f Frieling, The Art of Participation: 1950 to Now (NY: Thames & Hudson, 2008).
“Happening came to Amsterdam…” Richard Kempton, Provo: Amsterdam’s Anarchist Revolt (Autonomedia, 2008). See also Delta magazine, Autumn 1967, for a collection of key Provo texts in English.
“take pictures of the police action…” This story was told at the “Signs of Change” exhibition at Exit Art, NYC in fall of 2008, during a screening of Provo films by Jordan Zinovich, who worked on the Kempton book.
“where the plans for just such an action had been exhibited…” Brett Bloom, “A Magical Land of Roving Santa Claus Armies, Pirated Energy Drinks and a Giant Squatted Urban Village,” in Josh McPhee and Erik Reuland, eds., Realizing the Impossible: Art Against Authority (Oakland, CA: AK Press, 2007)
“sensational ‘lock-in’ of gallery goers…” Brian Holmes discusses this work by Graciela Carnevale in his text “Transparency To Exodus” (2005), online.
“Jon Erickson succinctly summarizes…” J.E., “The Spectacle of the Anti-Spectacle: Happenings and the Situationist International,” in Discourse 14.2 (performance issue), Spring 1992; references within the quotation: “SOS” is Debord, Society of the Spectacle (Black and Red, 1983), and “Knabb” is Ken Knabb, Situationist International Anthology (1981). Most of these texts are online.
“springboard for comment…participatory art…” In addition to the catalogue Rudolf Frieling, ed., The Art of Participation: 1950 to Now (2008), Claire Bishop has edited a collection of documents, Participation (2006). Heretofore a major source was Frank Popper’s Art – Action and Participation (1975). Popper is a historian of kinetic and electronic art. Popper’s pioneers of viewer participation were the Bauhaus master László Moholy-Nagy, Israeli kinetic artist Yaacov Agam, Roy Ascott and Lygia Clark.
“exhibition called `Do It’…” Search “Do It at e-flux” on the internet. The site contains an instructive essay by Bruce Altshuler, “Art by Instruction and the Pre-History of ‘Do It.’” (There is also a published book on the project.)
“Kusama’s Church of Self-Obliteration…” Grady Turner, interview with Yayoi Kusama in Bomb magazine, no. 66, Winter 1999, online.
“joint team of artists and sociologists…” This mode of working was inspired by conceptual art. The Rosario Group’s example of the radical research collective including academic specialists and artists who represent the work has proved an important model for artists and radicals alike. See Erika Biddle, Stevphen Shukaitis and David Graeber, eds., Constituent Imagination: Militant Investigations, Collective Theorization (2007).
“build ice barricades in the street to stop police…” Virginia Pérez-Ratton, “Performance and Action Work in Central America 1960-2000: A Political and Aesthetic Choice,” in Cullen, ed., op. cit.
“artists aligned themselves with the feminist movement…” A recent wave of historicization for feminist art has thrown up a major show. See Cornelia H. Butler and Lisa Gabrielle Mark, eds., WACK!: Art and the Feminist Revolution (2007). There is much online about this exhibition.
“nominated a pig for president…” The pig, a personable animal named Pigasus, was from the California Hog Farm Commune.
“radical Art Workers’ Coalition…” Two 1970 publications of the Art Workers' Coalition – Open Hearing and Documents 1 – can be downloaded at PrimaryInformation.org.
“conceptual art laid the baseline…” The classic (chronological) account of conceptual art is Lucy Lippard, ed., Six Years: The Dematerialization of Art (1973; republished 1997); Tony Godfrey’s survey text Conceptual Art (1998) is a good introduction. Marie Carmen Ramirez, ed., Global Conceptualism: Points of Origin 1950s to 1980s (1999) takes a look at the important ways, very often political, in which conceptual art was used around the world.
“This is the most important side of my work…” Achille Bonito Oliva, from an interview titled “A Score by Joseph Beuys: We Are the Revolution,” 1971; it is cited by Irving Sandler to Ronald Feldman Gallery handout, 1971 (in Sandler’s Art of the Post-Modern Era, 1996). Quoted by Glen