Guillaume Rugh, Thomas F. "Emmy Hennings and writings ofBrecht and Artaud. the Emergence of Zurich Dada." Apollinaire. Rev. ed. New York: Ran­ Brentano, chronology (1917-51), in Out­ dom House, 1968. Woman's Art loumal2, no. 1 (Spring-Summer 1981): 1-6. side the Frame, 141-51. Sawelson-Gorse, Naomi, ed. Women in Cabaret and Performance History Photocopy Anthology Dada. Cambridge, Mass.: MIT Press 75 Appignanesi, Lisa. The Cabaret. New Artaud, Antonin. "On the Balinese The­ (forthcoming). York: Universe, 1976. ater" (selection); "The Theater of Cruel­ Segel, Harold B. Tum-of-the-Century Dandyism ty (First Manifesto)." In Susan Sontag, Cabaret: Paris, Barcelona, Berlin, ed. Antonin Artaud: Selected Writings, Munich, Vienna, Cracow, Moscow, St. D'Aurevilly, Jules Barbey. Dandyism. New York: Performing Arts Journal 215-23,242-51. New York: Farrar, Petersburg, Zurich. New York: Colum­ Straus and Giroux, 1976. bia University Press, 1987. Publications, 1988. Moers, Ellen. The Dandy: Brummell to Brecht, Bertolt. "Conversation with Senelick, Laurence, trans. with commen­ Bertolt Brecht" (1926); "Chart of taries. Cabaret Peiformance: Sketches, Beerbolm. Lincoln: University of Nebraska Press, 1978. Dramatic versus Epic Theatre" Songs, Monologues, Memoirs. Vol. I: (1930); "Interview with an Exile" Europe 1890-1920, Sketches, Songs, Futurism (1936). In John Willett, trans. and Monologues, Memoirs, 1989; vol. 2: Apollonio, Umbro, ed. Futurist ed. Brecht on Theatre, 14-17,37, Europe 1920-1940, Sketches, Mono­ Manifestos. New York: Viking Press, 65-69. New York: Hill and Wang, logues, Memoirs, 1992. New York: 1973. 1964. PAJ Publications. Hulten, Pontus. Futurismo & Futurismi. Goldberg, "Russian Futurism and Constructivism," in Peiformance Dada Milan: Bompiani, 1986. Art, 31-49. Ball, Hugo. Flight out ofTime: A Dada Kirby and Kirby, Futurist Peiformance. Nin, Anais. On Artaud (March 1933). Diary. Berkeley: University of Califor­ Taylor, Christina 1. Futurism: Politics, In Gunther Stuhlmann, ed. The nia Press, 1996. Painting, and Peiformance. Ann Diary ofAnais Nin, 1931-1934, Foster, Stephen C., ed. Dada Dimensions. Arbor: UMI Research Press, 1979. 186-187,191-93. New York: Ann Arbor: UMI Research Press, Symbolism Swallow Press and Harcourt, Brace 1985. See especially Foster, Deak, Frantitek. Symbolist Theater: The and World, 1966. "Johannes Baader: The Complete Formation ofan Avant-Garde. Balti­

Downloaded by [Flinders University of South Australia] at 17:40 05 January 2015 Schlemmer, Tut, ed. The Letters and Dada." more: Johns Hopkins University Diaries ofOskar Schlemmer, Gordon, Mel, ed. Dada Peiformance. New Press, 1993. 242-44. Middletown: Wesleyan York: Performing Arts Journal Publi­ University Press, 1972. cations, 1987. Tolstoy, Vladimir, Irina Bibikova, and Harris, Margaret Haile. Loie Fuller, Catherine Cooke. Selections. Street Magician ofLight. Richmond: Rich­ Art ofthe Revolution: Festivals and mond Museum, 1979. WEEK 4 Celebrations in Russia 1918-1933, Jones, Amelia. Postmodemism and the Joyce Scott 39-40,49-50,55-56,59,121-23, En-Gendering ofMarcel Duchamp. To accompany a peiformance by Scott 137-39. London: Thames and Cambridge: Cambridge University at the San Francisco Art Institute. HudsonlVendome Press, 1990. Press, 1994. Kuenzli, Rudolf, ed. New York Dada. Brentano, on Ellen Stewart, Cafe LaMama New York: Willis Locker and Owens, Experimental Theater, Free Southern Further Recommended Reading 1986. See essays on Arthur Cravan, Theater, Adrian Piper, Faith Ring­ Elsa Von Freytag Loringhoven, etc. gold, Lorraine O'Grady, Joyce Scott, Grotowski, Jerzy. Towards a Poor Melzer, Annabelle. Dada and Surrealist in Outside the Frame, 157, 159, 160, Theater. New York: Simon and Peiformance. Baltimore: Johns Hop- 174,187,194,196,204-205. Schuster, 1968.

ART JOURNAL Sally Banes. Terpsichore in Sneakers: Post-Modern Dance, 166-67. Boston: Houghton Mifflin Co., 1980. Ono, Yoko. Texts and images. In Achille Bonito Oliva, ed. Ubi Fluxus ibi motus 1990-1962,235-'-39. Milan: Mazzotta, 1990. ---. "Cut Piece," "A Box of Smile," "Silent Piece" (with John Lennon), "Wish Piece." In Barbara Haskell and John G. Hanhardt. Yoko Ona: Arias and Objects, 90-91, 57, 53,26. Salt Lake City: Peregrine Smith Books, 1991. Rainer, Yvonne. "A Quasi Survey of Some 'Minimalist' Tendencies in the Quantitatively Minimal Dance Activi­ ty midst the Plethora, or An Analysis of Trio A." In Gregory Battcock, ed. Minimal Art: A Critical Anthology, 263-73. New York: E. P. Dutton, 1968. 76 Schneemann, Carolee. "Interior Scroll"; "from an unsent letter to Allan Kaprow, June 1974"; "Woman in the Year 2000." In More Than Meat Joy: Complete Performance Works and Selected Writings, 234-39, 195-'-99. John Cage, 1978. New Paltz, N.Y.: Documentext, 1979.

Further Recommended Reading Russian Theater/Public Spectacles WEEK 6 General Barron, Stephanie, and Maurice Introduction to U.S. Happenings, Goldberg, "Living Art c. 1933 to the Tuchman, eds. The Avant-Garde in Music, Theater, and Dance Russia, 1910-1930: New Perspec­ 1970s," in Performance Art, 121-51. Experiments in the 1960s tives. Exh. cat. Los Angeles: Los Goffman, Erving. The Presentation ofSelf Angeles County Museum, 1980. Brentano, "Outside the Frame: Perfor­ in Everyday Life. Garden City, N.Y.: Deak, Frantitek. "Russian Mass Spec­ mance, Art, and Life" and timeline, in Doubleday, 1955. American Alternative tacles." TDR (The Drama Review) Outside the Frame, 31-50, 151-70. Shank, Theodore. 19, no. 2 (June 1975): 7-22. Theater. New York: Grove Press, 1982. Tolstoy, Vladimir, Irina Bibikova, and Photocopy Anthology Catherine Cooke. Street Art ofthe Cage, John. Selections of texts and "Lec­ Dance Revolution: Festivals and Celebra­ ture on Nothing and afternote." In Banes, SaIly. Greenwich Village 1963: tions in Russia 1918-1933. Silence, 6-8, 84, 93, 109-28. Cam­ Avant-Garde Performance and the London: Thames and Hudson! bridge, Mass.: MIT Press, 1%1. Effervescent Body. Durham: Duke Vendome Press, 1990. ---. "26 Statements re Duchamp." In

Downloaded by [Flinders University of South Australia] at 17:40 05 January 2015 University Press, 1993. A Year from Monday: New Lectures Antonin Artaud ---. Terpsichore in Sneakers: Post­ and Writings, 70-72. Middletown: Sontag, Susan, ed. Antonin Artaud: Modern Dance. Boston: Houghton Wesleyan University Press, 1967. Selected Writings. New York: MifOin Co., 1980. Kaprow, Allan. "The Education of the FalTar, Straus and Giroux, 1976. Un-Artist, Part I" (1971). In Essays Happenings Bauhaus on the Blurring ofArt and Life: Allan Kirby, Michael. Happenings: An Illustrat­ Goldberg, "Bauhaus," in Performance Kaprow, ed. Jeff Kelley, 97-109. ed Anthology. New York: Dutton, Art, 97-120. Berkeley: University of California 1965. See statements by Dine, Schlemmer, Oskar, Laszl6 Moholy­ Press, 1993. Kaprow, Oldenburg, Red Grooms, Nagy, and Farkas Molnar. The The­ Kostelanetz, Richard. "Allan Kaprow." In and Whitman. ater ofthe Bauhaus. Middletown: The Theater ofMixed Means: An Intro­ Kostelanetz, Richard. The Theatre of Wesleyan University Press, 1961. duction to Happenings, Kinetic Envi­ Mixed Means: An Introduction to Hap­ ronments, and Other Mixed-Means penings, Kinetic Environments, and Bertolt Brecht Performances, 100-32. New York: Other Mixed-Means Performances. Willett, John. Brecht on Theatre. New Dial Press, 1968. New York: Dial Press, 1968. Inter­ York: Hill and Wang, 1964. Monk, Meredith. "Notes on the Voice." In views with Allan Kaprow, John Cage,

WINTER 1997 Claes Oldenburg, etc. Sandford, Mariellen R., ed. Happenings and Other Acts. London: Routledge, 1995.

John Cage Cage, John. Silence. Cambridge, Mass.: MIT Press, 1961. ---. A Year from Monday: New Lectures and Writings. Middletown: Wesleyan University Press, 1967. Kostelanetz, Richard. John Cage (ex)plain(ed). New York: Schirmer Books, 1996. Kostelanetz, Richard, ed. Conversing with Cage. New Yark: Limelight Editions, 1988. Selections from interviews with Cage arranged thematically, e.g. Autobiography, Precursors, His Own Music, Visual Arts, Dance, Social Philosophy, etc. Perloff, Marjorie, and Charles Junker­ man, eds. John Cage: Composed in America. Chicago: University of Chicago Press, 1994.

Simone Forti Forti, Simone. Handbook in Motion. Halifax: Press of Nova Scotia College of Art and Design, 1974.

Allan Kaprow Kaprow, Allan. Assemblage, Environ­ ments, and Happenings. New York: Abrams, 1966. ---. Collagen, Environments, Videos, BroshchUren, Geschichten, Happen­ ings- und Activity-Dokumente 1956-1986. Exh. cat. Dortmund: Carolee Schneemann, Eye Body: 36 Transformative Actions, 1963, action for camera. Museum am Ostwall, 1986. Kelley, Jeff, ed. Essays on the Blurring of Life and Art: Allan Kaprow. Berkeley: Rose, Barbara. Claes Oldenburg. New Carolee Schneemann University of California Press, 1993. York: Museum of Modern Art and Carolee Schneemann: Up To and Includ­ Greenwich, Conn.: New Yark Graphic ing Her Limits. Exh. cat. New York: Shigeko Kubota Society, 1970. New Museum of Contemporary Art, Jacob, Mary Jane, ed. Shigeko Kubota: 1996. Essays by Dan Cameron, Kris­ Video Sculpture. Exh. cat. Astoria, Yoko Ono tine Stiles, and David Levi Strauss. Downloaded by [Flinders University of South Australia] at 17:40 05 January 2015 N.Y.: American Museum of the Haskell, Barbara, and John G. Hanhardt. Juno and Vale, interview with Schnee­ Moving Image, 1991. Yoko Dna: Arias and Objects. Salt mann, in Angry Women, 66-77. Lake City: Peregrine Smith Books, Schneemann, Carolee. More Than Meat Yayoi Kusama 1991. Joy: Complete Performance Works and Karia, Bhupendra, ed. Yayoi Kusama: Hendricks, Jon, ed. Yoko Dna: The Selected Writings. New Paltz, N.Y.: A Retrospective. Exh. cat. New York: Bronze Age. Bloomfield Hills, Mich.: Documentext, 1979. Rev. ed., 1997. Center for International Contemporary Cranbrook Academy of Art, 1993. Arts, 1989. Sumner, Melody, Kathleen Burch, and Michael Sumner, eds. The Guests Go Claes Oldenburg in to Supper. Oakland: Burning Books, WEEK 7 Claes Oldenburg: An Anthology. Exh. cat. 1986. Includes interview with Ono. Fluxus Sensibilities New York: Solomon R. Guggenheim International movement ofFluxus Foundation, 1995. Essays by Germano Yvonne Rainer (1961-78), active in New York Celant, Dieter Koepplin, and Mark Rainer, Yvonne. Yvonne Rainer Work and Europe. Rosenthal. 1961-73. Halifax: Press of Nova Oldenburg, Claes. Store Days. New York: Scotia College of Art and Design, Brentano, references to Fluxus, in Something Else Press, 1967. 1974. Outside the Frame.

ART JOURNAL Photocopy Anthology Individual Artists Fergusson, Claire. "Doing Time, a One­ Bonito Oliva, Achille, ed. Ubi Fluxus ibi Acconci, Vito. "Table of Contents"; Year Pertormance by Sam Hsieh." motus 1990-1962. Milan: Mazzotta, "Introduction: Notes on Pertorming a High Performance 2, no. 4 (issue no. 1990.Text and images by Takehisa Space"; "Early Work: Moving My 8) (Winter 1979-80): 8-11. Kosugi, 189-92; text and images by Body into Place"; "Trademarks"; Fox, Terry. 1970-71 pertormances. In Alison Knowles, 183; Larry Miller, "Step Piece"; "Seedbed." In Performance Anthology: Source Book "Interview with George Maciunas," Avalanche, no. 6 (special issue: Vito ofCalifornia Performance Art, ed. Carl 226-33; Carolee Schneemann, Acconci) (Fall 1972): 1-4,6-7, E. Loeffler and Darlene Tong, 14-17, "Fluxus," 89. 10-11,20-21,62-63. 33-37. San Francisco: Last Gasp Antin, Eleanor. "Carving: A Traditional Press and Contemporary Arts Press, Further Recommended Reading Sculpture." High Performance 4, no. 4 1989. Brecht, George, and Robert Filliou. (issue no. 16) (Winter 1981-82): 62. Hershman, Lynn. "Roberta Breitmore, Games at the Cedilla, or the Cedilla Barreras del Rio, Petra. "Ana Mendieta: 1971-78." In Lynn Hershman. Chi­ Takes Off. New York: Something Else A Historical Overview." In Ana maera Monographs, No.4. Paris: Edi­ Press, 1967. Mendieta: A Retrospective, 28-41. tion du Centre International de Hendricks, Jon. Fluxus Codex. Detroit: Exh. cat. New York: New Museum of Creation Video Montbeliard Belfort, Gilbert and Lila Silverman Fluxus Contemporary Art, 1987. 1992. Collection in association with Harry Buchanan, Nancy. "If Only I Could Tell Labowitz, Leslie. "Record Companies N. Abrams, New York, 1988. You How Much I Really Love You." Drag Their Feet." High Performance I, Jenkins, Janet, ed. In the Spirit ofFluxus. High Performance 3, no. 3-4 (issue no.2 (issue no. 2) (June 1978): Exh. cat. Minneapolis: Walker Art no. 11-12) (Fall-Winter 1980): 22. 20-21. Center, 1993. Essays by Simon ---. "Sproutime." High Performance 78 Burden, Chris. "Five Day Locker Piece"; Anderson, Elizabeth Armstrong, "Shout Piece"; "Prelude to 220, or 3, nos. 3-4 (issue no. 11-12) Andreas Huyssen, Bruce Jenkins, 1l0"; "I Become a Secret Hippie"; (Fall-Winter 1980): 66. Douglas Kahn, Owen F. Smith, and "You'll Never See My Face in Kansas Lacy, Suzanne. "Great Masterpiece Kristine Stiles. City"; "Shoot"; "Through the Night Series #2: The Last Throes of Artistic Kellein, Thomas. Fluxus. London: Softly"; "Doomed." In Anne Ayres Vision." High Performance 3, nos. Thames and Hudson, 1995. and Paul Schimmel, eds. Chris Bur­ 3-4 (issue no. 11-12) (Fall-Winter den: A Twenty-Year Survey, 48-53,63, 1980): 68-69. 74. Exh. cat. Newport Beach: Newport Liss, Andea. "The Art of James Luna: Harbor Art Museum, 1988. Postmodern with Pathos." In James WEEKS 8-9 ---. "Show the Hole." High Perfor­ Luna: Actions and Reactions: An Introduction to U.S. Performance mance 13, no. 2 (issue no. 10) (Sum­ Eleven Year Survey ofInstallation/Per­ mer 1980): 17-18. formance Work 1981-1992,6-28. Art, Late 1960s~1980s Carr, "Roped: A Saga of Art in Everyday Exh. cat. Santa Cruz: Mary Porter Ses­ This unit will consider a selection of Life" [on Hsieh and Montano], in On non Art Gallery, University of Califor­ performance art in the United States Edge, 3-9. nia, Santa Cruz, 1992. and will particularly emphasize the Cha, Theresa Hak Kyung. "Reveille Dans Moisan, Jim. "Border Crossing" [inter­ contributions ofwomen artists and the La Brume." High Performance 1, no. 2 view with Chris Burden]. High Perfor­ West Coast. (issue no. 2) (June 1978): 26-27. mance 2, no. 1 (issue no. 5) (March Brentano, timeline (1970-80), in Outside Interview with Y. David Chung on Seoul 1979): 2-11. the Frame, 170-90. House (Korean Outpost). In Julia Montano, Linda. "Handcuff: Linda Mon­ Barnes Mandie et al. Sites ofRecollec­ tano and Tom Marioni." In Art in Everyday Life. Barrytown, N.Y.: Sta­ Photocopy Anthology tion: Four Altars and a Rap Opera, 44-55. Williamstown: Williams Col­ tion Hill Press and Los Angeles: Astro General lege Museum of Art, 1992. Artz, 1981. Downloaded by [Flinders University of South Australia] at 17:40 05 January 2015 Apple, Jacki. "Notes on Teaching Pertor­ Edelson, Mary Beth. "Pilgrimage/See for Oppenheim, Dennis. "Parallel Stress"; mance Art." Performing Arts Journal, Yourself: A Journey to a Neolithic "Material Interchange"; "Reading 17, no. 2-3 (issue no. 50-51) Goddess Cave, 1977. Grapceva, Hvar Position for Second Degree Burn." In (May-September 1995): 121-25. Island, Yugoslavia." Heresies, no. 5 Dennis Oppenheim, Retrospective­ ---. "Pertormance Art Is Dead, Long (special issue: The Great Goddess) Works 1967-1977, 51-53. Exh. cat. Live Pertormance Art!" High Perfor­ (Spring 1978): 96-99. Montreal: Musee d'Art Contemporain, mance 17, no. 2 (issue no. 66) (Sum­ Feminist Pertormance Scripts: Nancy 1978. mer 1994): 54-59. Youdelman, Shawnee Wollenmann, Piper, Adrian. "Food for the Spirit." High Withers, Josephine. "Feminist Pertor­ and Jan Oxenberg, "Three Women"; Performance 4, no. 1 (issue no. 13) mance Art: Pertorming, Discovering, Faith Wilding, "Waiting"; Judy (Spring 1981): 34-35. Transforming Ourselves." In Norma Chicago, Suzanne Lacy, Sandra Orgel, Ringgold, Faith. Passages on pertor­ Broude and Mary D. Garrard, eds. The and Aviva Ramani, "Ablutions." In mances. In We Flew Over the Bridge: Power ofFeminist Art: The American Judy Chicago. Through the Flower: My The Memoirs ofFaith Ringgold, Movement ofthe 1970s, History and Struggle as a Woman Artist, 207-19. 205-209,237-47. Boston: Little, Impact, 158-73. New York: Abrams, Garden City, N.Y.: Doubleday and Co. Brown, 1995. 1994. 1977. Rosenthal, Rachel. "Bonsoir Dr. Schon!"

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David Chung, William Johnston, and Charles Tobermann, Seoul House, "Mr. Choi's Song," (Mr. Choi: Andre Lee), Washington Project for the Arts, 1988. Downloaded by [Flinders University of South Australia] at 17:40 05 January 2015 High Performance 3, nos. 3-4 (issue In Moira Roth, ed. Barbara Smith, Spiderwoman Theater Doubling no. 11-12) (Fall-Winter 1980): 90-91. 6-22. Exh. cat. San Diego: University Back." In Hart and Phelan, Acting ---. "The Head of Olga K." High of California, San Diego Art Gallery, Out, 227-55. Performance 1, no. 2 (issue no. 2) 1974. Siskin, Jon. "Sam Hsieh, One Year Per­ (June 1978): 14-15. ---. "Leaping the Fence: An Intro­ formance" [On Clock-in Piece]. High ---. "Introduction and Text of 'My duction to the Work of Lynn Hersh­ Performance 4, no. 2 (issue no. 14) Brazil.'" In Leonora Champagne, ed. man." In Lynn Hershman, 4-18. (Summer 1981): 37, 91. Out from Under: Texts by Women Per­ Chimaera Monographs, No.4. Paris: Smith, Barbara. "Birthdaze." High Per­ formance Art~5ts, 71-87. New York: Edition du Centre International de formance 4, no. 3 (issue no. 15) (Fall Theatre Communications Group, 1990. Creation Video Montbeliard Belfort, 1981): 19-25. Roth, Moira. "Bonnie Sherk, Sitting 1992. ---. "Ordinary Life." High Perfor­ Still." In Moira Roth, ed. The Amazing ---. Linda Montano: Seven Years of mance 1, no. 1 (issue no. 1) (February Decade: Women and Performance Art Living Art, 1-9. Exh. brochure. New 1978): 12-13. in America, 1970-1980,134-35. Los York: New Museum of Contemporary The Waitresses. "Waitresses Unleashed." Angeles: Astro Artz, 1983. Art, 1984-91. High Performance 2, no. 4 (issue no. ---. "Interview with Barbara Smith." Schneider, Rebecca. "See the Big Show: 8) (Winter 1979-80): 28-29.

ART JOURNAL 11 I•• Frueh, Joanna. Erotic Faculties. Berke­ ley: University of California Press, 1996. Fusco, Coco. "The Other History of Inter­ cultural Performance." TDR (The Drama Review) 38, no. I (Spring 1994): 143-67. Gumpert, Lynn, and Ned Rifkin. Per80na. Exh. cat. New York: New Museum of Contemporary Art, 1981. Hart, Lynda, ed. Making a Spectacle: Feminist E88ays on Contemporary Women's Theatre. Ann Arbor: Univer­ sity of Michigan Press, 1989. Hart and Phelan, Acting Out. Heresie8, no. 17 (special issue: Women in Theater and Performance) (1984). Juno and Vale, Angry Women. Includes interviews with Kathy Acker, Susie Bright, Valie Export, Diamanda Galas, Karen Finley, bell hooks, Holly Hughes, Carolee Schneemann, 80 and Annie Sprinkle. Lippard, Lucy R. "Make-Up: Role Play­ ing and Transformation in Women's Art"; "The Pains and Pleasures of Rebirth: European and American Women's Body Art." In From the Cen­ ter: Feminist EssaY8 on Women's Art. Mary Beth Edelson, Fire Ladder, 1977. New York: Dutton, 1976. ---. The Pink Glass Swan: Selected Essays in Feminist Art. New York: Further Recommended Reading Burnham, Linda Frye. "High Perfor­ New Press, 1995. mance, Performance Art, and Me." ---. "Quite Contrary: Body, Nature General TDR (The Drama Review) 30, no. 1 and Ritual in Women's Art." The following periodicals have much (Spring 1936): 15-5l. Chrysali8, no. 2 (1977): 30-47. useful material: Avalanche, High Per­ Butler, Judith. Bodies That Matter. New ---. Six Years: The Dematerialization formance, TDR (The Drama Review), York, Routledge, 1993. ofthe Art Object from 1966 to 1972. Performing Arts Journal, The Act, and Champagne, Leonore, ed. Out from Berkeley: University of California Women and Performance: A Journal of Under: Texts by Women Performance Press, 1997 [1973]. Feminist Theory. Artists. New York: Theater Communi­ Loeffler, Carl, and Darlene Tong, eds. Battcock, Gregory, and Robert Nickas, cations Group, 1990. Performance Anthology: Source Book eds. The Art ofPerformance: A Critical Carr, On Edge. for a Decade qfCalifornia Perfor­ Anthology. New York: E. P. Dutton, Case, Sue-Ellen, ed. Performing Femi­ mance Art. San Francisco: Contempo­ 1934. nisms: Feminist Critical Theory and rary Arts Press, 1989 [1930]. Blau, Herbert. To All Appearances: Ideol­ Theatre. Baltimore: Johns Hopkins MandIe, Julia Barnes, et al. Sites ofRec­

Downloaded by [Flinders University of South Australia] at 17:40 05 January 2015 ogy and Performance. London: Rout­ University Press, 1990. ollection: Four Altan and a Rap ledge, 1992. Davy, Kate. "Constructing the Spectator: Opera. Williamstown: Williams Col­ Bronson, AA, and Peggy Gale, ed. Perfor­ Reception, Context, and Address in lege Museum of Art, 1992. Sections mance by Artists. Toronto: Art Metro­ Lesbian Performance." Performing on Luna and Chung. pole, 1979. Arts Journal 10, no. 2 (issue no. 29) Marranca, Bonnie. Ecologies ofTheater: Broude, Norma, and Mary. D. Garrard, (1936): 43-52. EssaY8 at the Century Turning. Balti­ eds. The Power ofFeminist Art: The de Lauretis, Teresa. "Sexual Indifference more: Johns Hopkins University American Movement ofthe 1970.1, His­ and Lesbian Representation." Theatre Press, 1996. tory and Impact. New York: Abrams, Journal 40, no. 2 (May 1933): 155-77. ---. Theatrewritings. New York: Per­ 1994. See Faith Wilding, "The Femi­ Dolan, Jill, ed. The Feminist Spectator a8 forming Arts Journal Publications, nist Art Programs at Fresno and Cal Critic. Ann Arbor: University of 1984. Arts, 1970-1975," 32-47; Arlene Michigan Research Press, 1988. Marranca, Bonnie, ed. The Theatre of Raven, "Womanhouse," 43-65; Foley, Suzanne. Space, Time, Sound: Images. New York: Drama Book Yolanda Lopez and Moira Roth, Conceptual Art in the San Francisco Specialists, 1977. "Social Protest: Racism and Sexism," Bay Area: The 70s. Exh. cat. San Marioni, Tom, ed. Vision, no. 1 (special 140-57; Joanna Frueh, "The Body Francisco: San Francisco Museum of issue: California) (September 1975); Through Women's Eyes," 190-207. Modem Art, 1981. no. 2 (special issue: Eastern Europe)

WINTER 1997 (January 1976); no. 3 (special issue: Eleanor Antin Guerrilla Girls New York) (November 1976). Antin, Eleanor. The Angel ofMercy. Exh. Guerrilla Girls. Confessions ofthe Guerrilla Phelan, Peggy. Unmarked: The Politics of cat. La Jolla: La Jolla Museum of Con­ Girls. New York: .HarperCollins, 1995. Performance. London: Routledge, temporary Art, 1977. Essays by 1993. Jonathan Crary and Kim Levin. Donna Henes RosIer, Martha. "The Private and the ---. Being Antinova. Los Angeles: Henes, Donna. Dressing Our Wounds in Public: Feminist Art in California." Astro Artz, 1983. Warm Clothes: Ward's Island Energy Ariforum 16, no. 1 (September 1977): Trance Mission. Los Angeles: Astro 66-74. Nancy Buchanan Artz, 1982. Roth, Moira, ed. The Amazing Decade: Buchanan, Nancy. "Fallout from the Lynn Hershman Women and Performance Art in Ameri­ Nuclear Family." High Performance 4, Hershman, Lynn. Lynn Hershman. ca, 1970-1980. Los Angeles: Astro no. 2 (issue no. 14) (Summer 1981): 21. Chimaera Monographs, No.4. Artz, 1983. Chris Burden Paris: Edition du Centre International ---. "Toward a History of California Ayres, Anne, Paul Schimmel, et a1. Chris de Creation Video Montbeliard Performance." Arts Magazine 52, no. 6 Burden: A Twenty-Year Survey. Exh. Belfort, 1992. (February 1978): 94-103 (part one); cat. Newport Beach: Newport Harbor 52, no. 10 (June 1978): 114-23 (part Art Museum, 1988. Holly Hughes two). Juno and Vale, interview with Hughes, in Sayre, Henry. The Object ofPerformance: Theresa Hak Kyung Cha Angry Women, 98-104. The American Avant-Garde since 1970. Cha, Theresa Hak Kyung. Dictee. New Chicago: University of Chicago Press, York: Tanam Press, 1982. Joan Jonas 1989. Kim, Elaine H., and Norma Alarcon, eds. Crimp, Douglas, ed. Joan Jonas: Scripts 81 Schechner, Richard. Between Theater and Writing SelflWriting Nation: a Collec­ and Descriptions, 1968-1982. Berke­ Anthropology. Philadelphia: Universi­ tion ofEssays on Dictee by Theresa ley: University Art Museum, 1983. ty of Philadelphia Press, 1985. Hak Kyung Chao Berkeley: Third Mignot, Dorine, ed. Joan Jonas, Works Stern, Carol Simpson, and Bruce Hender­ Woman Press, 1994. 1968-1994. Exh. cat. Amsterdam: son. Performance Texts and Contexts. Wolf, Susan. "Recalling Telling Retelling." Stedelijk Museum, 1994. White Plains, N.Y.: Longmans, 1993. In Reese Williams, ed. Fire aver Water. Suzanne Lacy Tucker, Marcia. Choices: Making an Art New York: Tanam Press, 1986. ofEveryday Life. Exh. cat. New York: See readings for Week 2 New Museum of Contemporary Art, Betsy Damon James Luna 1986. Damon, Betsy. "The 7000 Year Old Liss, Andea. James Luna: Actions and Vergine, Lea. Il corpo come linguggio Woman." Heresies, no. 3 (Fall 1977): Reactions: An Eleven Year Survey of (La "Body-art" e storie simili). 10-13. Milan, Italy: Giampaolo Prearo Installation/Performance Work Editore, 1974. Mary Beth Edelson 1981-1992. Exh. cat. Santa Cruz: Mary Porter Sesnon Art Gallery, Uni­ Wilding, Faith. By Our Own Hands: The Edelson, Mary Beth. Seven Cycles: Public Woman Artist's Movement, Southern Rituals. New York: AIR, 1980. versity of California, Santa Cruz, 1992. MandIe, Julia Barnes, ed. "Artists in the California, 1970-1976. Santa Monica: Double X, 1977. Karen Finley Exhibition/lnterviews" [interview with Carr, C. "Unspeakable Practices, Unnat­ James Luna on "The History of the ural Acts: The Taboo Art of Karen Luiseno People: La Jolla Reservation, On Individual Artists Finley"; "'Telling the Awfullest Christmas 1990"]. In MandIe et al. Sites Truth': An Interview with Karen Fin­ ofRecollection: Four Altars and a Rap ley." In Hart and Phelan, Acting Out, Opera, 68--79. Williamstown: Williams Vito Acconci 141-60. College Museum of Art, 1992. Avalanche, no. 6 (special issue: Vito

Downloaded by [Flinders University of South Australia] at 17:40 05 January 2015 Juno and Vale, interview with Finley, in Acconci) (Fall 1972). Documentation Angry Women, 41-49. Robbie McCauley of artist's projects; interview with Liza Whyte, Raewyn. "Robbie McCauley: Bear; biography; bibliography. Terry Fox Speaking History Other-wise." In Kirshner, Judith Rossi. Vito Acconci: A Longhauser, Elsa, ed. Terry Fox: "Articu­ Hart and Phelan, Acting Out, 277-93. Retrospective, 1969 to 1980. Exh. cat. lations." (LabyrinthlText Works) Chicago: Museum of Contemporary Philadelphia: Goldie Paley Gallery, Ana Mendieta Art, 1980. Moore College of Art and Design, Jacob, Mary Jane. Ana Mendieta. New Linker, Kate. Vito Acconci. New York: 1992. York, Galerie Lelong, 1991. Rizzoli, 1994. Ana Mendieta: A Retrospective. Exh. cat. Diamanda Galas New York: New Museum of Contem­ Laurie Anderson Juno and Vale, interview with Galas, in porary Art, 1987. Essays by John Anderson, Laurie. United States. New Angry Women, 6-22. Perreault and Petra Barreras del Rio. York: Harper and Row, 1984. Kardon, Janet. Laurie Anderson: Works Guillermo G6mez-Pefia Meredith Monk from 1969 to 1983. Exh. cat. Philadel­ Gomez-Pena, Guillermo. Warrior for Jowitt, Deborah, ed. Meredith Monk. phia: Institute of Contemporary Art, Gringostroika. Saint Paul: Graywolf Baltimore: Johns Hopkins University University of Pennsylvania, 1983. Press, 1993. Press, 1997.

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Robbie McCauley, 1985.

linda Montano Rachel Rosenthal Annie Sprinkle Montano, Linda. Art in Everyday Life. Roth, Moira, ed. Rachel Rosenthal. Juno and Vale, interview with Sprinkle, Los Angeles: Astro Artz, 1981. Baltimore: Johns Hopkins in Angry Women, 23-40. Juno and Vale, interview with Montano, University Press, 1997. in Angry Women, 50--65. Mierle Ukeles Martha Rosier Ukeles, Mierle. "Manifesto! Maintenance Lorraine O'Grady Gever, Martha. "An Interview with Art." In Gregory Batlcock, ed. Idea Wilson, Judith. Lorraine O'Grady. Exh. Martha RosIer." Afterimage 9, Art. New York: E. P. Dutton, 1973. cat. New York: Intar Gallery, 1991. no. 3 (October 1981): 10-17. Matiksky, Barbara. Fragile Ecologies: Weinstock, Jane. "Interview with Contemporary Artists: Interpretations Pat Oleszko Martha Rosier." October, no. 17 and Solutions. New York: Rizzoli, Heyward, Carl. "Visual Punster, Pat (Summer 1981): 77-98. 1992. Chapter on Ukeles. Oleszko." High Performance 7, no. 2 (issue no. 26) (Summer 1984): Bonnie Sherk Carlos Villa

Downloaded by [Flinders University of South Australia] at 17:40 05 January 2015 14-17,81. Interview. Quayle, Megaera. "Bonnie Sherk." In Roth, Moira. "The Art of Multicultural Moira Roth, ed. Connecting Conversa­ Weaving: Carlos Villa's Ritual." Rafael Montanez Ortiz tions: Interviews with 28 Bay Area High Performance 12, no. 3 (issue Rafael Montanez Ortiz: Years ofthe Women Artists. Oakland: Eucalyptus no. 47) (Fall 1989): 28-33. Warrior, Years ofthe Psyche Press, 1988. Roth, Moira, and Diane Tani, eds. 1960--1988. Exh. cat. New York: Carlos Villa. San Francisco/Berkeley: El Museo del Barrio, 1988. Anna Deavere Smith Visibility Press, 1994. Richards, Sandra L. "Caught in the Adrian Piper Act of Social Definition: On the The Waitresses Piper, Adrian. Out ofOrder, Out ofSight. Road with Anna Deavere Smith." Allyn, Jerri. "All-City Waitress Vol. 1: Selected Writings in Meta-Art In Hart and Phelan, Acting Out, Marching Band." High Performance 1968-1992; vol. 2: Selected Writings 35-53. 3, no. 2 (issue no. 10) (Summer in Art Criticism 1967-1992. Cam­ 1980): 53. bridge, Mass.: MIT Press, 1996. Barbara Smith Welish, Marjorie. "In Thi;; Comer: Roth, Moira, ed. Barbara Smith. Exh. Hannah Wilke Adrian Piper's Agitprop." Arts Maga­ cat. San Diego: University of Califor­ Kochheiser, Thomas H., ed. Hannah zine 65, no. 7 (March 1991): 43-51. nia, San Diego Art Gallery, 1974. Wilke: A Retrospective. Exh. cat.

WINTER 1997 83

Rachel Rosenthal, Traps, 1982.

Columbia: University of Missouri Sprinkle], 174--76; "The Lady Is a Notes Press, 1984. Essay by Joanna Frueh. Dick: The Dyke Noir Theater of Holly I am deeply grateful to John Alan Fanner, senior editor at College Art Association, for his invaluable suggestions of Hughes," 132-37; "Radical Shriek" material, in addition to the many hours he invested in Robert Wilson [on Diamanda Galas], 187-90; "Talk copyediting and library checking. I would also like to Sterns, Robert, et al. Robert Wilson: From Show" [on Robbie McCauley], thank, as always, Cheryl Leonard for her meticulous a Theater ofImages. Exh. cat. Cincin­ assistance. 200-205. 1. An example of this are the ones I selected to illus­ nati: Contemporary Arts Center, 1980. Mifflin, Margot. "An Interview with Karen trate a range of sound/voice experiments in relationship Finley." High Performance 11, no. 1-2 to Dada, German theater, and Artaud: audiotapes of Martha Wilson (issue no. 41-42) (Spring-Summer Alanna O'Kelly (a contemporary Irish artist who uses Lippard, Lucy. "Art and Politics: keening in her perfonnances), Jerome Rothenberg ("A 1988): 86-38. Questions on a Politicized Perfor­ Glass Tube Ecstasy for Hugo Ball" and his rendering of Whyte, Raewyn. "Robbie McCauley: Ball's "Karawane," Rothenberg/Turetzky Performing for mance Art." Art in America 72, Speaking History Other-wise." In Hart Poet's Voice and Contrabass) and Artaud (a post-World no. 9 (October 1984): 39-45. War II broadcast), and videotapes of Ute Lemper (Ute and Phelan, Acting Out, 277-93. Lemper Sings Kurt Weill, London, Decca Record Co.) and

Downloaded by [Flinders University of South Australia] at 17:40 05 January 2015 Diamand Galas, The Litanies ofSatan, Target Video, as Further Recommended Reading well as a 1993 film entitled En compagnie d'Antonin Artaud, directed by Girard Mordillat, with Sami Frey WEEK 10 Bolton, Richard, ed. Culture Wars: (Artaud) and Marc Barbe (J. Prevel). Documentsfrom the Recent 2. In June 1997 I attended Suzanne Lacy's Under Pushing The Boundaries: Controversies in the Arts. New Construction, which consisted of around 140 teenage-girl Performance Art, Censorship, and AIDS York: New Press, 1992. performers in a construction site in downtown Vancouver, Study ofthe overlappings ofprotest British Columbia. It was part of a two year public-art pro­ Carr, On Edge. ject, The Turning Paint, in which Lacy and hercollabora­ demonstrations and performance art, Champagne, Lenora, ed. Outfrom Under: tors worked with a large group of Vancouver teenage the work ofvarious artists including Texts by Women Performance Artists. girls. This has inspired me to have a group of students (in Karen Finley, Holly Hughes, Annie my Fall 1997 repeat of this seminar) research her recent New York: Theatre Communications work on adolescents. Sprinkle, Tim Miller, the Guerilla Group, Inc., 1990. Includes Karen Girls, and AIDS demonstrations by Finley, "The Constant State of Desire." Grand Fury, etc. MOIRA ROTH, Trefethen Professor ofArt History, Mills Crimp, Douglas. AIDS/DEMO/GRAPHICS. College, has written extensively on U.S. performance art Seattle: Bay Press, 1990. history since the 1970s. She is the editor ofThe Amazing Photocopy Anthology Dubin, Steven C. Arresting Images: Impolitic Decade: Women and Performance Art in America, 1970-1980: A Source Book (Los Angeles: Astro Artz, Carr, On Edge. See especially "A Public Art and Uru:ivil Actions. London and 1983), and a book on Rachel Rosenthal (Baltimore: Cervix Announcement" [on Annie New York: Routledge, 1992. Johns Hopkins Univeristy Press, 1997).

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