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• Die Notwendigkeit des Werkbegriffs : zur Einführung
• Das unsterbliche Werk
• L'Œuvre immortelle : die Werke als Knoten im diskursiven Netzwerk des aktuellen Kunstsystems
• Historische Betrachtungen des Werkbegriffs
• Das Werk als Arbeit : Systemische Bedingungen von Kunstökonomie und Künstlerexistenz
• Das Werk als Serie : Wiederholung und Variation als Katalysatoren für die Neuformierung der Produktions-, Rezeptions- und Distributionsbedingungen des Tafelbildes
• Das öffentliche Werk
• Graffiti : Metagraffiti : Transgraffiti : zum Wandel einer öffentlichen Bildpraxis vom Nihilismus zur Verantwortung
• Werkkonzepte der Gegenwartskunst
• Das verschenkte Werk : Geschichte und Theorie künstlerischer Giveaways
• Das Werk als Transfer- und Vermittlungsleistung : zur Dialektik von Funktion und Autonomie
• Das zweckgebundene Werk : zur Renaissance des Gestaltungsbegriffs bei Kunst-am-Bau-Projekten (Das Beispiel einer Krankenhausgestaltung der Klasse Reimkasten in Halle)
• Das obskure Werk : Phänomenologische Untersuchung zum Bildbegriff künstlerischer Druckgrafik
• Zur Aktualität unzeitgemässer Werke : die Entwicklung gegenwärtiger Medaillenkunst
• Das integrale Werk (Fallstudien)
• Das transhistorische Werk : zur Funktion von Allegorie und Mythologie der Torsi von Bernd Göbel
• Das Werk als transkulturelles Gedächtnis : Zeichnungen des syrischen Künstlers Ayman Aldarwish
• Das universale Werk : Textile Bildgestaltung als Format ästhetischer Forschung und transzendentaler Erkenntnis im Schaffen von Ulrich Reimkasten
• Das Werk als kontextuelles Referenzsystem : zu einer multimedialen Installation von Sonja Schräder
• Das Werk als Synergie : ein Publikationsprojekt von Dagmar Varady
• Das unerledigte Werk
• Der Begriff des Œuvres im Transformationsprozess der Geschichte : ein zusammenfassender Ausblick auf dem Weg in die Transmoderne
• Literatur.

• Government by appearances
• Global conceptualism and North American
• Conceptual art
• Tanks
• The question of technology
• Museums and rubbish theory
• October 18, 1977
• Kitsch
• Salome
• Blue
• Magritte and the bowler hat
• Mappings : situationists and/or conceptualists
• Art and fashion : friends or enemies?
• The myth of the west
• The situationists and architecture
• Barthes, Hitchcock, Burgin
• Fridamania.

In this new collection of texts on visual art Peter Wollen explores an extraordinary range of topics, from an analysis of "Global Conceptualism" to a study of "Magritte and the Bowler Hat". The book includes provocative essays on the work of artists such as Victor Burgin, Frida Kahlo and Derek Jarman. Other essays deal with the relationships that have developed between visual art and other media, including one on the convergence of art and fashion and another that explores the role of art, along with film, in creating the American myth of the West. The collection also includes a study of situationist attitudes to art and architecture, as well as the relationship of art to dance and gardening.
(source: Nielsen Book Data)

• Cover; Half Title; Title; Copyright; Contents; ACKNOWLEDGEMENTS; FOREWORD by Marina LaPalma; THE TV GENERATION: MEDIA CULTURE AND PERFORMANCE; Performance in the Eighties: The TV Generation (1984); Psycho-Opera (1987); Commentary Intermedia: Performance and Video (1983); Sex and Technology: The Politics of Intimacy (1990); The Making of Cambodia: Spalding Gray and The Killing Fields (1985); Terry Allen's Radio Cinema (2000/2018); The Life and Times of Lin Hixson: The LA Years (1991); SPECTACLE, FILM, COLLABORATION; Time, Space, and Questions of Otherness (1989); Time Lost/Time Found (2017)

• Journeys to Heaven and Hell (2015)Life, Art, and Death in Multimedia Experimental Theater (2011); Light Energy, Dark Matter (2009/2015); Wrestling with an Age That Won't Give Back (1985); CROSSING CULTURES: SOUND, SPACE, GESTURE; Radio Art: The Coming Sonic Boom (1990); The Aural Stage (1991); Yoshi Oida: Interrogations (1990); Performance and the Art of Conversation (2015); Listening to the Universe (1990); Urban Bush Women (1987); Tarika Sammy (1993); Rudy Perez Performance Ensemble: Made In LA (1991); Lula Washington: LA Contemporary Dance Theater (1989)

• Fulfillment in The Empty Room (2012)Peripheral Visions: Perspectives on Culture, Media, and Performance (2017); Faustin Linyekula's Journey from Darkness to Light (2017); HISTORY RESTAGED; Plato's Symposium (1986); Tao, Mao, Now! (1991); The Sound of History Dreaming the Future (1991); Dancing on History's Grave (2014); Dancing on History's Grave: Part Two (2014); Mining the Past to Change the Future (2017); 1969 Speaks For Itself (2018); Staging Politics: Allegory vs. Satire (2017); My Lai Revisited: One Man's Journey (2018); 1984 in
• 2016: Big Brother is Watching; PROPHESIES PAST TENSE

• Voyage to Prague (1991)Slouching Towards the Next Millennium: Some Meditations on Art and the Twenty-First Century (1989); The Voices of America 1992 (1992); Commentary Intermedia: A Bright Tomorrow? (1987/89); Resurrecting the Disappeared: Recollections on Artists in Absentia (1997); Commerce on the Edge: The Convergence of Art and Entertainment (1986); Performance Art is Dead: Long Live Performance Art! (1994); Notes on Performance and Sex(ism) (2015); POLITICS OF CULTURE; Commentary Intermedia: Interdisciplinary Performance: Collaboration in the 1980s (1985)

• Politics, Performance, and the Los Angeles Festival (1991)Screamers (1991); Radiodeath: The Expulsion of Art from the Airwaves (1995); The Artist as Fundamentalist (1992); A Question of Civic and Public Responsibility (1994); Beauty and the (Art) Beast (1993); CONCERNING NATURE; Calls from the Deep (1990); Reviving the Horror (1986); Miwa Matreyek's Self-Made World (2014); Laurie Anderson's Dirtday! (2012); Cynthia Hopkins: This Clement World (2013); Meredith Monk: On Behalf of Nature (2013); Entangled Waters (2018); AFTERWORD: A Retrospective View;
• APPENDIX I: Publications

Experience the interdisciplinary performance scene of the 1980s and beyond through the eyes of one of its most compelling witnesses. Jacki Apple's Performance / Media / Art / Culture traces performance art, multimedia theatre, audio arts, and dance in the United States from 1983 to the present.

• PROLOGUE Elizabeth Alexander, "The Venus Hottentot, " 1990 INTRODUCTION Deborah Willis PART ONE 1.1 Sander Gilman, "The Hottentot and the Prostitute: Toward an Iconography of Female Sexuality" 1.2 Robin Mitchell, "Another Means of Understanding the Gaze: Sarah Bartmann in the Development of Nineteenth-Century French National Identity"-- 1.3 Zine Magubane, "Which Bodies Matter? Feminist Post-Structuralism, Race, and the Curious Theoretical Odyssey of the Hottentot Venus"-- 1.4 J. Yolande Daniels, "Exhibit. a: Private Life Without a Narrative"-- 1.5 Holly Bass, " crucifix" PART TWO 2.1 Lisa Gail Collins, "Historic Retrievals: Confronting Visual Evidence and the Imaging of Truth"-- 2.2. Debra S. Singer, "Reclaiming Venus: The Presence of Sarah Bartmann in Contemporary Art"-- 2.3. Kianga K. Ford, "Playing with Venus: Black Women Artists and the Venus Trope in Contemporary Imaging"-- 2.4 Manthia Diawara, "Talk of the Town"-- 2.5 Charmaine Nelson, "The 'Hottentot Venus' in Canada: Modernism, Censorship and the Racial Limits of Female Sexuality-- 2.6 Kellie Jones, "A.K.A. SAARTJIE, The 'Hottentot Venus' in Context (Some Recollections and a Dialogue)" PART THREE 3.1 Nikky Finney, "The Greatest Show on Earth for Saartjie Baartman, Joice Heth, Anarcha of Alabama, Truuginini, and us all."-- 3.2. Michele Wallace, "The Imperial Gaze: Venus Hottentot, Human Display, and World's Fairs"-- 3.3. Cheryl Finley, Cinderella Tours Europe-- 3.4 Michael D. Harris, "Mirror Sisters: Aunt Jemima as the Antonym/Extension of Saartjie Bartmann"-- 3.5 E. Ethelbert Miller, "My Wife As Venus" PART FOUR 4.1 Holly Bass, "agape"-- 4.2 Carol Boyce Davies, "Black/Female/Bodies Carnivalised in Spectacle and Space"-- 4.3 Terri Francis, "Sighting the 'Real' Josephine Baker: Methods and Issues of Black Star Studies-- 4.4 William Jelani Cobb, "Hoodrat Theory" EPILOGUE Linda Susan Jackson, little sarah, 1994-- Diana Ferrus, "I've come to take you home, " 1998.
• (source: Nielsen Book Data)

As a young South African woman of about twenty, Saartjie Baartman, the so-called "Hottentot Venus, " was brought to London and placed on exhibit in 1810. Clad in the Victorian equivalent of a body stocking, and paraded through the streets and on stage in a cage she became a human spectacle in London and Paris. Baartman's distinctive physique became the object of ridicule, curiosity, scientific inquiry, and desire until and after her premature death. The figure of Sarah Baartman was reduced to her sexual parts. Black Venus 2010 traces Baartman's memory in our collective histories, as well as her symbolic history in the construction and identity of black women as artists, performers, and icons. The wide-ranging essays, poems, and images in Black Venus 2010 represent some of the most compelling responses to Baartman. Each one grapples with the enduring legacy of this young African woman who forever remains a touchstone for black women. Contributors include: Elizabeth Alexander, Holly Bass, Petrushka A Bazin, William Jelani Cobb, Lisa Gail Collins, Renee Cox, J. Yolande Daniels, Carole Boyce Davies, Leon de Wailly, Manthia Diawara, Diana Ferrus, Cheryl Finley, Nikky Finney, Kianga K. Ford, Terri Francis, Sander Gilman, Renee Green, Joy Gregory, Lyle Ashton Harris, Michael D. Harris, Linda Susan Jackson, Kellie Jones, Roshini Kempadoo, Simone Leigh, Zine Magubane, E. Ethelbert Miller, Robin Mitchell, Charmaine Nelson, Tracey Rose, Radcliffe Roye, Bernadette Searle, Lorna Simpson, Debra S. Singer, Penny Siopis, Hank Willis Thomas, Kara Walker, Michele Wallace, Carla Williams, Carrie Mae Weems, J. T. Zealy, and the editor.
(source: Nielsen Book Data)

• 1. [no special title]
• 2. : Complementi e supplementi.