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Live Art on Camera, John Hansard Gallery, Southampton [2007] and SPACE Gallery, London [2008]

Group show

Live Art on Camera was a John Hansard Gallery exhibition curated by Alice Maude-Roxby.

The exhibition was was presented at John Hansard Gallery in September-November 2007 and then again at Space Gallery in London in March-April 2008.

The catalogue’ Live Art on Camera: Performance and Photography’ was edited by Alice Maude-Roxby.

‘Live Art on Camera reveals the work of photographers who documented seminal performance art events from the 1950s to the present in Europe, the United States and Japan. These events (often experienced live by only a small audience) are primarily received through still images: arguably subjective records, translated through the ideas and aesthetics of the photographer.

The exhibition contextualises performance photography within the photographers’ wider practices. Many are well known in very different contexts (from reportage to cinematography and architectural photography) as well as being acknowledged as artists in their own right.

Works featured include Japanese photographer Ohtsuji Kiyoji’s photographs of the 1950s Gutai group, shown alongside his surrealist photography, and writings. Peter Moore’s architectural photographs of Penn Station, documenting the station’s gradual destruction from 1962 to 1966, are seen in relation to examples from his extensive archive of USA performance photographs, including Allan Kaprow’s and Wolf Vostell’s Happenings. The relationship between the ‘photographed’, the camera and the viewer was addressed in early works by Babette Mangolte, such as her film The Camera: Je, 1977 and A Photo Installation, 1978. In a parallel practice Mangolte also extensively photographed performance works by Yvonne Rainer, Robert Whitman, Joan Jonas, Richard Foreman and Trisha Brown.Ana Mendieta’s performances were recorded by a number of friends, fellow students and family members. Mendieta’s lover and tutor, artist Hans Breder, made the photo-documentation of some of her early performances in Iowa and Oaxaca. In the same locations and often within the same time-frame, Hans Breder also photographed his own site-specific works, for which Mendieta sometimes modelled.

Artists and photographers in Live Art on Camera: Marina Abramovic and Ulay, Dona Ann McAdams, Hans Breder, Stuart Brisley and Leslie Haslam, Hollis Frampton, Hugo Glendinning, Gutai Group, Lisa   containing essays by Kathy O’Dell, Carrie Lambert-Beatty, Barbara Clausen, Alice Maude-Roxby and Babette Mangolte, and interviews with the photographers.’

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