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Letters from Linda M. Montano
This an anthology of writings provides an autobiographical record of Montano's artistic practice over the last thirty years, a collection of stories, letters, interviews, manifestos and other previously unpublished writings.
Linda Mary Montano
You Too Are a Performance Artist is an artist's project and catalogue by the American performance artist Linda Mary Montano (born 1942). Published to accompany the SITE Sante Fe exhibition Linda Mary Montano: Always Creative, curated by Janet Dees in collaboration with the artist, this book features a "My Art/Life-Your Life/Art" workbook that documents 45 of her performances from 1964 to the present and gives suggestions on how readers can create their own performances based on the themes explored in Montano's work. At the heart of her practice is the belief that the strategies employed in the creation of and engagement with art, such as focused attention, openness and awareness, can enhance the quality of one's life, if turned toward everyday activities.
Performance Artists Talking in the Eighties
Performance artist Linda Montano, curious about the influence childhood experience has on adult work, invited other performance artists to consider how early events associated with sex, food, money/fame, or death/ritual resurfaced in their later work. The result is an original and compelling talking performance that documents the production of art in an important and often misunderstood community. Among the more than 100 artists Montano interviewed from 1979 to 1989 were John Cage, Suzanne Lacy, Faith Ringgold, Dick Higgins, Annie Sprinkle, Allan Kaprow, Meredith Monk, Eric Bogosian, Adrian Piper, Karen Finley, and Kim Jones. Her discussions with them focused on the relationship between art and life, history and memory, the individual and society, and the potential for individual and social change. The interviews highlight complex issues in performance art, including the role of identity in performer-audience relationships and art as an exploration of everyday conventions rather than a demonstration of virtuosity.
50 Feminist Art Manifestos
This anthology contains the original manifestos of 50 women artists/feminist groups/feminist protests. Introductory essay by Katy Deepwell, with notes on each manifesto. A print edition of this book is available from KT press. What is a manifesto? A political programme, a declaration, a definitive statement of belief. Neither institutional mission statement, nor religious dogma; neither a poem, nor a book. As a form of literature, manifestos occupy a specific place in the history of public discourse as a means to communicate radical ideas. Distributed as often ephemeral documents, as leaflets or pamphlets in political campaigns or as announcements of the formation of new parties or new avant...
Art in Everyday Life
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Assuming the Ecosexual Position
The story of the artistic collaboration between the originators of the ecosex movement, their diverse communities, and the Earth What’s sexy about saving the planet? Funny you should ask. Because that is precisely—or, perhaps, broadly—what Annie Sprinkle and Beth Stephens have spent many years bringing to light in their live art, exhibitions, and films. In 2008, Sprinkle and Stephens married the Earth, which set them on the path to explore the realms of ecosexuality as they became lovers with the Earth and made their mutual pleasure an embodied expression of passion for the environment. Ever since, they have been not just pushing but obliterating the boundaries circumscribing biology a...
Letters from Linda M. Montano
Letters from Linda M. Montano is an anthology of writings by one of the seminal performance artists of the last century. It provides an autobiographical and historical record of Montano's artistic practice over the last thirty years, collecting together stories, fairytales, letters, interviews, manifestos and other previously unpublished writings. At the same time, the book acts as a 'how-to' manual for aspiring performance artists, offering practical guidance for students and a range of exercises that Montano has used in her teachings and workshops. Finally, Letters from Linda M. Montano represents a performance in itself, in which the artist considers the process of writing, creating and bringing the work to fruition as another form of 'endurance performance' similar to that of her durational works 14 Years of Living Art and Blood Family Art. COVER PHOTO COURTESY OF GISELA GAMPER.
State of Mind
"There is not a trace of the provincial nor the apologetic in the tone of the State of Mind texts. Rather there is a justified claim for the sophisticated originality of this Californian art—sophisticated because the authors have convincingly argued that the artists, for the most part, had many conscious connections and familiarity with art from the rest of the country and Europe, yet were driven by a desire to be independent and different." —Moira Roth, editor and contributor, The Amazing Decade: Women and Performance Art in America 1970-1980 "State of Mind: New California Art circa 1970 is an essential overview of the rich and complex moment when California assumed its role as a leadin...
Absence
Both a book and a sculptural object, Absence is a memorial to the twin towers of the World Trade Center. Yoon, an architect and designer who is currently an Assistant Professor of Architecture at the Massachusetts Institute of Technology, chose not to produce a traditional design proposal for the World Trade Center Memorial Competition. Instead she created a non-architectural, non site-specific space of remembrance: a portable personal memorial in the form of book.At almost two pounds, Absence has a considerable physical presence, but it is in every way the ghost of a presence, and it is this ghostliness that gives it its particular emotional weight. A solid white block of thick stock cardboard pages, the books only "text" consists of one pinhole and two identical squares die-cut into each of its one-hundred-and-twenty pages one for each story of the towers including the antenna mast. These removed elements lead the reader floor by floor through the missing buildings towards the final page where the footprint of the entire site of the World Trade Center is die-cut into a delicate lattice of absent structures.
We Go to the Gallery
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