Mosaics (British Museum Colouring Books)

Wood, Catherine

British Museum Press

How one woman followed the pioneers of SIBO and immune research to treat the modern diseases that plagued her family without using diets or drugs. Follow her story as she abandoned traditional medicine, diets and the majority of vitamins, herbs and alternative supplements after years of failure to safely treat herself and her daughter with SIBO, chronic gastro problems, autoimmunity, immune deficiency disease, chronic infections and more and the surprising underlying causes she uncovered in the environment, her own history, modern medicine and lifestyles and through extensive research illustrates how these components led to the perfect storm of chronic disease in today’s society. Discover how she unraveled the history of SIBO and immunotherapy research to discover that our immunity stems from a healthy beginning and how she safely rebooted her immune system to heal a lifetime of food intolerances and chronic disease in herself and her daughter with very few and completely safe interventions. Journey with her and her family as they cope with the burdens of chronic disease and read the personal journals of all treatment failures and successes along the way in a provocative story of determination and triumph that will leave you questioning what you thought you knew about chronic disease. Free MAF (macrophage activating factor) recipe included.

SIBO: Breaking The Vicious Cycle: How one woman followed the pioneers of SIBO and immune research to treat the modern diseases that plagued her family without using diets or drugs.

Health, Fitness & Dieting

Diseases & Physical Ailments

Independently published

Yvonne Rainer: The Mind Is a Muscle (One Work)

"It is my overall concern to reveal people as they are engaged in various kinds of activities—alone, with each other, with objects—and to weight the quality of the human body towards that of objects and away from the super-stylization of the dancer." —Yvonne Rainer, STATEMENT accompanying The Mind is a Muscle, 1968 In 1968, toward the end of a decade that witnessed civil rights protests, the escalation of the war in Vietnam, and an expanded notion of artistic practice (epitomized by "Happenings"), Yvonne Rainer presented her evening-length work, The Mind is a Muscle. A choreographed, multipart performance for seven dancers, interspersed with film and text, this major work was built upon a backbone of variations on Rainer's dance solo, Trio A. In this extended illustrated essay exploring The Mind is a Muscle, Catherine Wood examines the political and media context in which Rainer chose to use the dance-theatre situation as her medium and analyzes Rainer's radical approach to image-making in live form. Rainer's work has been linked strongly with minimalist sculpture: she compared the neutral, specific qualities of those objects to her own "work-like" or "task-like," "ordinary" dance, and she collaborated early on with Robert Morris. But The Mind is a Muscle manifests an agitated and contradictory relationship to the idea of "work" in the context of an affluent, postwar America. Wood describes the way the choreography of The Mind is a Muscle proposed a new lexicon of movement that stripped away the gestural conventions of dance or theater narrative in an attempt to present the human subject on her own terms while at the same time manipulating the seductiveness of the image, increasingly being harnessed by capitalism. Rainer's legacy persists through her decision to allow the Trio A from The Mind is a Muscle as a "multiple," distributed by being taught to many dancers and non-dancers, proposing, Wood argues, for the art object as code. Choreographer and filmmaker Yvonne Rainer was one of the founders of the Judson Dance Theater in 1962. Her autobiography, Feelings are Facts, was published by The MIT Press in 2006.

Arts & Photography

Individual Artists

Afterall Books

"It is my overall concern to reveal people as they are engaged in various kinds of activities—alone, with each other, with objects—and to weight the quality of the human body towards that of objects and away from the super-stylization of the dancer."—Yvonne Rainer, STATEMENT accompanying The Mind is a Muscle, 1968In 1968, toward the end of a decade that witnessed civil rights protests, the escalation of the war in Vietnam, and an expanded notion of artistic practice (epitomized by "Happenings"), Yvonne Rainer presented her evening-length work, The Mind is a Muscle. A choreographed, multipart performance for seven dancers, interspersed with film and text, this major work was built upon a backbone of variations on Rainer's dance solo, Trio A. In this extended illustrated essay exploring The Mind is a Muscle, Catherine Wood examines the political and media context in which Rainer chose to use the dance-theatre situation as her medium and analyzes Rainer's radical approach to image-making in live form.Rainer's work has been linked strongly with minimalist sculpture: she compared the neutral, specific qualities of those objects to her own "work-like" or "task-like," "ordinary" dance, and she collaborated early on with Robert Morris. But The Mind is a Muscle manifests an agitated and contradictory relationship to the idea of "work" in the context of an affluent, postwar America. Wood describes the way the choreography of The Mind is a Muscle proposed a new lexicon of movement that stripped away the gestural conventions of dance or theater narrative in an attempt to present the human subject on her own terms while at the same time manipulating the seductiveness of the image, increasingly being harnessed by capitalism. Rainer's legacy persists through her decision to allow the Trio A from The Mind is a  Muscle as a "multiple," distributed by being taught to many dancers and non-dancers, proposing, Wood argues, for the art object as code.Choreographer and filmmaker Yvonne Rainer was one of the founders of the Judson Dance Theater in 1962. Her autobiography, Feelings are Facts, was published by The MIT Press in 2006.

Performance in Contemporary Art: A History and Celebration

In this important new survey, Catherine Wood proposes that performance is not a genre of art separate from object making but rather an attitude that has infiltrated the entire terrain of contemporary art. Examining in turn individual, social, and object-based approaches, Wood first examines the influential performance art of the 1960s to 1980s: the body art of the Viennese actionists, the raw performances of Yoko Ono and Chris Burden, and the experiments of the Japanese Gutai group, among others. She then explores how these sources have been revisited, reformed, or rejected by con- temporary artists in the 21st century. This impressive book includes international artists who fall outside the traditional European and North American focus, giving the reader the broadest and most up-to-date insight into the subject yet published.

Performance in Contemporary Art

History & Criticism

Tate Publishing

<div>Unpacking the history of performance art and celebrating the work of contemporary practitioners--a must-read for both art lovers and students alike &nbsp;</div> <div>Stunningly beautiful, deeply puzzling, powerfully moving, or intensely unsettling--performance art can evoke a wide variety of responses. In this important survey, Catherine Wood, one of the world's leading curators and writers in this field, provides the broadest and most up-to-date insight into the subject yet published. Wood proposes performance not as a genre separate from object-making but as a medium that has profoundly influenced the shape of contemporary art. From the spectacular forms of intimacy performed by Marina Abramovi&#263; to the painting processions initiated by Ei Arakawa and the social activism of Tania Bruguera, hugely divergent practices have emerged in the past 30 years that embrace the worlds of sculpture and painting, spectacle, and protest. Shifting the focus from "I" to "We" and then "It," Performance in Contemporary Art is divided into sections that examine the perspective of the individual, the social, and the object. Wood looks at histories of performance through the lens of contemporary practitioners: the Japanese Gutai group in the 1950s, Brazilian neo-concretism in the 1960s, and the feminist performance at Womanhouse in the United States in the 1970s are key examples of historical precedents that have been revisited, reformed, or rejected by contemporary artists in the 21st century.</div>

Tate

"To make a sculpture in the Turbine Hall at Tate Modern is an enormous challenge. The space is like no other-gargantuan and enveloping. I hope to challenge the space by developing a degree of intimacy, which somehow relates to all our lives." -Rachel Whiteread The internationally renowned sculptor Rachel Whiteread is the latest artist to take on the challenge of Tate Modern's vast Turbine Hall. Whiteread is an appropriate choice, as some of her best-known works have seen her engaged in a dialogue with architecture and public space. Her first large-scale public project, House (1992) was a concrete cast of a 19th-century row house in the East End of London that during the relatively short period of its existence became an international icon. This unique book follows the creative process of Whiteread's installation in the Turbine Hall from inception through completion, and is illustrated throughout.

Rachel Whiteread: EMBANKMENT (Unilever)

Burn, Gordon

Reference

The World as a Stage presents a key group of international contemporary artists―Pavel Althamer, Catherine Sullivan, Tino Sehgal, and others―who reinvigorate the rich historical relationship between visual art and theater. Challenging negative associations made between the notion of “theatricality” and the realm of visual art in recent decades, the artists in this book make visible the extent to which a sense of theater, or spectacle, now permeates the spectator’s role in the museum or gallery and how this carries through to their experience of the contemporary urban environment. Considering a variety of media including installation, sculpture, performance, participatory works, and events, this book deals with issues such as the framing of human presence in the experience of art.

The World as a Stage

Literature & Fiction

Morgan, Jessica

Dramas & Plays

Mike Kelley. Ghost and Spirit

Cozzolino, Robert

KELLEY, MIKE

HALBERSTAM, JACK

Welchman, John

Ndiritu, Grace

de Brugerolle, Marie

Lacy, Suzanne

Folkerts, Henri

Smith, Cauleen

López Paniagua, Laura

Leckey, Mark

Moran, Fiontán

Philipps, Glenn

Dilecta

Assembled by the pioneering scholar of performance art, RoseLee Goldberg, this volume documents new performances by some of the world's most exciting visual artists, focusing on the relationship between contemporary dance and visual art, the ongoing legacy of "Happenings" inventor Allan Kaprow and the recent explosion of performance in China. Photographs, artists' scripts, sketches, journals and storyboards are complemented by writings from prominent curators and critics, as well as interviews with Paul McCarthy, Dan Graham, Isaac Julien, Yvonne Rainer, Nathalie Djurberg, Jérôme Bel and others.

Performa 07: Everywhere and All at Once: An Anthology of Writings

Goldberg, RoseLee

Performing Arts

JRP|Ringier

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Books by Wood, Catherine