- Paperback: 344 pages
- Publisher: Continuum International Publishing Group Ltd.; New Ed edition (22 April 2004)
- Language English
- ISBN-10: 0826473989
- ISBN-13: 978-0826473981
- Product Dimensions: 20.7 x 16 x 2.7 cm
- Average Customer Review: 4.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 592,205 in Books (See Top 100 in Books)
- See Complete Table of Contents
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More About the Author
Product Description
Product Description
Guerilla Performance and Multimedia is written by artists and for artists. It is designed for the benefit of artists engaged in creating original performance and multimedia work, including live art, installation, digital art and hybrids of theatre and visual art. Although there is no 'how to' in performance, no clearly defined 'industry' as such around the art form, this book stares unflinchingly into the headlights of the oncoming question: how do you make a living as an artist? This book offers an invaluable collection of individual experiences, unique strategies, and practical advice of dozens of veteran artists, arts administrators and related professionals.
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Customer Reviews
Most Helpful Customer Reviews
4 of 4 people found the following review helpful
Format:Paperback
This book is great at picking up hints and tips on how to write proposals, prepare your documentation, press packs and the way you present your work to potential funders and producers. The artist profiles are great, making you feel as though you're not alone in wanting to be a performance artist and in some ways it can be a viable lifestyle option.
The downside is that a) you'll be pretty depressed to read that most of the artists included never had a day job, making you wonder why you spent so long working hard at yours (with the exception of Lois Weaver of Split Britches, who encourages artists to work to fund their art) and b) as much insight as there is, it re-affirms what you know already.
Still, having that inside eye on what producers are looking for when you turn in a proposal, and how to handle a tech rehearsal (e.g. by turning up with a technical script- not only do you look super-professional, but tech teams will love you for making their jobs that bit easier) means that you can be super efficient at promoting your work and organising your documentation to get the best results from your hard efforts.
This is a book for artists wondering why their work gets turned down by producers, those who find it hard to describe their own practice, and those wondering where to go next on that trajectory of the live art world. However, remember that as much as advice as it gives on making a living from art, don't give up your day job until you've formed a guerilla plan on how to get there.
The downside is that a) you'll be pretty depressed to read that most of the artists included never had a day job, making you wonder why you spent so long working hard at yours (with the exception of Lois Weaver of Split Britches, who encourages artists to work to fund their art) and b) as much insight as there is, it re-affirms what you know already.
Still, having that inside eye on what producers are looking for when you turn in a proposal, and how to handle a tech rehearsal (e.g. by turning up with a technical script- not only do you look super-professional, but tech teams will love you for making their jobs that bit easier) means that you can be super efficient at promoting your work and organising your documentation to get the best results from your hard efforts.
This is a book for artists wondering why their work gets turned down by producers, those who find it hard to describe their own practice, and those wondering where to go next on that trajectory of the live art world. However, remember that as much as advice as it gives on making a living from art, don't give up your day job until you've formed a guerilla plan on how to get there.
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