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A self-described migrant provocateur with a "hyper-Mexican mustache and loungy sideburns, " Guillermo Gomez-Pena performs as he lives and travels -- from America through Europe, Asia, and North Africa -- making his border crossings and crosscultural misencounters into art. He reflects in Spanish ...

A self-described migrant provocateur with a "hyper-Mexican mustache and loungy sideburns, " Guillermo Gomez-Pena performs as he lives and travels -- from America through Europe, Asia, and North Africa -- making his border crossings and crosscultural misencounters into art. He reflects in Spanish, English, and Spanglish, seeking out Mexican and Chicano communities, retracing the roots of his heritage, and revisiting the many overlapping cultures to which he belongs: diasporic Latin Americans, people on the margins of society, the hybrids, the renegades.

In Dangerous Border Crossers, he interweaves poems, performance chronicles, essays, radio scripts, and reflections on culture, politics, and identity, from his life on the road. His landmark pieces -- such as his interlude as an "endangered species" inside a Plexiglas box and his disarming confessions -- set the tone: by turns shocking, facetious, erotic, political, and urgent.

Passionate, myth-breaking, emotionally resonant, and electrifying, Dangerous Border Crossers connects a remarkable range of subjects, revealing what goes into the making of performance art, and establishing Gomez-Pena as one of this century's most persuasive voices for a borderless future.

Performance artist Linda Montano, curious about the influence childhood experience has on adult work, invited other performance artists to consider how early events associated with sex, food, money/fame, or death/ritual resurfaced in their later work. The result is an original and compelling talking ...

Performance artist Linda Montano, curious about the influence childhood experience has on adult work, invited other performance artists to consider how early events associated with sex, food, money/fame, or death/ritual resurfaced in their later work. The result is an original and compelling talking performance that documents the production of art in an important and often misunderstood community.

Among the more than 100 artists Montano interviewed from 1979 to 1989 were John Cage, Suzanne Lacy, Faith Ringgold, Dick Higgins, Annie Sprinkle, Allan Kaprow, Meredith Monk, Eric Bogosian, Adrian Piper, Karen Finley, and Kim Jones. Her discussions with them focused on the relationship between art and life, history and memory, the individual and society, and the potential for individual and social change. The interviews highlight complex issues in performance art, including the role of identity in performer-audience relationships and art as an exploration of everyday conventions rather than a demonstration of virtuosity.

Ana Mendieta, a Cuban-born artist who lived in exile in the United States, was one of the most provocative & complex personalities of the 1970s' art-world. In Where Is Ana Mendieta? art historian Jane Blocker provides an in-depth critical analysis of Mendieta's diverse body of work. Although her ...

Ana Mendieta, a Cuban-born artist who lived in exile in the United States, was one of the most provocative & complex personalities of the 1970s' art-world. In Where Is Ana Mendieta? art historian Jane Blocker provides an in-depth critical analysis of Mendieta's diverse body of work. Although her untimely death in 1985 remains shrouded in controversy, her life & artistic legacy provide a unique vantage point from which to consider the history of performance art, installation, & earth works, as well as feminism, multiculturalism, & postmodernism. Taken from banners carried in a 1992 protest outside the Guggenheim Museum in New York, the title phrase "Where is Ana Mendieta?" evokes not only the suspicious & tragic circumstances surrounding her death but also the conspicuous absence of women artists from high-profile exhibitions. Drawing on the work of such theorists as Judith Butler, Joseph Roach, Edward Said, & Homi Bhabha, Blocker discusses the power of Mendieta's earth-&-body art to alter, unsettle, & broaden the terms of identity itself. She shows how Mendieta used exile as a discursive position from which to disrupt dominant categories, analyzing as well Mendieta's use of mythology & anthropology, the ephemeral nature of her media, & the debates over her ethnic, gender, & national identities. As the first major critical examination of this enigmatic artist's work, Where Is Ana Mendieta? will interest a broad audience, particularly those involved with the production, criticism, theory, & history of contemporary art.