In this Book

On Edge
summary
Through her engaged and articulate essays in the Village Voice, C. Carr has emerged as the cultural historian of the New York underground and the foremost critic of performance art. On Edge brings together her writings to offer a detailed and insightful history of this vibrant brand of theatre from the late 70s to today. It represents both Carr's analysis as a critic and her testament as a witness to performances which, by their very nature, can never be repeated.

Carr has organized this collection both chronologically and thematically, ranging from the emphasis on bodily manipulation/endurance in the 70s to the underground club scene in New York to an insider's analysis of the Tompkins Square Riot as a manifestation of the cultural and social conflicts that underlie much of performance art. She examines the transgressive and taboo-shattering work of Ethyl Eichelberger, Karen Finley, and Holly Hughes; documents specific performances by Annie Sprinkle and Lydia Lunch; and maps the development of such artists as Robbie McCauley, Blue Man Group, and John Jesurun. She also describes the "cross-over" phenomenon of the mid-80s and considers the far-right backlash against this mainstreaming as cultural reactionaries sought to curb the influence of these new artists.

CONTRIBUTORS: Linda Montano, Chris Burden, G.G Allin, Jean Baudrillard, Patty Hearts, Dan Quayle, Anne Magnouson, John Jesurun, John Kelly, Shu Lea Changvv, Diamanda Galas, Salley May, Rafael Mantanez Ortiz, Sherman Fleming, Kristine Stiles, Laurie Carlos, Jessica Hafedorn, Robbie McCormick, Karen Finley, Poopo Shiraishi, Donna Henes, Holey Hughe, Ela Troyano, Michael Smith, Harry Koipper, John Sex, Nina Jagen, Ethyl Eichelberge, Marina Abramovic, Ulay.

Ebook Edition Note: All illustrations have been redacted from the ebook edition.

Table of Contents

  1. Cover
  2. pp. 1-1
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  1. On Edge
  2. pp. 2-3
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  1. Title
  2. pp. 4-4
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  1. Copyright
  2. pp. 5-5
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  1. Dedication
  2. pp. v-7
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  1. Contents
  2. pp. vii-ix
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  1. Acknowledgments
  2. pp. xi-xii
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  1. Introduction: Leaving Terra Firma
  2. pp. xiii-xxii
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  1. Foreword to the Revised Edition
  2. pp. xxiii-25
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  1. In Extremis
  2. pp. 1-27
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  1. Roped: A Saga of Art in Everyday Life
  2. pp. 3-9
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  1. Before and After Science
  2. pp. 10-15
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  1. This is Only a Test
  2. pp. 16-24
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  1. A Great Wall
  2. pp. 25-48
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  1. Underground
  2. pp. 49-50
  1. The Hot Bottom: Art and Artifice in the East Village
  2. pp. 51-56
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  1. Country Clubbing
  2. pp. 57-59
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  1. To Thine Own Self Be True
  2. pp. 60-63
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  1. Sex Gods, Ekstatic Women John Sex
  2. pp. 64-66
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  1. The Revolution That Won't Be Televised
  2. pp. 67-69
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  1. R.I.P. 8BC The end of the never-ending talent show
  2. pp. 70-73
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  1. Art Crimes Cinema of Transgression
  2. pp. 74-77
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  1. Loisada Talking Pictures
  2. pp. 78-83
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  1. The Queer Frontier Holly Hughes
  2. pp. 84-87
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  1. Disenchanted Evening
  2. pp. 88-91
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  1. Big Bang Theory
  2. pp. 92-94
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  1. Bad Company at the Love Club
  2. pp. 95-97
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  1. Help Thou Mine Unbelief The Church of the Little Green Man
  2. pp. 98-100
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  1. Nightclubbing
  2. pp. 101-104
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  1. The Triumph of Neoism
  2. pp. 105-111
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  1. Don't Make Me Over
  2. pp. 112-114
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  1. Just Revolting
  2. pp. 115-118
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  1. Regenerate Art
  2. pp. 119-120
  1. Unspeakable Practices, Unnatural Acts
  2. pp. 121-131
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  1. The Lady Is a Dick
  2. pp. 132-137
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  1. Body Beautiful
  2. pp. 138-140
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  1. Lydia Lunch Faces the Void
  2. pp. 141-143
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  1. Learning to Love the Monster
  2. pp. 144-147
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  1. The Kipper Kids in Middle Age
  2. pp. 148-153
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  1. Life is a Killer
  2. pp. 154-158
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  1. Is That You? Fiona Templeton
  2. pp. 159-161
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  1. Deconstructing Dixie
  2. pp. 162-167
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  1. A Crash of Symbols
  2. pp. 168-170
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  1. Two Birds with One Stone
  2. pp. 171-173
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  1. A Public Cervix Announcement
  2. pp. 174-176
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  1. Revisions of Excess
  2. pp. 177-179
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  1. An Artist Retreats from Rage
  2. pp. 180-183
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  1. Beauties and Beasts
  2. pp. 184-186
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  1. Radical Shriek
  2. pp. 187-190
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  1. Simulacra Stops Here
  2. pp. 191-193
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  1. Redicovering America
  2. pp. 194-199
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  1. Talk Show
  2. pp. 200-205
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  1. A Cinema Against the Vérités
  2. pp. 206-212
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  1. Wired
  2. pp. 213-214
  1. Am I a Camera?
  2. pp. 215-217
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  1. Am I Living in a Box?
  2. pp. 218-220
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  1. The Vanguard Moves to Melrose Place
  2. pp. 221-224
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  1. The Heart of the Web
  2. pp. 225-229
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  1. Call Her Ishmael
  2. pp. 230-234
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  1. War on Art
  2. pp. 235-236
  1. An NEA Timeline (Just the Lowlights)
  2. pp. 237-244
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  1. Portrait of an Artist in the Age of AIDS
  2. pp. 245-257
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  1. The Sexual Politics of Censorship
  2. pp. 258-269
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  1. With Mapplethorpe in Cincinnati
  2. pp. 270-286
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  1. The Adventures of Andre Serrano in Pursuit of the White Supremacists
  2. pp. 287-291
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  1. Gross Indecency: The NEA Four Decision
  2. pp. 292-296
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  1. Fin-de-Millenium
  2. pp. 297-298
  1. The Bohemian Diaspora
  2. pp. 299-311
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  1. In the Discomfort Zone
  2. pp. 312-317
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  1. Dancing in the Streets
  2. pp. 318-320
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  1. The Pain Artist
  2. pp. 321-324
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  1. The World According to Jack Smith
  2. pp. 325-327
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  1. Men? Oh, Pause
  2. pp. 328-331
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  1. The Statue of Libertines
  2. pp. 332-335
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  1. Washed in the Blood
  2. pp. 336-340
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  1. Stripped Down
  2. pp. 341-344
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  1. The Rumble in DUMBO
  2. pp. 345-349
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  1. Silence = Life
  2. pp. 350-352
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  1. The End of the Edge: An Epilogue
  2. pp. 353-360
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  1. Index
  2. pp. 361-394
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