Description

Book Synopsis

This book is an ambitious and expansive examination of the visual language of self-injury in performance art from the 1960s to the present.

Inspired by the gendered nature of discussion around self-harm, the book challenges established readings of risk-taking and self-injury in global performance practice. The interdisciplinary methodology draws from art history and sociology to provide a new critical analysis of the relationship between masculinity and self-inflicted injury. Based upon interviews with a range of artists around the world, it offers an innovative understanding of the diverse meanings behind self-injury in performance, and delves into the gendered coding of self-harming bodies. Individual chapters examine the work of Ron Athey, Günter Brus, Wafaa Bilal, Franko B, André Stitt, Pyotr Pavlensky, and Yang Zhichao, offering a new perspective on the forms and functions of self-injury in performance art.

The book will be of interest to scholars working in art his

Performance Masculinity and SelfInjury

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    £152.56

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    Order before 4pm today for delivery by Wed 12 Aug 2026.

    A Hardback by Lucy Weir

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      Publisher: Taylor & Francis Ltd
      Publication Date: Publication Date: 8/20/2024
      ISBN13: 9781032027098, 978-1032027098
      ISBN10: 1032027096
      Also in:
      History of art

      Description

      Book Synopsis

      This book is an ambitious and expansive examination of the visual language of self-injury in performance art from the 1960s to the present.

      Inspired by the gendered nature of discussion around self-harm, the book challenges established readings of risk-taking and self-injury in global performance practice. The interdisciplinary methodology draws from art history and sociology to provide a new critical analysis of the relationship between masculinity and self-inflicted injury. Based upon interviews with a range of artists around the world, it offers an innovative understanding of the diverse meanings behind self-injury in performance, and delves into the gendered coding of self-harming bodies. Individual chapters examine the work of Ron Athey, Günter Brus, Wafaa Bilal, Franko B, André Stitt, Pyotr Pavlensky, and Yang Zhichao, offering a new perspective on the forms and functions of self-injury in performance art.

      The book will be of interest to scholars working in art his

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