Drawing together all kinds of writing about and around Live Art, The Live Art Almanac is both a useful resource and a great read for artists, writers, students and others interested in the field of interdisciplinary, performance-based art. The Live Art Almanac Volume 4 is? a collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2012 and December 2014. Selected through recommendations and an open call for submissions, Volume 4 reflects the dynamic, international contexts that Live Art and radical performance-based practices occupy. Live Art is experiencing a huge ?surge in interest with major museums embracing this disparate area of practice, formerly cult artists becoming household names, and everyone from Shia LaBeouf, Lady Gaga and Jay Z trying to get in on the action. Reflecting the diversity of approaches and key developments from the last few years, Volume 4 is grouped into seven loosely themed sections: Locating Performance; Performance Under Attack; Speaking Up/Speaking Out; Show Me the Money; High Art in Low Places; Reviews; and Dearly Departed. This volume includes writings by,? and about: Ai Weiwei, Pussy Riot,?Tim Etchells, Karen Finley, Vaginal Davis, Ann Magnuson, Shaheen Merali, Jennifer Doyle, Marilyn Arsem, Guy Brett, Nigel Charnock, Claire Bishop, Bryony Kimmings, Matthew Barney, Coco Fusco, Stuart Hall, Miley Cyrus, Petr Pavlensky, Reverend Billy, Ron Athey, Mike Kelley, Oreet Ashery, CHRISTEENE, Marcia Farquhar, Morgan Quaintance, Adrian Howells, Amelia Abraham, Brian Boucher, Rose Finn-Kelcey, Mat Fraser, José Esteban Muñoz, Kembra Pfahler, Hennessy Youngman, Joan Rivers, Mykki Blanco, Monica Ross, Wu Tsang, boychild, Wendy Houstoun, the vacuum cleaner and many more. The Live Art Almanac Volume 4 is published by Live Art Development Agency and Oberon Books.

The Live Art Almanac Volume 3 is a collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2010 and December 2011. Selected from an open call for submissions and produced with a network of international partners, Volume 3 reflects the dynamic, international contexts in which Live Art and radical performance-based practices are taking place and the many ways they are being written about. Volume 3 features more traditional forms of writing such as newspaper reviews, journal articles, catalogue essays and lecture texts as well as new platforms for critical discourses like blogs, tweets and other emergent online media, to reflect the huge diversity of work and the seismic shifts that have happened in Live Art over the last few years, particularly the unprecedented institutional embrace of performance and the rise and rise of activist practices. The publication is grouped into seven loosely themed sections: Performance and the Institution; The Presence of Performance in Pop Culture and New Media; Performance, Activism and Public Protest; Taste, Trash and Outrageousness; On Stage/Off Stage: Performance and the Theatrical; Festivals, Scenes and Strategies: From the Local to the Global; and obituaries, lectures and miscellaneous writings. The Live Art Almanac Volume 3 is published by Live Art Development Agency and Oberon Books, and was developed in partnership with Live Art UK, Performance Space 122 (New York, USA), Performance Space (Sydney, Australia), La Pocha Nostra (San Francisco, USA), and Maska (Ljubljana, Slovenia), with additional support from Asia Art Archive (Hong Kong), ArteEast (New York/Middle East) and Ashkal Alwan (Beirut).

Peter's Line Almanac is the definitive annual collection of lines and line nonsense that every self-respecting line-connoisseur will have on their shelf, filled with 106 pages of the hand-drawn pictures and musings of the artist Peter Deligdisch, also known as Peter Draws, many of them never before published. A PDF version of this book is available for download at www.peterdraws.com/shop/almanac1

Arthur (Art) Mumby and his irritating sister Myrtle live with their father in the huge and rambling house, Larklight, travelling through space on a remote orbit far beyond the Moon. One ordinary sort of morning they receive a correspondence informing them that a gentleman is on his way to visit, a Mr Webster. Visitors to Larklight are rare if not unique, and a frenzy of preparation ensues. But it is entirely the wrong sort of preparation, as they discover when their guest arrives, and a Dreadful and Terrifying (and Marvellous) adventure begins. It takes them to the furthest reaches of Known Space, where they must battle the evil First Ones in a desperate attempt to save each other - and the Universe. Recounted through the eyes of Art himself, Larklight is sumptuously designed and illustrated throughout.

Drawing together all kinds of writing about and around Live Art, The Live Art Almanac is both a useful resource and a great read for artists, writers, students and others interested in the field of interdisciplinary, performance-based art. The Live Art Almanac Volume 4 is? a collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2012 and December 2014. Selected through recommendations and an open call for submissions, Volume 4 reflects the dynamic, international contexts that Live Art and radical performance-based practices occupy. Live Art is experiencing a huge ?surge in interest with major museums embracing this disparate area of practice, formerly cult artists becoming household names, and everyone from Shia LaBeouf, Lady Gaga and Jay Z trying to get in on the action. Reflecting the diversity of approaches and key developments from the last few years, Volume 4 is grouped into seven loosely themed sections: Locating Performance; Performance Under Attack; Speaking Up/Speaking Out; Show Me the Money; High Art in Low Places; Reviews; and Dearly Departed. This volume includes writings by,? and about: Ai Weiwei, Pussy Riot,?Tim Etchells, Karen Finley, Vaginal Davis, Ann Magnuson, Shaheen Merali, Jennifer Doyle, Marilyn Arsem, Guy Brett, Nigel Charnock, Claire Bishop, Bryony Kimmings, Matthew Barney, Coco Fusco, Stuart Hall, Miley Cyrus, Petr Pavlensky, Reverend Billy, Ron Athey, Mike Kelley, Oreet Ashery, CHRISTEENE, Marcia Farquhar, Morgan Quaintance, Adrian Howells, Amelia Abraham, Brian Boucher, Rose Finn-Kelcey, Mat Fraser, José Esteban Muñoz, Kembra Pfahler, Hennessy Youngman, Joan Rivers, Mykki Blanco, Monica Ross, Wu Tsang, boychild, Wendy Houstoun, the vacuum cleaner and many more. The Live Art Almanac Volume 4 is published by Live Art Development Agency and Oberon Books.

NEW YORK TIMES BESTSELLER • In this mesmerizing novel, Ethan Canin, the author of America America and The Palace Thief, explores the nature of genius, rivalry, ambition, and love among multiple generations of a gifted family. Milo Andret is born with an unusual mind. A lonely child growing up in the woods of northern Michigan in the 1950s, he gives little thought to his own talent. But with his acceptance at U.C. Berkeley he realizes the extent, and the risks, of his singular gifts. California in the seventies is a seduction, opening Milo’s eyes to the allure of both ambition and indulgence. The research he begins there will make him a legend; the woman he meets there—and the rival he meets alongside her—will haunt him for the rest of his life. For Milo’s brilliance is entwined with a dark need that soon grows to threaten his work, his family, even his existence. Spanning seven decades as it moves from California to Princeton to the Midwest to New York, A Doubter’s Almanac tells the story of a family as it explores the way ambition lives alongside destructiveness, obsession alongside torment, love alongside grief. It is a story of how the flame of genius both lights and scorches every generation it touches. Graced by stunning prose and brilliant storytelling, A Doubter’s Almanac is a surprising, suspenseful, and deeply moving novel, a major work by a writer who has been hailed as “the most mature and accomplished novelist of his generation.” Praise for A Doubter’s Almanac “551 pages of bliss . . . devastating and wonderful . . . dazzling . . . You come away from the book wanting to reevaluate your choices and your relationships. It’s a rare book that can do that, and it’s a rare joy to discover such a book.”—Esquire “[Canin] is at the top of his form, fluent, immersive, confident. You might not know where he’s taking you, but the characters are so vivid, Hans’s voice rendered so precisely, that it’s impossible not to trust in the story. . . . The delicate networks of emotion and connection that make up a family are illuminated, as if by magic, via his prose.”—Slate “Alternately explosive and deeply interior.”—New York (“Eight Books You Need to Read”) “A blazingly intelligent novel.”—Los Angeles Times “[A] beautifully written novel.”—The New York Times Book Review (Editors’ Choice)

The Blaue Reiter (Blue Rider) art movement was founded in 1911, by the young painters Wassily Kandinsky and Franz Marc, and remained active in Europe until 1914. Originally published in Munich, in 1912, and edited by Kandinsky and Marc, The Blaue Reiter Almanac presented the movement's synthesis of international culture to the European avant-garde at large. In both the selection of the essays and its innovative interplay of word and image, the Almanac remains one of the most critically important works on artistic theory and culture of the twentieth century. This edition, long unavailable in English and indispensable to any student of modernism, includes the original documents and musical notations, as well as essays by Kandinsky, Schonberg, Marc, and others, and an extensive critical introduction, placing the Blaue Reiter in context for contemporary readers.

Live Art is a contested category, not least because of the historical, disciplinary and institutional ambiguities that the term often tends to conceal. Live Art can be usefully defined as a peculiarly British variation on particular legacies of cultural experimentation – a historically and culturally contingent translation of categories including body art, performance art, time-based art, and endurance art. The recent social and cultural history of the UK has involved specific factors that have crucially influenced the development of Live Art since the late 1970s. These have included issues in national cultural politics relating to sexuality, gender, disability, technology, and cultural policy. In the past decade there has been a proliferation of festivals of Live Art in the UK and growing support for Live Art in major venues. Nevertheless, while specific artists have been afforded critical essays and monographs, there is a relative absence of scholarly work on Live Art as a historically and culturally specific mode of artistic production. Through essays by leading scholars and critical interviews with influential artists in the sector, Critical Live Art addresses the historical and cultural specificity of contemporary experimental performance, and explores the diversity of practices that are carried out, programmed, read or taught as Live Art. This book is based on a special issue of Contemporary Theatre Review.

In this dynamic collection a team of experts map the development of Live Art culturally, thematically and historically. Supported with examples from around the world, the text engages with a number of key practices, asking what these practices do and how they can be contextualised and understood.