Leaving Art
eBook - PDF

Leaving Art

Writings on Performance, Politics, and Publics, 1974-2007

  1. English
  2. PDF
  3. Available on iOS & Android
eBook - PDF

Leaving Art

Writings on Performance, Politics, and Publics, 1974-2007

About this book

Since the 1970s, the performance and conceptual artist Suzanne Lacy has explored women's lives and experiences, as well as race, ethnicity, aging, economic disparities, and violence, through her pioneering community-based art. Combining aesthetics and politics, and often collaborating with other artists and community organizations, she has staged large-scale public art projects, sometimes involving hundreds of participants. Lacy has consistently written about her work: planning, describing, and analyzing it; advocating socially engaged art practices; theorizing the relationship between art and social intervention; and questioning the boundaries separating high art from popular participation. By bringing together thirty texts that Lacy has written since 1974, Leaving Art offers an intimate look at the development of feminist, conceptual, and performance art since those movements' formative years. In the introduction, the art historian Moira Roth provides a helpful overview of Lacy's art and writing, which in the afterword the cultural theorist Kerstin Mey situates in relation to contemporary public art practices.

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Yes, you can access Leaving Art by Suzanne Lacy in PDF and/or ePUB format, as well as other popular books in Art & Art General. We have over one million books available in our catalogue for you to explore.

Table of contents

  1. Contents
  2. Illustrations
  3. Preface
  4. Acknowledgments
  5. Introduction. Suzanne Lacy: Three Decades of Performing and Writing/Writing and Performing
  6. Part 1 . Learning to Look: The Seventies
  7. Part 2 . Political Performance Art: The Eighties
  8. Part 3 . Debated Territory: The Nineties
  9. Part 4 . Leaving Art: After 2000
  10. Afterword: In | ter | ceptions and In | tensions—Situating Suzanne Lacy’s Practice
  11. Appendix: Chronology and Selected Performances and Installations
  12. Notes
  13. Index