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Ron Athey

  • VIPAW Wall Texts

    VIPAW Wall Texts

  • FAÇADE: ZONE A: Religion/Family

    FAÇADE: ZONE A: Religion/Family

  • Introduction to Art Making- Motion and Time Based: a Question of the Body and Its Reflections As Gesture

    Introduction to Art Making- Motion and Time Based: a Question of the Body and Its Reflections As Gesture

  • (Un)Disciplined Bodies: Ascetic Transformation in Performance Art

    (Un)Disciplined Bodies: Ascetic Transformation in Performance Art

  • ON PAIN in PERFORMANCE ART by Jareh Das

    ON PAIN in PERFORMANCE ART by Jareh Das

  • Oral History Interview with Ron Athey

    Oral History Interview with Ron Athey

  • To Make Time Ppear

    To Make Time Ppear

  • AMELIA G. JONES Robert A

    AMELIA G. JONES Robert A

  • Performance, Live Or Dead Copyright Status of All Images Reproduced As Far As Possible, for the Benefi T of Readers, Researchers, and Subsequent Users of These Images

    Performance, Live Or Dead Copyright Status of All Images Reproduced As Far As Possible, for the Benefi T of Readers, Researchers, and Subsequent Users of These Images

  • One to One Performance a Study Room Guide on Works Devised for an ‘Audience of One’

    One to One Performance a Study Room Guide on Works Devised for an ‘Audience of One’

  • En Defensa Del Arte Del Performance 199 EN DEFENSA DEL ARTE DEL PERFORMANCE

    En Defensa Del Arte Del Performance 199 EN DEFENSA DEL ARTE DEL PERFORMANCE

  • Performing Identities Performance Studies Serap Erinc

    Performing Identities Performance Studies Serap Erinc

  • Ron Athey Was Born in 1961 and Has Lived in the Los Angeles Area Since 1963

    Ron Athey Was Born in 1961 and Has Lived in the Los Angeles Area Since 1963

  • KEMBRA PFAHLER � Selected Press Amy Sherlock, ‘What’S Behind the Voluptuous Horror of Kembra Pfahler?’ Frieze, 26 June 2019

    KEMBRA PFAHLER � Selected Press Amy Sherlock, ‘What’S Behind the Voluptuous Horror of Kembra Pfahler?’ Frieze, 26 June 2019

  • Franko B’S NRLA Memories (Or What Is Worth Remembering)

    Franko B’S NRLA Memories (Or What Is Worth Remembering)

  • The Body in Performance a Study Room Guide on Body Based Practices

    The Body in Performance a Study Room Guide on Body Based Practices

  • A Taste for the Transgressive.Pdf

    A Taste for the Transgressive.Pdf

  • Rearticulating Disability in the Works of Lisa Bufano, Ron

    Rearticulating Disability in the Works of Lisa Bufano, Ron

Top View
  • Oral History Interview with Ron Athey, 2016 June 17-18
  • Press Release
  • Disclaimer Downloaded from (189)/149/1821696/Dram.2006.50.1.149.Pdf by Guest on 24 September 2021
  • Extremes of Consciousness• Not Since the 70S Has Body Art Had Pany of Burt Bacharach and a Dozen Tijuana Brass Tribute Such a High Profile
  • 1 on Intimacy and Writing Histories of Performance: an Interview With
  • Vito Acconci//Malek Alloula//Lawrence Alloway// Assume Vivid Astro Focus//Ron Athey//Louise Bourgeois//Stan Brakhage//Norman O
  • Ron Athey | 4Columns
  • Ron Athey's Visions of Excess: Performance After Georges Bataille
  • Lewis Church, ‘My Womanly Story: Vaginal Davis in Conversation with Lewis Church’, PAJ 113, 38 (2016), 80-88
  • "Video Acts" at P.S. 1 - New York Eleanor Heartney, April 2003
  • Shame and the Aesthetics of Intimacy Three
  • READ MORE TREBUCHET-MAGAZINE.COM Experienced Actor’S Perspective
  • Kristine Stiles
  • Fisk, Jennifer Thesis 05-09-13
  • The Large Glass Presents a Range of Approaches
  • A Biophilosophy of Bioart
  • Contract with the Skin: Masochism, Performance Art, and the 1970S / Kathyo'dell P
  • Athey.Pagnes.In Conversation. Edited by Newman


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