Resources

Research projects

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Symposia

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Terminology

Terminology related to performance and conservation: https://www.tate.org.uk/about-us/projects/documentation-conservation-performance/strategy-and-glossary

Nelson, Robert S, and Shiff, Richard. Critical Terms for Art History. Second ed. Chicago: U of Chicago, 2003.

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Bibliography

Conservation ethics, theory and history

Ashley-Smith, Jonathan. “The Ethics of Conservation.” In Care of Collections, edited by Simon J. Knell, 11–20. London: Routledge, 2004.

Blake, Janet. Developing a New Standard-Setting Instrument for the Safeguarding of Intangible Cultural Heritage: Elements for Consideration. Paris: UNESCO, 2001.

Brandi, Cesare. Theory of Restoration. Translated by Cynthia Rockwell. Florence: Nardini Editore, 2005.

Castriota, Brian. “Authenticity, Identity, and Essentialism: Reframing Conservation Practice.” In What is the Essence of Conservation? Materials for a Discussion, edited by François Mairesse and Renata F. Peters, 39–48. Papers from the ICOM-CC and ICOFOM session at ICOM’s 25th General Conference held in Kyoto on 4 September 2019.

Clavir, Miriam. Preserving What Is Valued : Museums, Conservation, and First Nations. UBC Press, 2002.

Cometti, Jean-Pierre. Conserver/restaurer : l’oeuvre d’art à l’époque de sa préservation technique. Paris: Gallimard, 2016.

Eggert, Paul. Securing the Past: Conservation in Art, Architecture, and Literature. Cambridge: Cambridge University Press, 2009.

Etienne, Noémie. “Who Cares ? Museum Conservation between Colonial Violence and Symbolic Repair.” Museums & Social Issues, 2022.

Henderson, Jane. “Beyond Lifetimes: Who Do We Exclude When We Keep Things for the Future?” Journal of the Institute of Conservation 43, no. 3 (2020): 195–212. https://doi.org/10.1080/19455224.2020.1810729.

Hermens, Erma, and Tina Fiske, eds. Art Conservation and Authenticities: Material, Concept, Context. London: Archetype Publications Ltd., 2009.

International Council of Museums Committee for Conservation ICOM-CC. ICOM Code of Ethics for Museums, 2004.

International Council of Museums Committee for Conservation ICOM-CC. “Terminology to Characterize the Conservation of the Tangible Cultural Heritage.” ICOM-CC website, 2008.

Lowenthal, David. The Heritage Crusade and the Spoils of History. 2nd ed. Cambridge: Cambridge University Press, 1988.

Muñoz-Viñas, Salvador. Contemporary Theory of Conservation. Oxford: Elsevier, 2005.

Stigter, Sanneke. “Autoethnography as a new approach in conservation.” Studies in Conservation 61:2 (2016): 227-232. DOI: 10.1080/00393630.2016.1183104.

van de Vall, Renee, Hanna Hölling, Tatja Scholte and Sanneke Stigter.“Reflections on a Biographical Approach to Contemporary Art Conservation.”ICOM-CC 16th Triennial Conference Preprints, Lisbon, 19–23 September 2011, edited by J. Bridgland. Paris: International Council of Museums, 2011.

van de Vall, Renée. “The Devil and the Details: The Ontology of Contemporary Art in Conservation Theory and Practice.” British Journal of Aesthetics, no.55, vol.3 (2015): 285–302.

Villers, Caroline. “Post minimal intervention.” The Conservator 28, no.1 (2004): 3-10.

Wharton, Glenn. “Bespoke Ethics and Moral Casuistry in the Conservation of Contemporary Art.”  Journal of the Institute of Conservation, no.41, vol.1 (2018): 58–70.

Conservation of sound, moving image, and electronic media

Brost, Amy. “A Documentation Framework for Sound in Time-Based Media Installation Art.” Journal of the American Institute for Conservation 60, no. 2–3 (2021): 210–24. https://doi.org/10.1080/01971360.2021.1919372.

Dekker, Annet. “Enjoying the Gap: Comparing Contemporary Documentation Strategies.” In Preserving and Exhibiting Media Art: Challenges and Perspectives, edited by J. Noordegraaf et al., 149–69. Amsterdam: Amsterdam University Press, 2013.

Depocas, Alain, Jon Ippolito and Caitlin Jones, eds. Permanence through Change: The Variable Media Initiative. New York: Guggenheim Museum Publications, and Montreal: Daniel Langlois Foundation for Art, Science and Technology, 2003.

Hölling, Hanna. Paik’s Virtual Archive: Time, Change and Materiality in Media Art. Oakland: University of California Press, 2017.

Hölling, Hanna. Revisions—Zen of Film. New York and Chicago: Bard Graduate Center, University of Chicago Press, 2015.

Laurenson, Pip. “Authenticity, Change and Loss in the Conservation of Time-Based Media Installations.” Tate Papers 6 (2006).

Matos, Almeida Lucia, Rita Macedo, and Gunnar Heydenreich, eds. Performing Documentation in the Conservation of Contemporary Art. Lisbon: Instituto de História da Arte, 2015.

Phillips, Joanna. Reporting Iterations. A Documentation Model for Time-Based Media Art. In Performing Documentation in the Conservation of Contemporary Art, edited by Almeida Matos, Lucia Rita Macedo, and Gunnar Heydenreich, 55–63. Revista de Historia Da Arte, 2015.

Richmond, Alison, and Alison Bracker, eds. Conservation: Principles, Dilemmas and Uncomfortable Truths. Oxford: Butterworth-Heinemann, 2009.

Rubio, Fernando Domínguez. “Preserving the Unpreservable: Docile and Unruly Objects at MoMA.” Theory and Society 43, no.6 (August 2014): 617-645.

Schädler-Saub, Ursula, and Angela Weyer, eds. Theory and Practice in the Conservation of Contemporary Art: Reflections on the Roots and Perspectives. London: Archetype Publications, 2010.

Stanley Price, Nicolas, M. Kirby Talley Jr. and Alessandra Melucco Vaccaro, eds. Historical and Philosophical Issues in the Conservation of Cultural Heritage. Los Angeles: J. Paul Getty Trust, 1996.

van Saaze, Vivian. Installation Art and the Museum: Presentation and Conservation of Changing Artworks, Amsterdam: Amsterdam University Press, 2013.

van Saaze, Vivian. “From Intention to Interaction: Reframing the artist’s Interview in Conservation Research.”Art d’aujourd’hui patrimoine de demain: conservation et restauration des oeuvres contemporaines, 13es journées d’études de la SFIIC, 20-8. Paris: Institut du patrimoine: 2009.

Wharton, Glenn. “Dynamics Of Participatory Conservation: The Kamehameha I Sculpture Project.” Journal of the American Institute for Conservation 47, no. 3 (2008): 159-73.

Conservation of performance

Baldacci, Cristina, Clio Nicastro, and Arianna Sforszini, eds. Over and Over and Over Again. Reenactment Strategies in Contemporary Arts and Theory. Berlin: ICI Berlin Press, 2022. https://doi.org/10.37050/ci-21.                                                                                  

Büscher, Barbara and Franz Anton Cramer. “Collecting as Artistic and Documentary Practice: Towards a Fluid Access to Artefacts of/in Performance.” Video recording of a lecture, Collecting and Conserving Performance Art. Website of the Verband Deutscher Restauratoren (VDR). 

Calonje, Teresa (ed.). Live Forever – Collecting Live Art. Köln: Koenig Books, 2014.

Casagrande, Bruna. “A Report from the Audience: The Multi-Perspective Witness Report as a Method of Documenting Performance Art.” VDR Beiträge 2 (2017): 95–99.

Estermann, Beat and Christian Schneeberger. “Data Model for the Swiss Performing Arts Platform.” Online publication, draft version 0.51. Bern University of the Arts.

Giannachi, Gabriella and Jonah Westerman. Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. London and New York: Routledge, 2018.

Gusman, Tancredi. “Between Evidence and Representation: A New Methodological Approach to the History of Performance Art and Its Documentation.” Contemporary Theatre Review, 29:4 (2019): 439-461.

Laurenson, Pip. “Introduction: Tony Conrad, Ten Years Alive on the Infinite Plain.” In Reshaping the Collectible: Tony Conrad, Tate Research Publication, 2022.

Laurenson, Pip, and Vivian van Saaze. “Collecting Performance-based Art: New Challenges and Shifting Perspectives.” In Performativity in the Gallery: Staging Interactive Encounters, edited by O. Remes et al., 27–41. Berlin: Peter Lang, 2014.

Laurenson, Pip, et al. ‘The Live List: What to Consider When Collecting Live Works’, Collecting the Performative Network, 24 January 2014. Accessed 04 November 2020. http://www.tate.org.uk/about-us/projects/collecting-performative/live-list.

Lawson, Louise, Acatia Finbow and Hélia Marçal. “Developing a Strategy for the Conservation of Performance-Based Artworks at Tate.” Journal of the Institute of Conservation, 42:2 (2019): 114-134.

Marçal, Hélia. “From Intangibility to Materiality and Back Again: Preserving Portuguese Performance Artworks from the 1970s.” Universidade Nova de Lisboa, 2018.

Marçal, Hélia. “Conservation in an Era of Participation.” Journal of the Institute of Conservation 40, no. 2 (2017): 97–104. https://doi.org/10.1080/19455224.2017.1319872.

Marçal, Hélia. “Ecologies of Memory in the Conservation of Ten Years Alive on the Infinite Plain,” In Reshaping the Collectible: Tony Conrad, Tate Research Publication, 2021.

Riess, Eva, Carolin Bohlmann  and Ina Hausmann. “From Action to Object. On the Preservation of Performance-Based Installations by Joseph Beuys.” Journal of the Institute of Conservation, 42:2 (2019): 79-9.

Santone, Jessica. “Marina Abramovic’s Seven Easy Pieces: Critical Documentation Strategies for Preserving Art’s History.” LEONARDO 41, no. 2 (2008): 147–52. https://doi.org/10.4324/9780203870655.

Heritage studies

Akagawa, Natsuko, and Laurajane Smith, eds. Safeguarding Intangible Heritage: Practices and Politics. London: Routledge, 2019.

Alivizatou, Marilena. Intangible Heritage and the Museum: New Perspectives on Cultural Preservation. Walnut Creek, California: Left Coast Press, 2012.

Arizpe, Lourdes, and Cristina Amescua, eds. Anthropological Perspectives on Intangible Cultural Heritage. Heidelberg: Springer International Publishing, 2013. https://doi.org/10.1007/978-3-319-00855-4.

Basic Texts of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage. Paris: Living Heritage Culture Sector UNESCO, 2018.

Basic Texts of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage. UNESCO, 2020.

Charlotte Waelde, Catherine Cummings, Mathilde Pavis, and Helena Enright, eds. Research Handbook on Contemporary Intangible Cultural Heritage: Law and Heritage. Cheltenham: Edward Elgar Publishing, 2018.

Hu, Jun, Xiaona Feng, Mu Zhang, and Jing Luo. “Study on the Authenticity Perception of Intangible Cultural Heritage.” Current Urban Studies 07, no. 01 (2019): 35–58.

Kirshenblatt-Gimblett, Barbara. “Intangible Heritage as Metacultural Production.” Museum International 66, no. 1–4 (2014): 163–74.

Leimgruber, Walter. “Switzerland and the UNESCO Convention on Intangible Cultural Heritage.” Journal of Folklore Research 47, no. 1–2 (2010): 161–96.

McKerrell, Simon, and Kerstin Pfeiffer. “On the Relationship between Performance and Intangible Cultural Heritage.” Heritage and Festivals in Europe: Performing Identities, August (2019): 18–28.

Michelle L. Stefano and Peter Davis, eds. The Routledge Companion to Intangible Cultural Heritage. Routledge. London: Routledge, 2017.

Muntean, Reese, Kate Hennessy, Alissa Antle, Susan Rowley, Jordan Wilson, and Brendan Matkin. “ʔeləw̓k̓w – Belongings: Tangible Interactions with Intangible Heritage.” Journal of Science and Technology of the Arts 7, no. 2 (2015): 59. https://doi.org/10.7559/citarj.v7i2.159.

Rocha, António, Sara Fragoso, Rita Macedo, Ana Ramos, and Isabel Corte-Real. “Conservation of Instalação 191093, Parte 1: Documenting Material and Intangible Features.” ICOM-CC 16th Triennial Conference Lisbon 19-23 September 2011: Preprints, 2011, 1–8.

Rusalić, Dragana, and Dragana Radojičić. Making the Intangible Tangible: The New Interface of Cultural Heritage. Special Editions / Institute of Ethnography SASA, v. 63. Beograd: Institute of Etnography SASA, 2009.

Safeguarding Intangible Cultural Heritage in Formal and Non-Formal Education. UNESCO Intangible Cultural Heritage, 2019.

Silverman, Helaine, and D. Fairchild Ruggles, eds. Intangible Heritage Embodied. New York, NY: Springer New York, 2009. https://doi.org/10.1007/978-1-4419-0072-2.

Smith, Laurajane, and Natsuko Akagawa, eds. Intangible Heritage. London: Routledge, 2009.

Stefano, Michelle L., Peter Davis, and Gerard Corsane, eds. Safeguarding Intangible Cultural Heritage. Woodbridge, Suffolk: The Boydell Press, 2012.

Taylor, Diana. “Saving the ‘Live’? Re-Performance and Intangible Cultural Heritage.” Études Anglaises 69, no. 2 (2016): 149–61.

Whatley, Sarah, Rosamaria K. Cisneros, and Amalia Sabiescu, eds. Digital Echoes: Spaces for Intangible and Performance-Based Cultural Heritage. London: Palgrave MacMillan, 2018.

Curation and museology

Auslander, Philip. “The Performativity of Performance Documentation.” Performing Arts Journal 84 (2006).

Auslander, Philip. “Surrogate Performances: Performance Documentation and the New York Avant-garde, ca. 1964–74.” In On Performativity (2014), edited by Elizabeth Carpenter.

Bedford, Christopher. “The Viral Ontology of Performance.” In Perform, Repeat, Record: Live Art in History, edited by Jones, Amelia and Adrian Heathfield, 77–89. London: Routledge, 2012.

Berrebi, Sophie, and Hendrik Folkerts. “The Place of Performance.” Stedeljik Studies 3 (2015).

Blackstone, Robert. “Once More… with Feeling: Reenactment in Contemporary Art and Culture.” Art Journal 66, No. 1 (Spring 2007): 28–40.

Bodor, Judit. “The ‘Extended Life’ of Performance: Curating 1960s Multimedia Art in the Contemporary Museum.” In The Explicit Material: Inquiries on the Intersection of Curatorial and Conservation Cultures, edited by Hanna Hölling, Francesca Bewer, and Katharina Ammann, 117–141. Leiden and Boston: Brill, 2019.

Büscher, Barbara and Franz Anton Cramer. “From Work to the Performance: Reflections on Performance Art in the Museums.” VDR Beiträge 2 (2017): 90–93.

Casey, Valerie. “Staging Meaning: Performance in the Modern Museum.” The Drama Review 49, No. 3 (Autumn 2005): 78–95.

Clausen, Barbara, ed. After the Act: The (Re)Presentation of Performance Art. Vienna: Museum Moderner Kunst Stiftung Ludwig, 2007.

Dietz, Steve. “Collecting New-Media Art: Just Like Anything Else, Only Different.” In Collecting the New: Museums and Contemporary Art, edited by Bruce Altshuler, 85–102. Princeton, New Jersey: Princeton University Press, 2005.

Giannachi, Gabriella. “Performance at Tate: The Scholarly and Museological Context.” Tate Papers 8 (2014). http://www.tate.org.uk/context-comment/ articles/performance-at-tate-scholarly-museological-context.

Guy, Georgina. Theatre, Exhibition, and Curation: Displayed & Performed. New York: Routledge, 2016.

Hölling, Hanna, Francesca Bewer, and Katharina Ammann. The Explicit Material: Inquiries on the Intersection of Curatorial and Conservation Cultures. Leiden and Boston: Brill, 2019.

Kirshenblatt-Gimblett, Barbara. Destination Culture: Tourism, Museums, and Heritage. Berkeley: University of California Press, 1998.

Kosciejew, Marc. “Documentation and the Information of Art.” Tate Papers 29 (2018). https://www.tate.org.uk/research/publications/tate-papers/29/documentation-and-the-information-of-art.

Lemaître, Christophe, and Gregory Buchert. La Vie Et La Mort Des œuvres D’art = The Life and Death of Works of Art. Paris: Tombolo Presses, 2016.

Remes, Outi, Laura MacCulloch and Marika Leino, eds. Performativity in the Gallery Staging Interactive Encounters. Bern: Peter Lang, 2014.

Rugg, Judith, and Michèle Sedgwick, eds. Issues in Curating Contemporary Art and Performance. Bristol and Chicago: Intellect Books, 2007.

Yoshida, Kenji. “The Museum and the Intangible Cultural Heritage,” Museum International, 56 (2004), 108–12.

Performance art, history and theory

Auslander, Philip. Liveness: Performance in a Mediatized Culture. 2nd ed. London: Routledge, 2008.

Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London and New York: Verso, 2012.

Buskirk, Martha, Amelia Jones, and Caroline A. Jones. “A Year in Re.” Art Forum (December 2013).

Canclini, Néstor García. Hybrid Cultures: Strategies for Entering and Leaving Modernity. Translated by Christopher L. Chiappari and Silvia L. López. Minneapolis: University of Minnesota Press, 1995.

Fusco, Coco, ed. Corpus Delecti: Performance Art of the Americas. London: Routledge, 2005.

Fusco, Coco. “The Other History of Intercultural Performance.” TDR/The Drama Review 38, no. 1 (1994): 143–67.

Gaskell, Ivan, and Salim Kemal, eds. Performance and Authenticity in the Arts. Cambridge: Cambridge University Press, 1999.

Jones, Amelia. “‘Presence’ in Absentia: Experiencing Performance as Documentation.” Art Journal 56, No. 4 (1997), 11–18.

Jones, Amelia, “Temporal Anxiety/‘Presence’ in Absentia: Experiencing Performance as Documentation.” In Archaeologies of Presence, edited by Gabriella Giannachi, Nick Kaye and Michael Shanks, 197–222 (London: Routledge, 2012).

Jones, Amelia. “Timeline of Ideas: Live Art in (Art) History; A Primarily European-US based Trajectory of Debates and Exhibitions Relating to Performance Documentation and Re-enactments.” In Jones and Heathfield 2012, 425–434.

Jones, Amelia and Adrian Heathfield, eds. Perform, Repeat, Record: Live Art in History. London: Routledge, 2012.

Joselit, David. “Marking, Scoring, Storing, and Speculating (On Time).” In: Painting Beyond Itself: The Medium in the Post-medium Condition, edited by Isabelle Graw, Ewa Lajer-Burcharth, 11–22. Berlin: Sternberg Press, 2016.

Kaprow, Allan. Essays on the Blurring of Art and Life. Edited by Jeff Kelley. Berkeley: University of California Press, 1993.

Kaye, Nick. Postmodernism and Performance. London: Macmillan, 1994.

Kotz, Liz. “Post-Cagean Aesthetics and the ‘Event’ Score,” October No. 95 (Winter 2001): 55–89.

Lambert-Beatty Carrie. “Documentary Dialectics: Performance Lost and Found.” Visual Resources, vol. 16, no. 3 (2000).

Lambert-Beatty Carrie. Being Watched: Yvonne Rainer and the 1960s. Cambridge: MIT Press, 2008

Lepecki, André. “The Body as Archive: Will to Re-Enact and the Afterlives of Dances.” Dance Research Journal 42, No. 2 (2010): 28–48.

Lillemose, Jacob. “Conceptual Transformations of Art: From Dematerialisation of the Object to Immateriality in Networks.” In Curating Immateriality: The Work of a Curator in the Age of Network Systems, ed. Joasia Krysa, 117-139. Data Browser 03: Autonomedia, 2006. 

Lichte, Erika. Ästhetik des Performativen. Frankfurt am Main: Surkamp, 2004.

Lippard, Lucy. Six Years: The Dematerialization of the Art Object from 1966 to 1972, Berkeley: University of California Press, 1973.

Lütticken, Sven, ed. Life, Once More: Forms of Re-Enactment in Contemporary Art. Rotterdam: Witte de With Center for Contemporary Art, 2005.

Lütticken, Seven. “An Arena in Which to Reenact.” In: Life, Once More: Forms of Re-enactment in Contemporary Art, edited by Sven Lütticken, 17–60. Rotterdam, Witte de With Center for Contemporary Art, 2005.

Mangion, Eric, and Marie de Bourgelles, eds. Not to Play with Dead Things. Zurich: JRP Ringier, 2009.

Jay Pather, Catherine Boulle, Katlego Disemelo, Gabrielle Goliath, Khwezi Gule, Andrew Hennlich, Mwenya B Kabwe, Massa Lemu, Nomusa Makhubu, and Bettina Malcomess. Acts of Transgression: Contemporary Live Art in South Africa. Johannesburg: Witwatersrand University, 2019.

Phelan, Peggy, Unmarked: The Politics of Performance. London: Routledge, 1993.

Phelan, Peggy and  Marquard Smith. “Performance, Live Culture and Things of the Heart.” Journal of Visual Culture 2 (2003), No. 3, 291–302.

Pillow, Kirk. “Did Goodman’s Distinction Survive LeWitt?” Journal of Aesthetics and Art Criticism 61, No. 4 (2003): 365–80.

Rinehart, Richard, and Jon Ippolito, Re-Collection: Art, New Media, and Social Memory. Cambridge, MA: The MIT Press, 2014.

Robinson, Julia. “The Brechtian Event Score: A Structure in Fluxus.” Performance Research 7, No. 3 (2002): 110–123.

Sandahl, Carrie, and Philip Auslander, eds. Bodies in Commotion: Disability and Performance. Ann Arbor: University of Michigan, 2005.

Sanders, Jay, and J. Hoberman. Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama—Manhattan, 1970–1980. New York, Whitney Museum of American Art, 2013.

Schneider, Rebecca. “(Archives) Performance Remains.” Performance Research 6 (2001): 100–108.

Schneider, Rebecca. Performing Remains: Art and War in Times of Theatrical Reenactment. London and New York: Routledge, 2011.

Schneider, Rebecca. The Explicit Body in Performance. London: Routledge, 2002.

von Hantelmann, Dorothea. “The Experiential Turn.” In On Performativity, edited by Elizabeth Carpenter, 2014. http://walkerart.org/collections/publications/performativity/experiential-turn.

Wang, Victor, ed. Performance Histories from East Asia, 1960s-1990s: An IAPA Reader. London: David Roberts Art Foundation, 2018.

Other relevant art history

Bishop, Claire. Installation Art: A Critical History. London: Tate Publishing, 2005.

Graw, Isabelle, and Ewa Lajer-Burcharth, eds. Painting Beyond Itself: The Medium in the Post-Medium Condition. Berlin: Sternberg Press, 2016.

Higgins, Dick. Modernism since Postmodernism: Essays on Intermedia. San Diego: San Diego State University, 1997.

Lee, Pamela M. Chronophobia: On Time in the Art of the 1960s. Cambridge: MIT Press, 2004.

Moten, Fred. In the Break: The Aesthetics of the Black Radical Tradition. Minneapolis: University of Minnesota, 2003.

Osborne, Peter. The Postconceptual Condition. London and New York: Verso, 2018.

Stiles, Kristine, and Peter Selz, eds. Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings. 2nd ed. Berkeley: University of California Press, 2012.

Thompson, Nato, ed. Living as Form: Socially Engaged Art from 1991–2011. Cambridge: MIT Press, 2012.

Other fields of performance

Bernstein, Charles, ed. Close Listening: Poetry and the Performed Word. New York: Oxford University Press, 1998.

Burt, Ramsay. Judson Dance Theater: Performative Traces. London: Routledge, 2006.

Gartmann, Thomas, and Marc Kilchenmann, eds., Urs Peter Schneider: Konzeptuelle Musik; Eine kommentierte Anthologie. Bern: Aart Verlag 2016.

Lepecki, André. “Exhausting Dance: Performance and the Politics of Movement.” In Journal of Chemical Information and Modeling. New York: Routledge, 2006.

Piekut, Benjamin. Experimentalism Otherwise: The New York Avant-Garde and Its Limits. Berkeley and Los Angeles, California: University of California Press, 2010.

Sennett, Richard. The Craftsman. New Haven: Yale University Press, 2008.

Performance and performativity

Austin, J.L. How to Do Things with Words. The William James Lectures Delivered at Harvard University in 1955. London: Oxford University Press, 1962.

Bal, Mieke. “How the Concept of Performativity Travels: Between People and Media.” Methis. Studia Humaniora Estonica 22, no. 27/28 (December 15, 2021): 18–32.

Berns, Ute. “Performativity.” In The Living Handbook of Narratology, edited by Jan Christoph Meister. Hamburg University Press, 2014.

Butler, Judith. “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory.” Theatre Journal 40, no. 4 (1988): 519–31.

Cull, Laura. “Performance as Philosophy: Responding to the Problem of ‘Application.’” Theatre Research International 37, no. 1 (2012): 20–27.

———. “Performance Philosophy.” In Performance Studies, edited by Bryan Reynolds, 91–100. London: Macmillan Education UK, 2014.

Cull, Laura, and Alice Lagaay, eds. Encounters in Performance Philosophy. Houndmills: Palgrave MacMillan, 2014.

Culler, Jonathan. “Philosophy and Literature: The Fortunes of the Performative.” Poetics Today 21, no. 3 (September 1, 2000): 503–19.

Davis, Tracy C., ed. The Cambridge Companion to Performance Studies. Cambridge: Cambridge University Press, 2008.

Derrida, Jacques. Limited Inc. Translated by Samuel Weber, Jeffrey Mehlman, and Alan Bass. Evanston, Illinois: Northwestern University Press, 1988.

Ginters, Laura, and Gay McAuley, eds. Audiencing: The Work of the Spectator in Live Performance. Special issue of About Performance, no. 10. Department of Performance Studies, University of Sydney, 2010.

Grant, Stuart, Jodie McNeilly, and Maeva Veerapen, eds. Performance and Temporalisation: Time Happens. Houndmills: Palgrave MacMillan, 2015.

Jackson, Shannon. Professing Performance: Theatre in the Academy from Philololgy to Performativity. Theatre and Performance Theory. New York: Cambridge University Press, 2004.

Kozel, Susan. Closer: Performance, Technologies, Phenomenology. Cambridge: MIT Press, 2007.

Loxley, James. Performativity. London: Routledge, 2007.

Parker, Andrew, and Eve Kosofsky Sedgwick, eds. Performativity and Performance. New York: Routledge, 1995.

Reinelt, Janet G., and Joseph R. Roach, eds. Critical Theory and Performance. Ann Arbor: University of Michigan, 2007.

Schechner, Richard. Between Theater and Anthropology. Philadelphia: University of Pennsylvania Press, 1985.

———. “From Ritual to Theatre and Back: The Structure/Process of the Efficacy-Entertainment Dyad.” Educational Theatre Journal 26, no. 4 (1974): 455–81.

———. Performance Theory. London: Routledge, 2003.

———. The Future of Ritual. London: Routledge, 2004.

———. “Victor Turner’s Last Adventure.” Anthropologica 27, no. 1/2 (1985): 190–206.

Schechner, Richard, and Willa Appel, eds. By Means of Performance: Intercultural Studies of Theatre and Ritual. Cambridge University Press. Cambridge: Cambridge University Press, 1990.

Schechner, Richard, and Richard Schechner. “Rasaesthetics” 45, no. 3 (2001): 27–50.

Schneider, Rebecca. “Performance Remains.” Performance Research 6, no. 2 (2001): 100–108.

———. Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge, 2011.

———. “Remembering Feminist Remimesis: A Riddle in Three Parts.” TDR/The Drama Review 58, no. 2 (2015): 14–32.

———. The Explicit Body in Performance. London: Routledge, 1997.

———. “Time on Our Hands.” Documenta, no. 2 (2016).

Taylor, Diana. “Dancing with Diana: A Study in Hauntology.” TDR/The Drama Review 43, no. 1 (1999): 59–78.

———. Performance. Translated by Abigail Levine. Durham: Duke University Press, 2016.

———. “Saving the ‘Live’? Re-Performance and Intangible Cultural Heritage.” Études Anglaises 69, no. 2 (2016): 149–61.

———. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press, 2003.

Turner, Victor. “Are There Universals of Performance in Myth, Ritual, and Drama?” In By Means of Performance, edited by Richard Schechner and Willa Appel, 8–18. Cambridge: Cambridge University Press, 1990.

Will, Daddario, and Gritzner Karoline, eds. Adorno and Performance. Houndmills: Palgrave MacMillan, 2014.

Philosophy

Goodman, Nelson. Languages of Art: An Approach to a Theory of Symbols. Indianapolis: Hackett Publishing Co, 1976.

Irvin, Sherri. “The Artist’s Sanction in Contemporary Art.” Journal of Aesthetics and Art Criticism 63, no. 4 (Autumn 2005): 315–26.

Ritual studies and anthropology

Ames, Michael M. “The Nature of Numinosity and Its Museological Reconstruction.” The Journal of the Walters Art Gallery 52/53 (1994): 61–64.

Ashley, Kathleen. “Art In Ritual Context: Introduction.” Journal of Ritual Studies 6, no. 1 (1992): 1–11.

Bell, Catherine. Ritual: Perspectives and Dimensions. Oxford: Oxford University Press, 1997.

———. Ritual Theory, Ritual Practice. Oxford University Press, 2009.

———. “The Ritual Body and The Dynamics of Ritual Power.” Journal of Ritual Studies 4, no. 2 (1990): 299–313.

Bendix, Regina. In Search of Authenticity: The Formation of Folklore Studies. Madison: University of Wisconsin Press, 1997.

Bronner, Simon J. Meaning of Folklore: The Analytical Essays of Alan Dundes, 2007.

Brown, Gavin. “Theorizing Ritual as Performance: Explorations of Ritual Indeterminacy.” Journal of Ritual Studies 17, no. 1 (2003): 3–18.

Cardita, Ângelo. “Ritual Studies: New Paths?” Journal of Ritual Studies 30, no. 1 (2016): 111–15.

Carpentier, Martha C. “Jane Ellen Harrison and the Ritual Theory.” Journal of Ritual Studies 8, no. 1 (1994): 11–26.

Dissanayake, Ellen. “An Ethological View of Ritual and Art in Human Evolutionary History.” Leonardo 12, no. 1 (1979): 27–31. https://doi.org/10.2307/1574079.

Fabian, Johannes. Time and the Other: How Anthropology Makes Its Object. Vol. 86. New York: Columbia University Press, 2014.

Fernjndez, Juan, and J Korstgard. The Antropology of Experience. Vol. 16, 1997.

Franko, Mark, ed. Ritual and Event: Interdisciplinary Perspectives. London: Routledge, 2006.

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