Anthony Howell - Curriculum Vitae
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Biographical Update 1998-2003
Grey Suit
Selected Essays, Lectures and Articles
On Literature
On Performance and Visual Art
Selected reviews and articles on his work
Video (Grey Suit)
Teaching Experience
Lectures and Workshops currently offered.
On Art and Literature
On Performance and Video
Activities concerned with writing
Performances and fees

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Anthony Howell: Resumé

Anthony Howell is a poet, novelist and performance artist. He was born in 1945. By 1966 he was dancing with the Royal Ballet. He left the ballet later in order to concentrate on writing, and his first collection of poems, Inside the Castle, was published by the Cresset Press in 1969. At that time (68-69), he was teaching creative writing to students at the American Institute for Foreign Study at their University of Grenoble campus.

In 1970 he directed The Oz Event at the ICA and read his poems at the Poetry Society. His choric song, Essora Tessorio, was performed at The Whitechapel Gallery in 1973, and, in the same year, he was invited to join the International Writers' program at the University of Iowa.

He founded the acclaimed performance company, The Theatre of Mistakes, in 1974. Under his direction, this company made notable appearances at The Cambridge Poetry Festival (1975), at the Serpentine Gallery, London, and at the Stedelijk Museum Amsterdam (1976), at the Hayward Gallery, at the Biennale de Paris, in the Musée d'Art Modern and at FIAC in the Grand Palais (1977). Between 1978 and 1981 there were further performances in Vancouver, Berlin, Rotterdam, Belgrade, Brussels, Innsbruck, Brescia and Ferrara as well as at the Paula Cooper Gallery in New York, at the Theatre for the New City (NY), at Pittsburgh University and at Pittsburgh State Penitentiary. During these years he was also employed as a lecturer at Maidstone, Goldsmiths, Central and Middlesex colleges of Art.

His solo performances,The Table Moves, were then shown at the Sydney Biennale in 1982, with further workshop performances in Hobart, Melbourne, Newcastle etc, and Active Circles was performed on Lake Goongarrie in Western Australia. He then taught in the sculpture department of Sydney College of the Arts, followed by a residency at the same college and a performance, The Tower, at the Art Gallery of New South Wales in1984. A film was made of this performance, directed by James Bogle. In 1985 he performed at the Tate Gallery and in the British Art Show.

During these years, his literary output included Imruil (a free translation from pre-Islamic Arabic (Barrie & Jenkins, 1970), Erotic Lyrics (edited for Studio Vista in 1970), Oslo: A Tantric Ode (Published by Calder & Boyars in 1975), and Notions of a Mirror (poems, published by Anvil in 1983). Then came a novel, In the Company of Others (published by Marion Boyars in 1986), and Why I may never see the Walls of China (poems, Anvil, 1986). He has also written a seminal book on performance with Fiona Templeton, Elements of Performance Art (Ting Books, 1977). His poems have appeared in numerous anthologies. More recent publications include: Howell's Law (poems, Anvil, 1990) and First Time in Japan (poems, Anvil,1995).

He is currently Senior Lecturer in Time Based Studies at the Faculty of Art, Design and Technology, University of Wales Institute, Cardiff. In recent years he has been the editor of Grey Suit: Video for Art & Literature - a seminal magazine distributed on VHS videotape, published quarterly and distributed worldwide. He has also been the organiser of Cardiff Art in Time - the UK's most vibrant performance art/video festival, featuring student and professional work from around the world.

Howell has received numerous bursaries and awards for performance and for writing, including a £5000 writer's bursary from the Arts Council of Wales. In 1989 he was invited by the South Bank Centre to act as a consultant concerning the future programming of the Purcell Room. Recently he has performed at the Sheffield Media Show, and at Chapter Arts Centre, Cardiff, and read his poems at the Hay on Wye Festival (1990) and at Sub-Voicive in London. He has also organised numerous poetry readings in Cardiff - by John Ashbery, F.T. Prince, Hugo Williams, Michael Donaghy, Kazuko Shiraishi etc. He has also directed several video films - including The Ballad of the Sands - a video poem. His articles and reviews have appeared in many publications. Recently he was short-listed for a Paul Hamlyn Award.

He has given many lectures on his own performance work, often accompanied by videos of his work. He also lectured on Immoralism during the Post-Morality Show at Kettles Yard, Cambridge in 1990, and on The Analysis of Performance Art for the Ruskin School of Art in Oxford (1994). He has given further lectures recently at the ICA and at many colleges of Art including Goldsmiths, Dartington, the Royal College, and the Central School of Speech and Drama. In 1995 he performed a new piece, Objects, during Cardiff Art in Time, and performed his Commentary on Klein during the Yves Klein exhibition at the Hayward Gallery. In 1997 he toured Serbia, Macedonia and Montenegro for the British Council, creating new performances in Belgrade and Skopje, and The World Turned Upside Down was shown at Hollywood Leather, London. Then in 1998 he read his poems at The Old Operating Theatre and at the ICA and lectured on Looking at Light for the National Gallery of Wales. He has recently created a performance with a pig in Belfast for Fix 98, and a performance with two horses for the 2nd International Festival of Experimental Art and Performance in Saint Petersburg. The Analysis of Performance Art was published by Harwood Academic Press (now Routledge) in 1999 and his Selected Poems came out in 2000 from Anvil, well as his journal of time spent in Serbia, entitled Serbian Sturgeon (Harwood, now Routledge). He recently directed The Infernal Triangle at the ICA, London.  He is currently working on a book of essays, entitled Immoralism: Art and Its Dark Side. Recently he showed The World Turned Upside Down in The Carnivalesque, a national touring exhibition, in Brighton.  He performed at Hoxton Hall in June in First Class Evening Entertainments for the ENO and revived A Waterfall by The Theatre of Mistakes for Gallery 291 in November 2000. He has recently finished choreographing a film (directed by Jayne Parker) The World Turned Upside Down for BBC 2 s Dance on Camera.

Currently touring Tango Art - a fusion of the tango and performance art - which has already been shown at the SKC Belgrade, in Montenegro and at the Irish Centre, London.  His most recent book of poems is Dancers in Daylight (Anvil 2003)

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Biographical Update 1998-2002

1998 January: Lecture/Demonstration: Transference in Performance, Central School of Speech and Drama, London.

February: Poetry Reading at The Old Operating Theatre, London, The Infernal Triangle, performance at Chapter Arts Centre, Cardiff, with Helen Horridge, Martin Burton,and again in March with Rebecca French and Milica Vukovic, and again in May, with Helen Horridge and Stuart Sherman.

May: Lecture Looking at Light, ‘The Prying Eye Symposium , Riordan Smith Lecture Theatre, National Museum of Wales, Cardiff, and introduction to Stuart Sherman s Perfilmance, ICA, London.

June: Pig Sculpture, a performance, for FIX 98, Propositions Gallery, Belfast; Reading for Ambit Magazine (Soho Writers) at The French Pub, London, and reading for Stourbridge Festival of the Arts.

July: Reading for Naked Poets at "Cunning Linguists", Bunjies, Soho, London. Reading for Naked Poets, ICA, London, and appearance on "The Bigger Breakfast" tv programme.

August: Performance: The Return of the Horse to the Manege, for 2nd International Festival of Experimental Art and Performance, Manege Central Exhibition Hall, Saint Petersburg, Russia.

October: directed two weeks of The Infernal Triangle at the ICA, London.

Poems anthologised in Poetry is Nakedness, edited by Tim Gadaski and Vladimir Yaremenko-Tolstoy, Oak Tree Press, London,98. Also poems published in Trans- Katalog (Yugoslavia), and a poem published in Guardian s Editor Magazine August 98.

Reading at the Building Centre, London, in Andrew Eden s exhibition, September, reading at The Poetry Society with Alan Jenkins, October.

1999: February:  Video: Homage to the Horses of Saint Petersburg - shown at Ffoto Gallery, Cardiff together with photographs and booklet. Video also shown as part of Cardiff Art in Time.

The Analysis of Performance Art published by Harwood Academic Publishers (now Routledge Harwood), London, New York etc. Sonnets published by Grey Suit, London.

Poems also accepted for publication in Poetry Review Autumn 99. Article on Chloe Chard s ‘Pleasure and Guilt on the Grand Tour  accepted by PN Review, and article on Dramaturgy accepted by Total Theatre Magazine.

Contributed to panel discussions on Dramaturgy at the conference Dramaturgy: A user s guide at Central School of Speech and Drama, and to panel discussion for British Festival of Visual Theatre, Young Vic, London.

Performance - Phyllis and Aristotle - Gallery 291, London.

2000: Lectured on The Picture within the Picture, Innocuous Art, Grandeur, Non Finito for UWIC, Cardiff. Lecture on performance for Wimbledon MA students and for students of the Architectural Institute and for Brunel University Psychoanalytic Studies and Performing Arts course and
Manchester University Theatre Studies.

Proposed Performance Architecture Symposium to the Tate Modern - proposal accepted for November 2000.

Performed in First Class Evening Entertainments directed by Nick Till at Hoxton Hall. Performed solo performance The World Turned Upside Down, at Fabrica, Brighton as part of the Carnivalesque Exhibition, subsequently touring Leeds, Edinburgh - reviewed in Total Theatre Magazine.

Conducted two week Summer School on The Analysis of Performance Art for Arts Admin, Toynbee Studios, London. Established The Elsewhere debating group and did a reading at the Bridewell Theatre, London to celebrate publication of Selected Poems.

Film of The Tower shown by the Tate Modern, London. Lecture for National Review of Live Art, Glasgow, Feb.

Analysis of Performance Art reprinted by Harwood Academic publishers. Article on The Analysis of Performance Art Summer School appeared in Total Theatre Magazine.

Reading from Selected Poems at the Bridewell Theatre.

Recreated Waterfall 6 as an extension of the Performance Architecture Symposium (Tate Modern) at Gallery 291, London, November 2000.

2001 Performance of Phyllis and Aristotle in Performations, - with Lorna Stewart, in a programme including Robin Deacon and Stuart Sherman, at Dimson Hall, Battersea, May, 2001.

Lecture for National Review of Live Art, Glasgow, 2001.

Waterfall 9, for Performations, Battersea, September 2001, and two performances at the Ikon Gallery, Birmingham, September 2001.

Reading at The Building Centre, London, in Andrew Eden's Exhibition.  Reading with Alan Jenkins at the Poetry Society, London, October.

2002 Spent two and a half months studying the tango in Buenos Aires on £6000 bursary from London Arts and LADA, contributed articles to BA Herald and US.

Performed Waterfall 9 at the Arnolfini Gallery, Bristol, April

Lectured on Performance as Image - (lecture entitled Against the Image) - Dresden Kunsthalle, April 2002.

Invited to contribute performance section to major catalogue for From Blast to Frieze Exhibition, for Wolfsburg Gallery, curated by Henry Meyric Hughes, Germany, September 2002.

Lorna - performed in this tango video for video artist Angela Hiss - shown at the Henry Peacock Gallery, October.

Tango Art - invited to create new performance fusing tango with performance Art as a process of rehearsing at the Chisenhale Dance Space London, with Jenny Smith, Lorna Stewart and Nicola Schauermann.  Shown in October.

Tango Art performed at the SKC Belgrade in April 2003 - and in Cultural Centre, Podgorica, Montenegro

Danced tango and read poetry in Emotion in Motion, with Tango Volcano, Bloomsbury Theatre, April 2003, and demonstrated tango at the Haverhill Festival with Lorna Stewart and Tango Volcano.

Tango Art performed at the Irish Centre in conjunction with the publication of a new book of poems - Dancers in Daylight (Anvil)

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Grey Suit: Video for Art & Literature:

1994: Launch of Grey Suit: Video for Art & Literature - a magazine on VHS video cassette, featuring poetry,performance, film, video, music, critical opinion etc - published quarterly, distributed worldwide.

Cardiff Art in Time established - a week-long festival of performance, film, video and new media events at University of Wales Institute, Cardiff - (event co-hosted by Grey Suit) including work by students from 8 different art schools and professional performers, film-makers etc.

Selections from Grey Suit, shown on Cabal 33, Minneapolis, USA.

1995: Grey Suit co-hosted 2nd Cardiff Art in Time Festival, and showed videotapes of issues 1-4 at Chapter Arts Centre, Cardiff during the festival.

Grey Suit selections from issues 1-7, shown at First International showing of Videozines, Air de Paris Gallery, France.

Selections from Grey Suit, shown at Transat Video, Centre d'Art Contemporain de Basse-Normandie, France.

Grey Suit from Wales, showing of videotapes: Performance on Screen, Machida City Museum of Graphic Arts, Tokyo.

Grey Suit 9 Hong Kong Installation Art Festival, organised by Hong Kong Visual Arts Research Society.

1996: Grey Suit co-hosted 3rd Cardiff Art in Time Festival and showed The Best of Grey Suit.

Grey Suit: Video for Art & Literature. Volume 1 comprises Issues 1 to 12.

Bradford Festival TV , showings of videotapes on Bottom Trawling - Channel 13, Yorkshire Cable TV.

Showing of The Tower and Objects videos for Grey Suit at Transat Video Festival, Herouville, France.

1997 Lectures on Grey Suit - and showings of videotapes at Student Cultural Centre, Novi Sad, and at Student Cultural Centre, Belgrade,in Serbia; at British Council, Podgorica, in Montenegro; and at British Council, Skopje, in Macedonia.

March/May: Curated Doing in its own Right - an 8-hour videotape of Performance Art - including Beuys, Gilbert & George, Orlan, Stelarc, Station House Opera, Theatre of Mistakes etc - for Serpentine Gallery, London. Tape played in Bookshop throughout the summer.

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1968-9: Sergei de Diaghileff - long poem - Turret Books.

1969: Inside the Castle - poems - Barrie & Rockliff, The Cresset Press.

1970: Imruil - free translation from pre-Islamic Arabic - Barrie & Rockliff .

1971: Edited Erotic Lyrics - anthology - for Studio Vista, London.

1972: Femina Deserta - poem - Softly Loudly Books, London.

1975: Oslo: a Tantric Ode - book-length poem - Calder & Boyars, London.

Elements of Performance Art - textbook for performance artists - co-authored with Fiona Templeton, Ting Books, London.

1976: The Mekon - poem - The Many Press, London.

1983: Notions of a Mirror - poems - Anvil Press Poetry, London.

1984: Winter's not Gone - poems - The Many Press, London.

1986: Why I may never see the Walls of China - poems - Anvil Press Poetry, London.

          In the Company of Others - novel - Marion Boyars, London.

1990: Howell's Law - poems - Anvil Press Poetry, London.

1992: Edited and wrote introduction to Near Calvary - Selected Poems of Nicholas Lafitte - The Many Press, London.

1995: First Time in Japan - poems - Anvil Press Poetry, London.

1999: Sonnets - Grey Suit Editions, London. ISBN 1 90300600 7.

1999: The Analysis of Performance Art: a guide to its theory and practice(Contemporary Theatre Studies;v.32), Harwood Academic Publishers, 1999 ISBN 90 5755 086 5 (soft cover), 90 5755 086 7(hard cover). Now taken over by Routledge.

2000: Serbian Sturgeon Journal of a Visit to Belgrade, Harwood Academic Publishers, London, ISBN 90 5755 123 3.  Now Routledge.

          Selected Poems, Anvil, London

2001:  Spending: Poems, Menard Medames, London,  ISBN 0 874320276

2003: Dancers in Daylight - poems 1995-2002,  published by Anvil Press Poetry in May 2003.


The Best Deborah Stories - a memoir of my mother.

Statius: Silvae - translations and versions from the Latin - with Bill Shepherd - Anvil Press Poetry, London.

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Selected Essays, Lectures and Articles

On Literature:

Article on the Sonnets of John Berryman, (precise date unknown) Poetry Review, 1968-69

Translation: A Query, Stand 12, no. 2, 1971

The Poet of Sanity, (review of "The Swimmers and other Selected Poems" by Alan Tate together with his "Essays of Four Decades"), Tribune, February 26, 1971

John Shaw Neilson; Early Australian Modernism, The Many Review, issue 3, Spring, 1985

Verse from the Desert Country (Australian poetry including Neilson, Webb, McAuley, Murray), PN Review 47, vol. 12, number 3, 1985

Immoralism - the novels of John Hawkes and their bearings on some contemporary paintings (extracted from Immoralism, a lecture), The Many Review 6, january 1990

Grotesque, Ancient and Modern, a lecture given to students of Fine Art, University of Wales Institute, Cardiff, 1993.

Introduction to "Near Calvary" - Selected poems of Nicholas Lafitte, The Many Press, 1992

F.T. Prince in Conversation (with Anthony Howell), PN Review, vol. 18, no. 3, Spring, 1992

Earth and Air (review of W.G. Shepherd and John Welch), Agenda, vol. 31, no. 2., 1993

Ashbery in Perspective, PN Review 99, vol. 21, no. 1. Autumn, 1994

Immoralism (article), Transcatalog 2/3, Novi Sad, Yugoslavia, Summer, 1995

Bridge (poem) published in The Poetry Review, London, Winter 1999/2000. ISBN 1 900771 19 5,  ISSN 0032 2156

Pleasure and Guilt on the Grand Tour (review of Chloe Chard), PN Review, March April 2000. ISBN 1 85754 488 9. ISSN 0144-7076.

Mirrors of Melancholy, review of Hugo Williams (Billy s Rain) and Alan Jenkins (The Drift), PN Review, March April 2000. ISBN 1 85754 488 9. ISSN 0144-7076.

Poem: Lost Children, published by Times Literary Supplement, London, January 5, 2001 ISSN 0307661, USPS 617-700 (9 770307 661501).

Review of Selected Poems in Times Literary Supplement, March 2, No 5109, Selected Poems also reviewed in Stride Magazine, Winter 2000, and in Ambit, Spring 2002. Spending: Poemsreviewed in Forum Magazine, Summer 2001

Dancers in Daylight (long poem) appeared in The Swansea Review, Summer 2001.

Article on F.T. Prince: A Maverick Master appeared in PN Review, Summer Edition, 2002.

Article Modernist Manqué: the Poetry of Henry Reed appeared in the London Magazine Spring 2003

Obituary for F.T. Prince, pending July 2003 (Guardian).

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On Performance and Visual Art (including catalogue entries):

Entry in catalogue, 10th Biennale de Paris, November, 1977

Subjective Denouement (Robert Wilson's "I was sitting on my patio" at the Royal Court"), Artscribe, no. 13, August, 1978

Performance Test (performances by Bruce McLean & Paul Richards) Harpers & Queen International, November, 1979.

Five Figure Exercise (Lucinda Childs, Philip Glass, Sol Lewitt, Stuart Sherman, Robert Wilson), Harpers & Queen International, May, 1979

Entry in catalogue: Performance: Eine Andere Dimension Kunstlerhaus Bethanien Performance Festival, Berlin, 1980.

Entry in catalogue, 4th Biennale of Sydney, NSW, 1982

Entry in catalogue, Lyon International Symposium of Performance Art, France, 1983.

Entry in catalogue, The British Art Show, 1979-1984

Performance Land Art, Part 1, Performance Magazine, no. 33, February/March, 1985

Performance Land Art, Part 2, Performance Magazine, no. 34, April/May, 1985

Statement on the Table Moves, Tate Gallery Catalogue, 1985

Ger Van Elk at Art & Project, Artscribe, no. 5, Spring, 1985

David Hockney at Hayward and Knoedler, Artscribe, no. 55, Winter, 1985-6

Table Moves 1 & 2, British Art Show Bulletin, Birmingham Art Gallery, December 1, 1985

Serious Performance Art, Sheffield Media Show Lecture, March 3, 1985

Andrew Eden: Recent Paintings, High Barn Gallery Catalogue, October, 1985

Entry in Mickery Pictorial 1965-1985, a photographic essay, Mickery publication, Netherlands, 1986

Entry in catalogue, Post-Morality, exhibition at Kettle's Yard, 1990

Memory and the Body (symposium essay) (Re)membered Bodies, Lancaster University, August, 1995

Immoralism (text of lecture) published by Trans Katalog, Novi Sad, Yugoslavia, 1995

Hunks and Heroes (photographs by John Paul Evans), Grey Suit Monograph, Cardiff, 1995

Suspension (Bridge) (inhabited installation by Luke McKeown), Grey Suit Monograph, Cardiff, 1995

Ekstase (Sculpture by Clare Thompson) Grey Suit Monograph, Cardiff, 1995

Statement in Yves Klein Now: 16 Views, Hayward Gallery Catalogue, London, 1995

Judith in Toon Town (photographs by Judith Ahern), Live Simply Catalogue, Byron Mapp Gallery. Sydney, N.S.W., 1996

Mimesis & Repetition: paper published by INFANT Symposium, Novi Sad, 1996

Dark Secrets...Mortal Thoughts: catalogue for exhibition by John Paul Evans, Newport Museum and Art Gallery, Wales, 1996

Trapped in Time: article on the 2nd international Festival of Alternative and New Theatre, Novi Sad 1996, Transkatalog, Serbia, Winter 1996.

Barbarella: Dolls and Doll Imagery, essay on the work of John Paul Evans, KCC Arts and Libraries catalogue, 1998.

Chairs Catalogue note for Mark Williams, Erotica Exhibition, Olympia, London, 1998.

Article on Dramaturgy in Dramaturgy: a user s guide, published by Total Theatre Magazine, Autumn, 1999. ISBN 0 9537729 0 X

Poetry as Film, essay on the films of Jayne Parker in catalogue: Jayne Parker Filmworks 79-00, Spacex Gallery. Exeter, 2000. ISBN 0950751669
Selected Poems, Anvil Press Poetry, London, 2000. ISBN 0 85646 3248

Article A Heart Moving on Four Legs (Borges and the tango) in Times Literary Supplement, May 4, no 5118.

The Elsewhere - essay - published by Grey Suit Editions, London 2000

Article in Buenos Aires Herald on the musical Tanguera, March 2002

Letter from Buenos Aires, article published in The Times Literary Supplement, January 2002

Wrote Obituary for Vincent Woropay, published in Guardian, May, 2002.

Performance Art: An incorrect view, published in From Blast to Frieze Exhibition, for Wolfsburg Gallery, curated by Henry Meyric Hughes, Germany, September 2002.

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Selected reviews and articles on his work


Cordelia Oliver: The Ting: Theatre of Mistakes, Guardian, London. 23 February, 1977

David Cunningham: The Theatre of Mistakes at the Hayward Gallery, Musics, no 14, 1977

Nick Wood: The Theatre of Mistakes: interview with Anthony Howell, Artscribe, no. 10, London, 1977

Rosalee Goldberg: Performance - Live Art 1900 to the Present, Thames & Hudson, 1979

John Howell: The Theatre of Mistakes, Waterfall, Performance Art, no. 1, New York, 1979

Rob Creese: The Theatre of Mistakes, Drama Review (Structuralist Theatre Issue), New York, 1979

Sarah Kent: Melodrama of the Mundane, Time Out, March 14, 1980

Stuart Morgan: Homage to Morandi, Artforum, Autumn, 1980

Anthony Masters: Dedicated company in search of a text, The Times, London, 18 March, 1981

Review of Morandi and Table Move 1, in Der Tagesspiegel, Berlin, 7 May, 1981

Nick Waterlow: The Sydney Biennale, Art Monthly, Summer 1982

Terence Maloon: Review of the Sydney Bienale, Sydney Morning Herald, 10 April, 1982

Sarah Follent: Skilled Manipulation of Time and Sculpted Space, Australian, 2 February, 1983

Jonathan Watkins: Anthony Howell, Aspect, no. 26/27, Winter 1983

Performance: Eine andere Dimension, catalogue, Kunstlerhaus Bethanien Edition, (1983 Performance Festival)

Chrissy Iles: Review of Anthony Howell, Performance Magazine, Summer, 1983

Guy Brett: Review of Anthony Howell, Art Monthly, Summer, 1983

Stuart Morgan: Lyon Symposium, catalogue, 1983

Terence Maloon: If you like watching people at work, you'll love this, Sydney Morning Herald, January 21, 1984

Review in N.R.C. Handelsblad, Netherlands, October 25, 1984

Ursula Prunster: Project and Performance, Art & Australia, vol. 22, no. 1, Spring, 1984

Jacques Delaruelle: La Tour d'Anthony Howell, Art Press, , no. 81, May,Paris, 1984

Jacques Delaruelle: Performance Discourse, High Performance, issue. 28, vol. 7, no. 4, Los Angeles, USA, 1984

Ann Berriman: Dance of the Scaffolders, Art News, New York, vol. 83 no. 6, Summer, 1984

Robert Nickas: Essay on The Theatre of Mistakes, The Art of Performance, edited by Gregory Battcock and Robert Nickas, E.P. Dutton, New York, 1984

The British Art Show, catalogue, 1984

Claire Gravel: La Peinture après la Crise, Protée, vol. 13, no. 3, Autumn 1985, Quebec University, Canada

W. Hewison: Galleries, Punch, October 2, 1985

Stuart Morgan: The Decline of the Knitted Sock, Vogue, January 1987

Caroline Bergvall/David Hughes: Talking Shop 2: Grey Suit 1-5, Live Art Magazine no. 2, 4 July - 4 September, 1994

Grey Suit from Wales, catalogue: Performance Art on Screen, Machida City Museum of Graphic Arts, Tokyo, 1995

Quentin Letts ('Peterborough') Review of Commentary on Klein, The Daily Telegraph, March 17, 1995

A.T.: Review of Commentary on Klein, Financial Times, 18/19 March, 1995

Review of Commentary on Klein, The Guardian, March 17, 1995

Tables and Naked Ladies, interview with Anthony Howell, The Big Issue: Cymru, no. 12, Jan 1-14, 1996

Christopher Hewitt: Preview: Cardiff Art in Time, Live Art Magazine, December 7, 1995 -February 18, 1996 (refers also to Objects 1995).

David Crawforth: Review: Cardiff Art in Time, Live Art Magazine, February 19 - April 30, 1996

Stuart Morgan: The Death and Rebirth of British Performance, What the Butler Saw: Selected Writings, Durian Publications Ltd, London, 1996

Nick Kaye: Interview with Anthony Howell and documents presented (on Theatre of Mistakes and Table Moves) published in Art into Theatre: Performance Interviews and documents, Harwood Academic Publishers, Amsterdam, 1996.

Articles and interviews with Anthony Howell in Magyar Szo, 9th July, and in Politika, (A Feeling of Closeness), II July, and in Nezavisni, 12th July,and in Dnevnik (article by A.H. - Simulation or Repetition), 17th July, all in Serbia, 1996. And also in many Serb magazines and papers in February, March and April, 1997.

Kate Meynall, Review of The World Turned Upside Down at Hollywood Leather, Live Art Magazine, December 1997-February 1998.

Article in the Sunday People, Belfast, on Pig Sculpture at Propositions Gallery, June 1998.

Review of Analysis of Performance Art Summer School at Arts Admin, London by J. Kerr, Total Theatre, Autumn, 2000. ISSN 0960 6016.

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Reviews of Anthony Howell's work in Video (Grey Suit):

Preview in PN Review 92, vol. 19, no. 6, July/August, 1993

Raymond O'Daly: Untelevision, Everything; London Artists' Magazine, no. 11, November, 1993

Kevin Thomas: Academy Newsletter, Welsh Academy, August, 1993

Adrian Glew: So-Ho not so-so, Don't Tell it Magazine, issue 3, 1983

Mary Zerkel: Grey Suit 2, P-form Magazine, USA, issue 30, Winter, 1993

Jenny Godfrey: Audio-Visual News, Arlis Newsheet, no. 104, September, 1993

Filip De Keyser: Videos, De Witte Raaf, no. 46, November, 1993

Review in V.R.A. Bulletin, USA, vol 21, no. 1, Spring, 1994

Caroline Bergvall/David Hughes: Talking Shop 2: Grey Suit 1-5, Live Art Magazine no. 2, 4 July - 4 September, 1994

Martin Grampound: Videos, New Hope International Review, vol. 17, 1994

Grey Suit from Wales, catalogue: Performance Art on Screen, Machida City Museum of Graphic Arts, Tokyo, 1995

Entry in British National Fim & Video Catalogue, 1995-1996

Article on Grey Suit in Transat Video Festival Catalogue, Herouville, France, 1996

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Reviews of Anthony Howell's Literary work:

David Jay: With Crenallations, review in Times Educational Supplement, October 10, 1969

Alan Bold: A Mood of Sadness, review in Tribune, December 4, 1969

Review in Ballet Today, November, 1969

Review in Dublin Sunday Press, 21 September, 1969

Review in The Times, October 4, 1969

Review in Times Literary Supplement, August 1, 1970

Geoffrey Wansell: Review in Times Educational Supplement, April 4, 1969

David Holloway: The Erotic need not be Obscene, review in Daily Telegraph, June, 1970

Robert Nye: Inward Journey, review in Sunday Times, (precise date unknown), 1970

Robert Nye: A mirror that makes sense of us, article on J.L.Borges and Anthony Howell in Weekend Scotsman, (precise date unknown), 1970

Richard Holmes: New Poetry, The Times Saturday Review, August 1, 1970

Peter Porter: Poetry: Warriors and Worriers, London Magazine, vol. 9,no. 10, January 1970

Anne Cluysenaar: New Poetry, Stand 12, no. 3, 1971

Lyman Andrews: Anniversaries: on the latest poetry, The Sunday Times, March 26, 1972

Derek Mahon: Anthony Howell, Vogue, (precise date unknown), 1973

Robert Nye: Poetry, review in The Times, October 9, 1975

Peter Porter: Catching the Tone, review in The Observer, date unknown, 1983

John Welch: Notions of a Mirror - a review, Vanessa Magazine, The Many Press, 1983

Robert Nye: The Healing Disease of Verse, Observer (precise date unknown) 1983

Review in British Book News, May, 1983

Tim Dooley: Review in Argo, 1984

Chris Bendon: Review in Anglo Welsh Review, 1986

Peter Porter: Style from the Sticks, The Guardian (precise date unknown), 1983

Jim Burns: Review in Ambit, 1983

Robert Nye: Dancing Images, The Guardian, March 6, 1986

Marie Hobbins: Dancing in the company of others, article in The Irish Press, May 17, 1986

Jonathan Keates: Jews and Gentiles, The Observer, March 9, 1986

John Greening: Review in The Poetry Review, volume 77, no. 4, Winter 1987/8

David Adams: Burton and Howell, The Guardian, March 18, 1989

Sylvia Kantaris: Review in The Poetry Review, 1990

Julian Le Saux: Lineaments of Concern, The Times Literary Supplement, July 27, 1990

Glyn Pursglove: Review in The New Welsh Review, III/1, 1990

Robert Nye: Review in The Times Saturday Review, November 3, 1990

Peter Reading: Private Lives and Public Enemies, The Sunday Times, July 8, 1990

Ken Edwards: Review in City Limits, (precise date unknown), 1990

David Annwn: Review in Labrys, 1990

Alan Bold: Review in Scotsman, (precise date unknown), 1990

Tom Phillips: Review in Poetry Wales, 1990

John Ashbery: By Indirection, PN Review 86, volume 19, no. 3, January/February 1993

Sean O'Brien: Rosemary for Remembrance, The Sunday Times, December 17, 1995

William Scammell: Poetry in Brief, The Independent on Sunday, April 28, 1996

R.A. Page: The Detriment of Influence, PN Review, Spring 1996

David Burleigh: Japan sinks into the modern poet's consciousness, The Japan Times, August 13, 1996

Glyn Pursglove: Pilcrows -the editor's selection of recent books- The Swansea Review, No. 16, 1996

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Teaching Experience:

1968-9: Teacher of Creative Writing, American Institute for Foreign Study, University of Grenoble, France.

Lectured on Vision & Duration, Central School of Art, Winchester School of Art: comparing time-based work to painting and sculpture - Bridget Riley, Philip Glass, John Cage, Jackson Pollock etc.

1973: Invited to International Writers Programme, University of Iowa: researching and lecturing on poetry and translation.

1975: Lectures on Avant-Garde Literature - Stein, Burroughs, Ashbery, Coolidge etc - at Maidstone College of Art.

1977: Performances and workshops for students by The Theatre of Mistakes at Slade School of Art, Winchester School of Art.

Elements of Performance Art - textbook for performance artists - co-authored with Fiona Templeton, Ting Books,London.

1978: Two Freedoms - Theatre of Mistakes workshop performance - Vancouver School of Art.

Between 1975 and 1978, held performance workshops, and gave lectures, seminars and studio tutorials at Maidstone, Middlesex, Goldsmiths, Winchester and Vancouver Colleges of Art, also held workshops and gave lectures at A.M.P., Hayward Gallery, Arnolfini (Bristol),Belgrade Student Centre etc.

1982: Visited Art Colleges and Universities in Sydney, Brisbane, Canberra, Melbourne, Perth, Adelaide, Launceston and Hobart, lecturing on Performance Art as Excellence and conducting performance workshops. Visiting Fellow in sculpture for two semesters at Sydney College of the Arts, NSW, Australia.

1983: Artist in Residence, Sydney College of the Arts. Lectured on the history of Sculpture, the history and theory of Art, the history and theory of Performance Art and conducted workshops in performance at University of Queensland, City Art Institute Sydney, Woolongong School of Art etc

1985: Lecture on Performance Art - Ikon Gallery, Birmingham.Lectured on Performance Art as Excellence at Goldsmiths, Middlesex and Farnham Colleges of Art, also employed as a part-time tutor at Goldsmiths and Middlesex.

1986: Invited to become full-time lecturer in Time-based Studies at the Faculty of Art & Design, South Glamorgan Institute for Higher Education (now University of Wales Institute, Cardiff - Faculty of Art, Design and Technology). Teaching on B.A. and M.A. courses. Subjects taught include: performance art, creative writing, aesthetics and critical appraisal of film and video.

1987: Lecturing full time at University of Wales Institute, Cardiff - Faculty of Art, Design and Technology - still in post today.

1988: Lecture on Immoralism - delivered at University of Wales Institute, Cardiff, Goldsmith College of Art, London. Lecture on Immoralism - Post-Morality Show, Kettles Yard, Cambridge. Made Senior Lecturer.

1989: Lecture on Grotesque: Ancient & Modern, University of Wales Institute, Cardiff.

1990: Lecturing full time at University of Wales Institute, Cardiff - Faculty of Art, Design and Technology. Research: working on further lectures - on Innocuous Art, The Picture within the Picture etc. Working also on The Distance measured in Days - a novel.

1991: Established a course in Creative Writing - University of Wales Institute, Cardiff.

1992: Established a course in Structural Film-making and first year course in Performance Art, University of Wales Institute, Cardiff.

1993: Lecture on Analysis of Performance Art, Breathing Form Symposium, Ruskin School of Art, Oxford University.

1994: Established Cardiff Art in Time - a week-long festival of performance, film, video and new media events at University of Wales Institute, Cardiff - including work by students from 8 different art schools and professional performers, film-makers etc.

Lecture on Immoralism, Ruskin School of Art, Oxford University.

1995: Lecture on Living sculpture and Sculpture as Life - for Symposium: Apparition, Spectacle and Difference, Department of Art History and Contextual Studies, Wimbledon School of Art. Taught ten-day course Analysis of Performance Art, Department of Theatre Studies, Body Memory Course and (Re)membered Bodies Symposium, Lancaster University. Organised 2nd Cardiff Art in Time Festival.

1996: Invited to contribute to panel discussion, Performance Writing Symposium, Dartington School of Art. Organised 3rd Cardiff Art in Time Festival.

At UWIC organised The Crude and The Cooked, a series of lectures on the arts. Speakers include: Dr Clementine Deliss, Monika Kinley, Christopher Norris, Gwendolyn Leick, Stelarc...Contributed lecture: The Picture within the Picture to this series.

1997 Teaching course: The Analysis of Performance Art at Nordisk Teatre School, Arhus, Denmark. Lecturing and giving seminars on The Analysis of Performance Art, Arnolfini Gallery and Art Centre, Bristol, UK

Lectures on Grey Suit and on The Analysis of Performance Art - and showings of videotapes - at Student Cultural Centre, Novi Sad, and at Student Cultural Centre, Belgrade, in Serbia; at British Council, Podgorica, in Montenegro; and at British Council, Skopje, in Macedonia.

Invited to participate in panel discussions at Chapter Arts Centre, Cardiff, with Orlan, Ron Athy etc, October.

1998 January: Lecture/Demonstration: Transference in Performance, Central School of Speech and Drama, London.

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Lectures currently offered on Art & Literature

1. Immoralism

This is a term I have used to identify a tendency in cultural activity to engage the reader/spectator in complicity with darker aspects of the psyche. The term is taken from Andre Gide's novel, The Immoralist. I discuss the work of writers (James Hogg, Robert Browning, Andre Gide, John Hawkes etc) and show how a similar tendency operates among painters (Lucian Freud, David Hockney, Ron Kitaj, Eric Fischl, David Salle etc) and among visual artists working in other media such as photography and film (Diane Arbus, Jayne Parker, Nicholas Roeg, Tim Krabbe etc).

2. Grotesque: Ancient and Modern

Various definitions of the term Grotesque are introduced, starting with that of Mikhail Bakhtin in his book, Rabelais and his World. Other critics referred to include Arthur Clayborough, James Iffland, Lee Byron Jennings and Philip Thomson. I then show these theories at work in the writings of Rabelais, Quevedo, Marston and Victor Hugo and in the paintings of Bosch, Bruegel, Callot and Goya. Next I demonstrate that the grotesque is often to be found in a modern setting, and discuss the work of F. X. Messerschmidt, Diane Arbus, Arnulf Rainer, Judith Goddard, Jayne Parker, Geoff Koons and Charles Ray, among visual artists, and the writings of Brett Easton Ellis. Finally I examine grotesque tendencies in popular culture, manifested in fetishism, tattooing and body-building.

3. Innocuous Art: Formalism in Other Times

Wittgenstein's equation of ethics with aesthetics is examined in the light of formal art, where the 'content' may reside in the structure. The history of such art, often accused of being 'empty', is traced - from Francesca's Brera Madonna and the fugues of J. S. Bach, through the work of Uccello and Saenredam to Mondrian and Morandi and to Carl Andre. The nature of structure is discussed in relation to the terms metaphor and metonymy which are in turn related to chords and to melody and to terms used in Lacanian Analysis. Literary equivalents for pictorial formalism are discovered in the quietist poetry of Statius and Sir Philip Sydney, in Wordsworth, Arthur Hugh Clough and Raymond Roussel. Formalist use of repetition is discussed in the work of film-makers such as Alain Resnais and the materialist film-makers of the post-war avant-garde: Brakhage, Larcher, Hill and Welsby.

4. The Picture within the Picture

Narnia is entered through a wardrobe, a fictional doorway within a story. Roman wall-painting is then introduced and the birth of tromp l'oeil with the notion of painted windows opening onto fictional architecture. Fictional paintings are mentioned in relation to the writings of Philostratus. Similar 'fictional' strategies are to be found in the work of the Spanish 16th century masters, Y Leon and Coton, and in Flemish artists such as Heimbach. The relation of the subject to genre painting, to fusions of portraiture, still-life and landscape, is discussed and traced through the work of Velasquez and Vermeer, Hoogstraten, Vaillant and Hammett. The Arabic notion of a novel of boxes such as The 1001 nights is compared to Potochi's Sarragossa Manuscript. How the subject enters modernism is shown with the work of Manet and Magritte and the writings of Roussel and Lewis Carrol. The lecture concludes by examining the work of Rosenquist, Hamilton, Salle and Fischl.

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Lectures currently offered on Performance and Video

1. The Analysis of Performance Art

A practical analysis of action is set forth in this lecture which posits the existence of three primary elements of performance - stillness, repetition and inconsistency. It is then pointed out that Jacques Lacan identifies repetition as one of the fundamental concepts of psychanalysis. This is the starting point for a series of meditations on the nature of performance art in which the elements of performance are aligned to the concepts of Analysis. To demonstrate the method of these meditations by example I take the notion of inconsistency in performance and examine its psychoanalytical implications while demonstrating its manifestation in action. The work of Stuart Sherman and Station House Opera is discussed in the light of the issues raised by this examination of performative fundamentals.

2. Grey Suit: A History

Grey Suit: Video for Art & Literature is a magazine published on VHS videotape which has now reached its 12th issue. It has showcased a galaxy of international performance artists, avant-garde film and video makers, writers, musicians and installation artists. I introduce the work of the magazine, discuss its educational and archival advantages and illustrate the talk with examples of work which has been shown on the tapes - including performances by Stelarc, Mehmet Sander, Station House Opera, Man Act, Bobbie Baker etc, music by Derek Bailey and language pieces by Arf Arf and Cris Cheek - among a host of other creative practitioners.

3. Anthony Howell: Performances

In this lecture I introduce videotapes of my own recent performances - which may include

1) The Tower (performed at the Art Gallery of New South Wales in 1984) - 16 mins.

2) Homage to Roussel (performed at the Sheffield Media Show in 1992) - 27 mins.

3) Objects (performed at Cardiff Art in Time in 1995) - 30 mins.

4) Commentary on Klein (performed at the Hayward Gallery in 1995) - 45 mins.

Questions concerning the work are then invited from the audience.

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1. The Analysis of Performance Art

This workshop gives students a grounding in the principles of performance art, developing an awareness of the three primary elements of action: stillness, repetition and inconsistency. Psychoanalytical equivalents for the primary action elements are then identified (Jacques Lacan identifies repetition as one of the fundamental concepts of psychanalysis, and it is therefore feasible to consider the other action primaries in psychoanalytical terms). This enables the students to apply these abstract principles to meaningful content. They are then shown how secondary modes of action can be found by mixing these primary elements. They are also shown how to speed up or slow down their actions or to add to them or subtract from them. This affords the students a pallete of action possibilities and a grammar for the creation of performances.

Structure: Two 2-hour sessions per day.

One day workshop - provides students with a grasp of the primary action elements.

Three day workshop - provides students with an understanding of primary action elements and the secondary modes.

Ten day workshop - provides students with a comprehensive introduction to performance and culminates in performances created by the students.

As well as providing an analytical approach to performance, the ten day workshop teaches an awareness of clothing and equipment, and introduces students to the notion of the other and of the other as object. It deals with transitions and transference and shows students how to utilise catastrophe and surprise, how to switch from chaos to order and control triggers for action, light, sound etc. Discipline is a requirement of the course and punctuality is emphasised - as it would be at professional rehearsals.

2. Advanced Performance

This is a workshop for students who have already gained some experience in performance and who are familiar with the primary elements of action. It aims to develop the students' performance knowledge, their presence, their possible use of language and their skills in creating their own work.

Subjects covered: Resumé of basic principles, Drives and transitional actions, transference, substitution and reversal, language, time, looking and light, presence and the audience.

Culmination: a performance or the development and increased effectiveness of each student's project.

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Activities concerned with writing

1. Poetry Readings

I have had one novel and seven books of poetry published. And I am prepared to read a selection of my poems - either from the entire range of my work or from my latest book. I am also willing to read from any of my several works of fiction.

2. Creative Writing Workshops

The emphasis in my workshops is on writing as an action. I aim to increase the students' ability by working with them on timed exercises. These encourage the notion of plunging into the creation of a text rather than meditating inertly on what one intends to write. The resultant texts may then be subjected to further action: being shortened or extended, collaged with other texts, transformed by the alteration of vocabulary. Later, issues such as scansion and rhyme may be introduced, together with exercises in conventional and not-so-conventional forms. As well as these practical exercises there is an emphasis on the appreciation of work by published writers of the past and the present. Poems, stories and texts by the students are also discussed by the group. Topics covered may include: abstract writing, chance writing, erotic writing, systemic writing, dialogue, narrative, complicity, metaphor and description. Finally the workshop may offer training in the public performance of one's work.

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Performances and Fees

Anthony Howell is available for performances. He is currently engaged in creating works featuring himself and two other performers. Among these he is currently touring TANGO ART  click for Tango Art

He is also available for performances called The Infernal Triangle, also for three performers.

These triangles concern good objects and bad objects, lost objects and virtual objects. They are tremulous events which release the tension and poetry of ordinary things: wardrobes, tables and chairs, buckets and boxes. These performances concern the unconscious of theatre. They deal with inversions of space and erasures of light. They place each member of the audience in the role of analyst, deriving a personal interpretation from the work.

Lighting is to be provided by the venue. Transport and accommodation is to be provided by the venue. For a single night's performance, the fee exclusive of transport and accommodation for the three performers is £900 in total.

For more than a single night's performance at any one venue the fee is negotiable.

Solo performances by Anthony Howell and duets featuring Anthony Howell (including Phyllis and Aristotle) and one other performer are available by negotiation.

Previously created performances by Anthony Howell and The Theatre of Mistakes, including Going, A Waterfall, Homage to Morandi, The Table Moves, Homage to Roussel and Objects are available by negotiation.

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