Contents

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Chapter One: Toward a Feminist Historiography of American Avant-Garde Performance: Theories and Contexts

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pp. 1-34

A little over a decade ago, Jill Dolan paused momentarily in the introductory essay that she wrote for Carol Martin’s . . .

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Chapter Two: Nude Descending Bleecker Street: Baroness Elsa von Freytag-Loringhoven and Performing Gender in New York Dada

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pp. 35-66

Baroness Elsa von Freytag-Loringhoven, once proclaimed by her New York contemporaries to be “the ‹rst American dada” if not “the Original . . .

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Chapter Three: Avant-Garde Performance, Collage Aesthetics, and Feminist Historiographies in Gertrude Stein’s 'The Mother of Us All'

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pp. 67-91

One of the most persistent characteristics in the critical reception of twentieth-century collage, especially the reception of its extension . . .

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Chapter Four: Between Material and Matrix: Yoko Ono’s 'Cut Piece' and the Unmaking of Collage

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pp. 93-120

A Ceiling Painting so small that a magnifying glass was necessary to decipher its content: this is what awaited John Lennon when in November . . .

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Chapter Five: Between Dialectics, Decorum, and Collage Sabotaging Schneemann at the Dialectics of Liberation Congress, London 1967

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pp. 121-149

On a midsummer evening in 1967, Carolee Schneemann found herself on London’s East Eisham Street, far away from the dinner party across . . .

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Chapter Six: Forget Fame: Valerie Solanas, the Simplest Surrealist Act, and the (Re)Assertion of Avant-Garde Priorities

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pp. 151-173

After the ambulance had rushed a near mortally wounded Andy Warhol from the Factory to a hospital on June 3, 1968, a small brown paper bag . . .

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Conclusion: Collage and Community

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pp. 175-181

My earlier reading of The SCUM Manifesto emphasized the implicit allusions to collage in the acronym for Solanas’s “Society for Cutting Up . . .

Notes

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pp. 183-214

Index

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pp. 215-222