Bertie Ferdman is Professor of Theatre at Borough Manhattan Community College and consortium faculty at The Graduate Center, CUNY, USA. Recent publications include Off Sites: Contemporary Performance beyond Site-Specific (2018) and Curating Dramaturgies: How Dramaturgy and Curating are Intersecting in the Contemporary Arts (2021), co-edited with Peter Eckersall.Jovana Stokic is a Belgrade-born, New York-based art historian and curator. She is currently on the faculty of the MFA Art Practice, School of Visual Arts, New York, USA, and New York University Steinhardt Department of Art and Art Professions. She holds a PhD from the Institute of Fine Arts, New York University.

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• List of IllustrationsNotes on ContributorsAcknowledgementsPart I – IntroductionSquaring Performance ArtBertie Ferdman (City University of New York, USA) and Jovana Stokic (New York University, USA)Part II – Issues and Problems: Future Directions in Performance Art ResearchReruns or New TurnsJovana Stokic (New York University, USA)Cross-disciplinarity and Antitheatrical Historiographies of Performance ArtBertie Ferdman (City University of New York, USA)Part III – Essays1. How Performance Art Makes History: Artists’ Auto-histories of Happenings and Fluxus in the 1960sHeike Roms (University of Exeter, UK)2. Queer Performativity: A Critical Genealogy of a Politics of Doing in Art PracticeAmelia Jones (University of Southern California, USA)3. Taking Up Instructions for BecomingRebecca Schneider (Brown University, USA)4. Caring for Black Corporealities: Experimental Black PerformanceThomas deFrantz (Duke University, USA)5. Between Contemporary Art and Performance: Dramaturgy and FlowPeter Eckersall (City University of New York, USA)6. Acting Ethical: Performance Art Goes PublicMalik Gaines (New York University, USA)7. Compassionate Acts:Performance as Radical CareNikki Cesare Schotzko (University of Toronto, Canada)8. The Labor of the Artist, Feminist Practices, and Troubles with InfrastructureBojana Kunst (University Giessen, Germany)9. Gestural StudySven Lütticken (Vrije Universiteit, Netherlands)10. Stomaching It: Black Performance Art and Penetrating the Inscrutable BodyDanielle Bainbridge (Northwestern, USA)11. Performative Bodies and Artists/Spectators: The Case of Radical Latina and Latin American Women Artists in ExhibitionCecilia Fajardo-Hill (Independent Scholar, Venezuela)12. Framing Live ArtLois Keidan (Live Art Development Agency, UK)13. From the Institution of Performance to the Performance of InstitutionsJonah Westerman (State University of New York, USA) and Catherine Wood (Tate Modern, UK)14. Performance in the Age of the TechnosphereChris Salter (Concordia University, Canada)Part IV- Annotated Bibliography and ResourcesEylül Fidan Akinci (Ghent University, Belgium)Index

Bertie Ferdman is Professor of Theatre at Borough Manhattan Community College and consortium faculty at The Graduate Center, CUNY, USA. Recent publications include Off Sites: Contemporary Performance beyond Site-Specific (2018) and Curating Dramaturgies: How Dramaturgy and Curating are Intersecting in the Contemporary Arts (2021), co-edited with Peter Eckersall.Jovana Stokic is a Belgrade-born, New York-based art historian and curator. She is currently on the faculty of the MFA Art Practice, School of Visual Arts, New York, USA, and New York University Steinhardt Department of Art and Art Professions. She holds a PhD from the Institute of Fine Arts, New York University.

Select Guide Rating

• List of IllustrationsNotes on ContributorsAcknowledgementsPart I – IntroductionSquaring Performance ArtBertie Ferdman (City University of New York, USA) and Jovana Stokic (New York University, USA)Part II – Issues and Problems: Future Directions in Performance Art ResearchReruns or New TurnsJovana Stokic (New York University, USA)Cross-disciplinarity and Antitheatrical Historiographies of Performance ArtBertie Ferdman (City University of New York, USA)Part III – Essays1. How Performance Art Makes History: Artists’ Auto-histories of Happenings and Fluxus in the 1960sHeike Roms (University of Exeter, UK)2. Queer Performativity: A Critical Genealogy of a Politics of Doing in Art PracticeAmelia Jones (University of Southern California, USA)3. Taking Up Instructions for BecomingRebecca Schneider (Brown University, USA)4. Caring for Black Corporealities: Experimental Black PerformanceThomas deFrantz (Duke University, USA)5. Between Contemporary Art and Performance: Dramaturgy and FlowPeter Eckersall (City University of New York, USA)6. Acting Ethical: Performance Art Goes PublicMalik Gaines (New York University, USA)7. Compassionate Acts:Performance as Radical CareNikki Cesare Schotzko (University of Toronto, Canada)8. The Labor of the Artist, Feminist Practices, and Troubles with InfrastructureBojana Kunst (University Giessen, Germany)9. Gestural StudySven Lütticken (Vrije Universiteit, Netherlands)10. Stomaching It: Black Performance Art and Penetrating the Inscrutable BodyDanielle Bainbridge (Northwestern, USA)11. Performative Bodies and Artists/Spectators: The Case of Radical Latina and Latin American Women Artists in ExhibitionCecilia Fajardo-Hill (Independent Scholar, Venezuela)12. Framing Live ArtLois Keidan (Live Art Development Agency, UK)13. From the Institution of Performance to the Performance of InstitutionsJonah Westerman (State University of New York, USA) and Catherine Wood (Tate Modern, UK)14. Performance in the Age of the TechnosphereChris Salter (Concordia University, Canada)Part IV- Annotated Bibliography and ResourcesEylül Fidan Akinci (Ghent University, Belgium)Index