1. Performing Products: When Acting Up Is Selling Out
  2. T. Nikki Cesare Schotzko, Didier Morelli, Isabel Stowell-Kaplan
  3. pp. 5-7
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  1. Supreme Gift: for Jeff Koons
  2. Istvan Kantor
  3. pp. 8-9
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  1. Showing Support: Some Reflections on Vancouver’s Dance Economies
  2. Peter Dickinson
  3. pp. 10-15
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  1. Bouquet
  2. Diane Borsato
  3. pp. 16-17
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  1. Selling Himself in Central Park: Banksy Does New York
  2. Isabel Stowell-Kaplan
  3. pp. 18-22
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  1. Body As Subject, Body As Object: Percival P. Puppet, in Conversation
  2. Noam DePloom
  3. pp. 23-25
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  1. Marathon Theatre as Affective Labour: Productive Exhaustion in The Godot Cycle and Life and Times
  2. Lawrence Switzky
  3. pp. 26-30
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  1. Popularity: The Spectator as Statistic
  2. Joshua Schwebel
  3. pp. 31-33
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  1. Falling Piece
  2. Diane Borsato
  3. pp. 34-35
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  1. Chew, Drink, and Spit: A Book Review
  2. Didier Morelli
  3. pp. 36-40
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  1. The Ballad of ______ B
  2. Francisco-Fernando Granados
  3. pp. 41-45
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  1. Performance Art, Pornography, and the Mis-spectator: The Ethics of Documenting Participatory Performance
  2. Adriana Disman
  3. pp. 46-51
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  1. A Sufficiently Advanced Racket: Performance on the Margins of Art and Commerce
  2. T. Nikki Cesare Schotzko
  3. pp. 52-57
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  1. Marketing, Merch, and Media: Nicole Lizée, in Conversation
  2. Howard Wiseman, Adriana Disman
  3. pp. 58-62
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  1. Unsustainable Acts of Love and Resistance: The Politics of Value and Cost in One-on-One Performances
  2. Deborah Pearson
  3. pp. 63-67
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  1. Requiem for a Glacier
  2. Paul Walde
  3. pp. 68-72
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  1. Cloud
  2. Diane Borsato
  3. pp. 74-75
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  1. Curating Performance: Artist as Curator, Curation as Act
  2. VK Preston
  3. pp. 76-77
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  1. Perverse Curating
  2. Jacob Wren, Kendra Pierroz
  3. pp. 78-79
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  1. Curation as a Form of Artistic Practice: Context as a New Work through UK-Based Forest Fringe
  2. Deborah Pearson
  3. pp. 80-81
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  1. What Can Contemporary Art Perform?: And Then Transgress
  2. Emelie Chhangur
  3. pp. 82-83
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  1. Curating Queer: Performative Diversity in Spoken-Word Performance and Curation
  2. David Bateman
  3. pp. 84-85
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  1. Food = Need: Community Beets and Beats
  2. Pam Patterson
  3. pp. 86-87
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  1. From What I Gather: Burdock
  2. Natalie Doonan
  3. pp. 88-89
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  1. Curating Difference?: The Curator’s Role in Challenging Stereotypical Representations of the Body and Identity in Contemporary Dance
  2. Helen Simard
  3. pp. 90-91
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  1. How to Be When We See: Social Codes, Spatial Domestication, and the Performance of Viewing
  2. Sky Fairchild-Waller, Cara Spooner
  3. pp. 92-93
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