• Clairvoyance (For Those In The Desert): Performance Pieces, 1979–2004

    Author(s):
    Pages: 408
    Illustrations: 32 b&w photos, 16 color photos
    Sales/Territorial Rights: World
  • Cloth: $99.95 - In Stock
    978-0-8223-4021-8
  • Paperback: $28.95 - In Stock
    978-0-8223-4040-9
  • Quantity
  • Add To Bag
  • Acknowledgments ix

    Nota Bena xv

    Fucking Hot: An Introduction / Jill O'Brien 4

    Joanna Frueh's Writing

    The Concupiscent Critic (1979) 51

    BRUMAS (1982) Lyrics and text by Joanna Frueh, music by Thomas Hochheiser 57

    Justifiable Anger (1982–83) ) Lyrics and text by Joanna Frueh, music by Thomas Hochheiser 76

    Dual Conception (1983) Written by Joanna Frueh for a piece to be performed by Frueh and Thomas Kochheiser 93

    Solar Shores (1984) ) Lyrics and text by Joanna Frueh, music by Thomas Hochheiser 108

    A Few Erotic Faculties (1985–86) 121

    Clairvoyance (For Those in The Desert) (1985–86) ) Lyrics and text by Joanna Frueh, music by Thomas Hochheiser 152

    Breathing (1988) A Proposal for a Performance by Joanna Frueh and Russell Dudley, written by Frueh 168

    Vermilion (1988) 169

    Mouth Piece (1989) 180

    Amazing Grace (1990) Written and Performed by Joanna Frueh and Russell Dudley 209

    Pythia (1994) 225

    Dressing Aphrodite (1997) 251

    Sade, My Sweet, My Truffle; or, Giving a Fuck (1999) 278

    The Aesthetics of Orgasm (2002) 287

    Voyaging to Cythera (2003) 312

    The Performance of Pink (2003) 319

    Ambrosia (2004) 326

    Shaking out the Dead: An Afterword by Joanna Frueh 337

    Joanna Frueh Performance Chronology (1979—2005) 353

    Key Readings from Joanna Frueh's Childhood to the Present 363
  • Clairvoyance (For Those In The Desert) is an artful, insightful, and important collection of performance texts by artist and scholar Joanna Frueh. Indeed, Clairvoyance could be considered an essential primer for feminists.”

    Clairvoyance couples the strength of her words and the stage direction, to give the reader quite a vivid look into the life of this exceptional artist.”

    “[A] a beautiful and very pink 400-page tome that looks great on a coffee table. . . . Clairvoyance is a great place to start learning about not just 20th-century performance art, but also about one of the more intriguing and unheralded performance artists of our time.”

    Reviews

  • Clairvoyance (For Those In The Desert) is an artful, insightful, and important collection of performance texts by artist and scholar Joanna Frueh. Indeed, Clairvoyance could be considered an essential primer for feminists.”

    Clairvoyance couples the strength of her words and the stage direction, to give the reader quite a vivid look into the life of this exceptional artist.”

    “[A] a beautiful and very pink 400-page tome that looks great on a coffee table. . . . Clairvoyance is a great place to start learning about not just 20th-century performance art, but also about one of the more intriguing and unheralded performance artists of our time.”

  • “In this time of fabrication and disconnect—body from image, self from its representation—it is good to be reminded that early feminist artists did not separate body from consciousness from politics from theory. Joanna Frueh’s explorations in performance, photography, and texts are the real (un-airbrushed) deal, revealing the works of a particular and specific body-self, just flawed enough to be inspiriting.” — Suzanne Lacy, Otis College of Art and Design

    “There is a lot of talk in academia about innovation and independence, but there is also a lot of what Nietzsche called ‘herd mentality.’ For those searching for an independent voice, here it is. Joanna is everything academic critics like: theoretically sophisticated, complex, ambiguous, experimental. She is also a lot of things academic critics don’t trust: openly sexual, oblivious of convention, dreamy, ecstatic, wild beyond classification. As she says: ‘She disobeys injunctions against knowledge, for the severest education forces the initiate to reject the law.’ If you aren’t dubious about this book, you aren’t an academic. But if you don’t find something to love in it, you might consider discarding some of the books in your library and substituting this one.” — James Elkins, School of the Art Institute of Chicago

  • Permission to Photocopy (coursepacks)

    If you are requesting permission to photocopy material for classroom use, please contact the Copyright Clearance Center at copyright.com;

    If the Copyright Clearance Center cannot grant permission, you may request permission from our Copyrights & Permissions Manager (use Contact Information listed below).

    Permission to Reprint

    If you are requesting permission to reprint DUP material (journal or book selection) in another book or in any other format, contact our Copyrights & Permissions Manager (use Contact Information listed below).

    Images/Art

    Many images/art used in material copyrighted by Duke University Press are controlled, not by the Press, but by the owner of the image. Please check the credit line adjacent to the illustration, as well as the front and back matter of the book for a list of credits. You must obtain permission directly from the owner of the image. Occasionally, Duke University Press controls the rights to maps or other drawings. Please direct permission requests for these images to permissions@dukeupress.edu.
    For book covers to accompany reviews, please contact the publicity department.

    Subsidiary Rights/Foreign Translations

    If you're interested in a Duke University Press book for subsidiary rights/translations, please contact permissions@dukeupress.edu. Include the book title/author, rights sought, and estimated print run.

    Disability Requests

    Instructions for requesting an electronic text on behalf of a student with disabilities are available here.

    Rights & Permissions Contact Information

    Email: permissions@dukeupress.edu
    Email contact for coursepacks: asstpermissions@dukeupress.edu
    Fax: 919-688-4574
    Mail:
    Duke University Press
    Rights and Permissions
    905 W. Main Street
    Suite 18B
    Durham, NC 27701

    For all requests please include:
    1. Author's name. If book has an editor that is different from the article author, include editor's name also.
    2. Title of the journal article or book chapter and title of journal or title of book
    3. Page numbers (if excerpting, provide specifics)
    For coursepacks, please also note: The number of copies requested, the school and professor requesting
    For reprints and subsidiary rights, please also note: Your volume title, publication date, publisher, print run, page count, rights sought
  • Description

    The performance artist Joanna Frueh has emerged over the past twenty-five years as a wildly original voice in feminist art. Her uninhibited performances are celebrations of beauty, sensuality, eroticism, and pleasure. Clairvoyance (For Those In The Desert), which features eighteen of her essential performance texts, is a celebration of this remarkable artist and her work. Arranged chronologically, from The Concupiscent Critic (1979) through Ambrosia (2004), the pieces reveal Frueh’s evolution as an artist and intellectual over the course of her career. Many of these texts have never before been published; others have not been readily available until now. Among the sixteen color photographs in this richly illustrated book are pictures of Frueh performing and images from Joanna in the Desert, a 2006 collaboration between Frueh and the artist and scholar Jill O’Bryan.

    Frueh’s performances are unabashedly autobiographical, as likely to reflect her scholarship as a feminist art historian as her love affairs or childhood memories. For Frueh, eros and self-love are part of a revolutionary feminist strategy; her work exemplifies the physicality and embrace of pleasure that she finds wanting in contemporary feminist theory. Scholarly and rigorous yet playful in tone, her performances are joyful, filled with eroticism, flowers, sexy costumes, and beautiful colors, textures, and scents. Recurring themes include Frueh’s passionate attachment to the desert landscape and the idea of transformation: a continual reaching for clarity of thought and feeling.
    In an afterword as lyrical and breathless as her performance pieces, Frueh explores her identification with the desert and its influence on her art. Clairvoyance (For Those In The Desert) includes a detailed chronology of Frueh’s performances.

    About The Author(s)

    Joanna Frueh is a performance artist, writer, scholar, and teacher. For more than twenty-five years, she has performed one-woman shows throughout the United States and abroad. She is Professor of the Practice of Art at the University of Arizona and Professor of Art History Emerita at the University of Nevada, Reno. She is the author of Swooning Beauty: A Memoir of Pleasure; Monster/Beauty: Building the Body of Love; Erotic Faculties; and Hannah Wilke: A Retrospective. She is a coeditor of Picturing the Modern Amazon; New Feminist Criticism: Art, Identity, Action; and Feminist Art Criticism: An Anthology. Her art, essays, and criticism have appeared in many publications, including Art Journal, New Art Examiner, Art in America, Artforum, Hypatia, and High Performance. Frueh lives in Tucson, Arizona.

    Jill O’Bryan is an independent scholar and artist. She is the author of Carnal Art: Orlan’s Refacing.

Spring 2017
Explore More
Share

Create a reading list or add to an existing list. Sign-in or register now to continue.


Contact Us

  • Duke University Press
  • 905 W. Main St. Ste 18-B
  • Durham, NC 27701
  • U.S. phone (toll-free): 888-651-0122
  • International: 1-919-688-5134
  • orders@dukeupress.edu