• Login
    Browsing by Author 
    •   DORA Home
    • Browsing by Author
    •   DORA Home
    • Browsing by Author
    JavaScript is disabled for your browser. Some features of this site may not work without it.

    Browsing by Author "Curtis, Harriet"

    • 0-9
    • A
    • B
    • C
    • D
    • E
    • F
    • G
    • H
    • I
    • J
    • K
    • L
    • M
    • N
    • O
    • P
    • Q
    • R
    • S
    • T
    • U
    • V
    • W
    • X
    • Y
    • Z

    Sort by:

    Order:

    Results:

    Now showing items 1-20 of 22

    • title
    • publication date
    • submission date
    • ascending
    • descending
    • 5
    • 10
    • 20
    • 40
    • 60
    • 80
    • 100
      • Aftermaths of Performance: Artists who make an “awful mess” 

        Curtis, Harriet (Conference)
        In 1983, Los Angeles-based artist Paul McCarthy organised a programme of ‘like-minded artists’ whose performances make ‘an awful mess and walks an erratic line between horror and humor’ (1983). Featuring the work of the ...
      • Art Labor, Sex Politics: Feminist Effects in 1970s British Art and Performance (University of Minnesota Press, 2015), by Siona Wilson. 

        Curtis, Harriet (Article)
        This is a review of: Wilson, Siona (ed.) (2015) Art Labor, Sex Politics: Feminist Effects in 1970s British Art and Performance. Minneapolis: University of Minnesota Press.
      • The Artists’ Magazine as Archive: High Performance, 1978-1983 

        Curtis, Harriet (Conference)
        Between 1978 and 1983 High Performance, a magazine based in Los Angeles and devoted solely to performance art, ran open submissions for documentation of live performances made within one year of the published issue. With ...
      • Document, Audience, Affect: Festival Performances in Los Angeles of the 1970s and 80s 

        Curtis, Harriet (Conference)
        In 1980, John Duncan, an artist who has used conceptual, performative and sound elements in works that explicated nascent themes of violence, trauma, and male sexuality in his work, created a performance called Blind Date. ...
      • Document, Audience, Affect: Johanna Went’s L.A. Club Performances 

        Curtis, Harriet (Conference)
        How can we make sense of performances that continually slip between categories of art and entertainment, and which also seem to alienate and/or aggravate audiences? Such performances might be described as ‘messy’ in relation ...
      • Documenting the Live, in History: High Performance Magazine, 1978-1983 

        Curtis, Harriet (Conference)
        Between 1978 and 1983 High Performance, a magazine devoted to performance art, ran open submissions for documentation of work performed within one year of the published issue. This paper considers High Performance not only ...
      • “End Rape in Los Angeles”: Restaging Suzanne Lacy’s Three Weeks in May for the Pacific Standard Time Performance and Public Art Festival 

        Curtis, Harriet (Conference)
        In 1977, artist Suzanne Lacy created Three Weeks in May, an expanded performance piece that recorded instances of reported rape in Los Angeles over a three-week period, aiming to expose the extent of sexual violence in the ...
      • Fifty Years since Carolee Schneemann’s Meat Joy (1964): A Review of this Iconic, Historical Performance, its Reiterations, and Influence in Performance Art History 

        Curtis, Harriet (Article)
      • From Painting to Performance: Figuring the Abject in Los Angeles Art. 

        Curtis, Harriet (Article)
        This is a review of: Duncan, Michael (2012). L.A. RAW: Abject Expressionism in Los Angeles 1945-1980, From Rico Lebrun to Paul McCarthy, exh. cat. Santa Monica: Foggy Notion Books and Pasadena Museum of California Art, and ...
      • In Bad Taste? Vomit and Disgust in Paul McCarthy’s Performances of the 1970s 

        Curtis, Harriet (Article)
        In the 1970s, Los Angeles-based artist Paul McCarthy made visceral performances which appealed to audiences’ innermost feelings of disgust and revulsion. Using everyday materials – notably, consumable foodstuffs – such as ...
      • Introduction: Kira O'Reilly: Untitled (Bodies) 

        Curtis, Harriet (Book chapter)
      • Kira O'Reilly: Untitled (Bodies) 

        Curtis, Harriet; Hargreaves, Martin (Book)
        This publication is the first major survey of the interdisciplinary practices of Kira O’Reilly. O’Reilly’s works have been exhibited and presented internationally, across many different formats, frames and contexts since ...
      • The Live Art Almanac Volume 4 

        Curtis, Harriet; Keidan, Lois; Wright, Aaron (Book)
        The Live Art Almanac Volume 4 is a collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2012 and December 2014. Selected through recommendations ...
      • Live Art in L.A.: Performance in Southern California 1970-1983 (Routledge, 2012), ed. by Peggy Phelan. 

        Curtis, Harriet (Article)
        This is a review of: Phelan, Peggy (ed.) (2012). Live Art in L.A.: Performance in Southern California 1970-1983. London and New York: Routledge.
      • On Stage: The Theatrical Dimension of Video Image (Intellect, 2016), by Mathilde Roman. 

        Curtis, Harriet (Article)
        This is a review of: Roman, Mathilde (2016), trans. by Charles Penwarden. On Stage: The Theatrical Dimension of Video Image. Chicago: Intellect.
      • Performance Legacies in Print and Practice: High Performance Magazine, 1978-1983 

        Curtis, Harriet (Article)
      • The Politics of Cultural Critique: Vomit and Disgust in Paul McCarthy’s Performances of the 1970s 

        Curtis, Harriet (Conference)
        In the 1970s, Los Angeles-based artist Paul McCarthy made visceral performances which appealed to audiences’ innermost feelings of disgust and revulsion. Using everyday materials such as hot dogs, ground meat, ketchup, ...
      • Practice-based-research in the arts 

        Curtis, Harriet (Conference)
        What are the methods and methodologies of practice-based-research in theatre, performance, and arts practices, and what might these offer to students in an educational context? Performance practitioners (particularly those ...
      • Restaging Feminism in Los Angeles: Three Weeks in January (2012): Three Weeks in May (1977) 

        Curtis, Harriet (Article)
      • Sensibilities and Censorship: John Duncan’s Blind Date (1980) 

        Curtis, Harriet (Conference)
        In 1980, artist John Duncan participated in the Public Spirit festival, performances from which were documented in High Performance magazine. Duncan used conceptual, performative and sound elements in works that explicated ...

        Submission Guide | Reporting Guide | Reporting Tool | DMU Open Access Libguide | Take Down Policy | Connect with DORA
        DMU LIbrary
         

         

        Browse

        All of DORACommunities & CollectionsAuthorsTitlesSubjects/KeywordsResearch InstituteBy Publication DateBy Submission Date

        My Account

        Login

        Submission Guide | Reporting Guide | Reporting Tool | DMU Open Access Libguide | Take Down Policy | Connect with DORA
        DMU LIbrary