The Phenomenology of Blood in Performance Art is a major new publication that expands the philosophical contextualisation of blood, its presence and absence, across the practice of performance art from a phenomenological perspective.

Edited by T. J. Bacon (she/they) and Chelsea Coon (she/her), this book moves through an established cannon of artists and beyond to ensure an inclusive representation of practices from a wider range of practitioners. First-hand interviews and conversations have been gathered from both canonical names as well as individuals who are prevalent in their communities and/or respective subcultures, but less represented within the frameworks of scholarly discourse. Each offers the opportunity to examine their experiences creating artworks and in turn contributes to the context of phenomenological examination within this publication through complementary scholarly texts from leading thinkers who frame phenomenological application to both visual art and transdisciplinary context. Featuring artists through new exclusive interviews and contributions including Marina Abramović, Jelili Atiku, Ron Athey, Franko B, Niya B, Marisa Carnesky, Chelsea Coon, Victor Martinez Diaz, Rufus Elliot, Ernst Fischer, Louis Fleischauer, Poppy Jackson, Mirabelle Jones, Andrei Molodkin, Hermann Nitsch, ORLAN, Mike Parr, Greta Sharp, tjb and Paola Paz Yee, and reference to many more. Alongside new scholarly insight by leading phenomenological and interdisciplinary art scholars and philosophers including T. J. Bacon, Chelsea Coon, Stuart Grant, Kelly Jordan, Lynn Lu, Roberta Mock, Amber Musser and Raegan Truax. Together they represent a significant exploration of intricate and dynamic responses to the cultural fabric of contemporary lived experiences across space and time through the medium of blood in performance art.

This incredible analysis of this performance art will be of huge interest to students and practitioners of live art, performance art, phenomenology, and performance philosophy.

The Phenomenology of Blood in Performance Art is a major new publication that expands the philosophical contextualisation of blood, its presence and absence, across the practice of performance art from a phenomenological perspective.

Edited by T. J. Bacon (she/they) and Chelsea Coon (she/her), this book moves through an established cannon of artists and beyond to ensure an inclusive representation of practices from a wider range of practitioners. First-hand interviews and conversations have been gathered from both canonical names as well as individuals who are prevalent in their communities and/or respective subcultures, but less represented within the frameworks of scholarly discourse. Each offers the opportunity to examine their experiences creating artworks and in turn contributes to the context of phenomenological examination within this publication through complementary scholarly texts from leading thinkers who frame phenomenological application to both visual art and transdisciplinary context. Featuring artists through new exclusive interviews and contributions including Marina Abramović, Jelili Atiku, Ron Athey, Franko B, Niya B, Marisa Carnesky, Chelsea Coon, Victor Martinez Diaz, Rufus Elliot, Ernst Fischer, Louis Fleischauer, Poppy Jackson, Mirabelle Jones, Andrei Molodkin, Hermann Nitsch, ORLAN, Mike Parr, Greta Sharp, tjb and Paola Paz Yee, and reference to many more. Alongside new scholarly insight by leading phenomenological and interdisciplinary art scholars and philosophers including T. J. Bacon, Chelsea Coon, Stuart Grant, Kelly Jordan, Lynn Lu, Roberta Mock, Amber Musser and Raegan Truax. Together they represent a significant exploration of intricate and dynamic responses to the cultural fabric of contemporary lived experiences across space and time through the medium of blood in performance art.

This incredible analysis of this performance art will be of huge interest to students and practitioners of live art, performance art, phenomenology, and performance philosophy.

This original and unique new book takes an integrated approach to interrogating the experience and location of the self/s within the context of performance art practice. In its framing and execution of practical exercises and focused snapshots of internationally recognized performance practice, Bacon situates their argument within the boundaries of specialism in the critical curation of performance art praxis as well as contemporary phenomenological scholarship.

Introducing the study and application of performance art through phenomenology for radical artists, educators and practitioner-researchers; this exciting new book invites readers to take part, explore contemporary performance art and activate their own practices.

Applying a queer phenomenology to unpack the importance of a multiplicity of Self/s, the book guides readers to be academically rigorous when capturing embodied experiences, featuring exercises to activate their practices and clear introductory definitions to key phenomenological terms. Includes interviews and insights from some of the best examples of transgressive performance art practice of this century help to help unpack the application of phenomenology as Bacon calls for a queer reimagining of Heidegger’s ‘The Origin of the Work of Art.’

This is an important contribution to the field, and will be welcomed by performance artists and academics interested in performance. It may also appeal to those teaching concepts of phenomenology.

It will be relevant to students of performance as well as to artists, audiences and museum goers. The approachable layout and clear authorial voice will add to the appeal for students, early career researchers and mean that it has strong potential for inclusion in undergraduate and postgraduate syllabi within the field. 

This original and unique new book takes an integrated approach to interrogating the experience and location of the self/s within the context of performance art practice. In its framing and execution of practical exercises and focused snapshots of internationally recognized performance practice, Bacon situates their argument within the boundaries of specialism in the critical curation of performance art praxis as well as contemporary phenomenological scholarship.

Introducing the study and application of performance art through phenomenology for radical artists, educators and practitioner-researchers; this exciting new book invites readers to take part, explore contemporary performance art and activate their own practices.

Applying a queer phenomenology to unpack the importance of a multiplicity of Self/s, the book guides readers to be academically rigorous when capturing embodied experiences, featuring exercises to activate their practices and clear introductory definitions to key phenomenological terms. Includes interviews and insights from some of the best examples of transgressive performance art practice of this century help to help unpack the application of phenomenology as Bacon calls for a queer reimagining of Heidegger’s ‘The Origin of the Work of Art.’

This is an important contribution to the field, and will be welcomed by performance artists and academics interested in performance. It may also appeal to those teaching concepts of phenomenology.

It will be relevant to students of performance as well as to artists, audiences and museum goers. The approachable layout and clear authorial voice will add to the appeal for students, early career researchers and mean that it has strong potential for inclusion in undergraduate and postgraduate syllabi within the field. 

The Phenomenology of Blood in Performance Art is a major new publication that expands the philosophical contextualisation of blood, its presence and absence, across the practice of performance art from a phenomenological perspective.

Edited by T. J. Bacon (she/they) and Chelsea Coon (she/her), this book moves through an established cannon of artists and beyond to ensure an inclusive representation of practices from a wider range of practitioners. First-hand interviews and conversations have been gathered from both canonical names as well as individuals who are prevalent in their communities and/or respective subcultures, but less represented within the frameworks of scholarly discourse. Each offers the opportunity to examine their experiences creating artworks and in turn contributes to the context of phenomenological examination within this publication through complementary scholarly texts from leading thinkers who frame phenomenological application to both visual art and transdisciplinary context. Featuring artists through new exclusive interviews and contributions including Marina Abramović, Jelili Atiku, Ron Athey, Franko B, Niya B, Marisa Carnesky, Chelsea Coon, Victor Martinez Diaz, Rufus Elliot, Ernst Fischer, Louis Fleischauer, Poppy Jackson, Mirabelle Jones, Andrei Molodkin, Hermann Nitsch, ORLAN, Mike Parr, Greta Sharp, tjb and Paola Paz Yee, and reference to many more. Alongside new scholarly insight by leading phenomenological and interdisciplinary art scholars and philosophers including T. J. Bacon, Chelsea Coon, Stuart Grant, Kelly Jordan, Lynn Lu, Roberta Mock, Amber Musser and Raegan Truax. Together they represent a significant exploration of intricate and dynamic responses to the cultural fabric of contemporary lived experiences across space and time through the medium of blood in performance art.

This incredible analysis of this performance art will be of huge interest to students and practitioners of live art, performance art, phenomenology, and performance philosophy.

The Phenomenology of Blood in Performance Art is a major new publication that expands the philosophical contextualisation of blood, its presence and absence, across the practice of performance art from a phenomenological perspective.

Edited by T. J. Bacon (she/they) and Chelsea Coon (she/her), this book moves through an established cannon of artists and beyond to ensure an inclusive representation of practices from a wider range of practitioners. First-hand interviews and conversations have been gathered from both canonical names as well as individuals who are prevalent in their communities and/or respective subcultures, but less represented within the frameworks of scholarly discourse. Each offers the opportunity to examine their experiences creating artworks and in turn contributes to the context of phenomenological examination within this publication through complementary scholarly texts from leading thinkers who frame phenomenological application to both visual art and transdisciplinary context. Featuring artists through new exclusive interviews and contributions including Marina Abramović, Jelili Atiku, Ron Athey, Franko B, Niya B, Marisa Carnesky, Chelsea Coon, Victor Martinez Diaz, Rufus Elliot, Ernst Fischer, Louis Fleischauer, Poppy Jackson, Mirabelle Jones, Andrei Molodkin, Hermann Nitsch, ORLAN, Mike Parr, Greta Sharp, tjb and Paola Paz Yee, and reference to many more. Alongside new scholarly insight by leading phenomenological and interdisciplinary art scholars and philosophers including T. J. Bacon, Chelsea Coon, Stuart Grant, Kelly Jordan, Lynn Lu, Roberta Mock, Amber Musser and Raegan Truax. Together they represent a significant exploration of intricate and dynamic responses to the cultural fabric of contemporary lived experiences across space and time through the medium of blood in performance art.

This incredible analysis of this performance art will be of huge interest to students and practitioners of live art, performance art, phenomenology, and performance philosophy.

This original and unique new book takes an integrated approach to interrogating the experience and location of the self/s within the context of performance art practice. In its framing and execution of practical exercises and focused snapshots of internationally recognized performance practice, Bacon situates their argument within the boundaries of specialism in the critical curation of performance art praxis as well as contemporary phenomenological scholarship.

Introducing the study and application of performance art through phenomenology for radical artists, educators and practitioner-researchers; this exciting new book invites readers to take part, explore contemporary performance art and activate their own practices.

Applying a queer phenomenology to unpack the importance of a multiplicity of Self/s, the book guides readers to be academically rigorous when capturing embodied experiences, featuring exercises to activate their practices and clear introductory definitions to key phenomenological terms. Includes interviews and insights from some of the best examples of transgressive performance art practice of this century help to help unpack the application of phenomenology as Bacon calls for a queer reimagining of Heidegger’s ‘The Origin of the Work of Art.’

This is an important contribution to the field, and will be welcomed by performance artists and academics interested in performance. It may also appeal to those teaching concepts of phenomenology.

It will be relevant to students of performance as well as to artists, audiences and museum goers. The approachable layout and clear authorial voice will add to the appeal for students, early career researchers and mean that it has strong potential for inclusion in undergraduate and postgraduate syllabi within the field. 

This original and unique new book takes an integrated approach to interrogating the experience and location of the self/s within the context of performance art practice. In its framing and execution of practical exercises and focused snapshots of internationally recognized performance practice, Bacon situates their argument within the boundaries of specialism in the critical curation of performance art praxis as well as contemporary phenomenological scholarship.

Introducing the study and application of performance art through phenomenology for radical artists, educators and practitioner-researchers; this exciting new book invites readers to take part, explore contemporary performance art and activate their own practices.

Applying a queer phenomenology to unpack the importance of a multiplicity of Self/s, the book guides readers to be academically rigorous when capturing embodied experiences, featuring exercises to activate their practices and clear introductory definitions to key phenomenological terms. Includes interviews and insights from some of the best examples of transgressive performance art practice of this century help to help unpack the application of phenomenology as Bacon calls for a queer reimagining of Heidegger’s ‘The Origin of the Work of Art.’

This is an important contribution to the field, and will be welcomed by performance artists and academics interested in performance. It may also appeal to those teaching concepts of phenomenology.

It will be relevant to students of performance as well as to artists, audiences and museum goers. The approachable layout and clear authorial voice will add to the appeal for students, early career researchers and mean that it has strong potential for inclusion in undergraduate and postgraduate syllabi within the field.