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Cutting Performances challenges four decades' worth of scholarship on the American avant-garde by offering a provocative reconceptualization of the history of avant-garde performance along feminist lines. Focusing on five women artists (Elsa von Freytag-Loringhoven, Gertrude Stein, Yoko Ono, Carolee Schneemann, and Valerie Solanas) whose performance aesthetics made prominent use of collage techniques, James M. Harding sheds light on the cultural history of the avant-garde and the role that experimental women artists played in that history. He investigates the prominent position that collage technique occupied within the artists' performance aesthetic, and the decisively feminist inflection that their work gives to collage as a mode of avant-garde expression. The radical juxtapositions in their works produce the powerful effects of making the familiar strange and establishing contexts from which new understandings may emerge.
Harding examines the performative dimensions of collage in experimental, feminist redefinitions of the literary, graphic, and theatrical arts, filling a void in a scholarly discourse that, while ostensibly about the vanguard, has lagged well behind other significant theoretical and historiographical currents. Cutting Performances not only challenges assumptions that have governed scholarship on the American avant-garde but also establishes a context to rethink the history of American avant-garde performance along feminist lines. It will appeal to audiences interested in theater history and performance studies as well as those interested in the cultural history of the avant-garde and the role that feminist experimental artists have played in it.
"A thoughtful and engaging contribution to the field that will have a sustained and lasting impact on the way feminist performance is defined and understood, as well as on how feminist histories and historiographies continue to challenge and transform the larger field of performance."
—Charlotte Canning, The University of Texas at Austin
"Harding forcefully challenges and destabilizes the male-centered Eurocentric genealogy of the avant-garde, which he claims is an uncontested, linear, positivistic history, unproblematized by theory. Then he argues that this gendered biased version of the European avant-garde is carried over into American historiography . . . A forceful case for a revisionist history."
—Daniel Gerould, The City University of New York Graduate Center
Illustration: Carolee Schneemann in Eye Body-36 Transformative Actions (1963) Action for camera (Photograph by Erró). Reproduced by permission of Carolee Schneemann.
"This study shines for its impeccable scholarship, inviting style, and compelling argument. Harding offers a wholesale rethinking of the terms that have defined avant-garde performance for a century...This superb volume includes far more than meets the historical marginal eye."
—Choice, D Chansky, Texas Tech University
"There are many stellar passages in the book, but the author's tackling of the old question whether feminist scholarship is 'women's work', which is to query whether male scholars are useful or even welcome in feminist thought, stands out as a favorite."
—Michael M. Chemers, Carnegie Mellon University, The Journal of Theatre Research International
"Cutting Performances demonstrates that feminist performances can, and should, play a crucial role in our understanding of the American avant-garde."
—Tara Rodman, Northwestern University, Theatre Journal
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