Performance art Books
Produzioni Nero Rosas Lounge
Book Synopsis
£17.10
Valiz Moving Together: Making and Theorizing
Book Synopsis
£19.00
Set Margins' Publications Is This the Way the Universe Works?: (555 Verses
Book Synopsis
£17.10
MER Paper Kunsthalle Performance as Archive: Archive as Performance
Book Synopsis
£13.50
Valiz What is This Thing Called Polaroid?
Book Synopsis
£19.00
Kontejner Extravagant Bodies: Extravagant Age Reader:
Book Synopsis
£20.90
Kontejner Touch Me Festival: Outinopen
Book Synopsis
£19.00
Kontejner Device Art: 3.009
Book Synopsis
£15.00
Kontejner Extravagant Bodies: Extravagant Minds
Book Synopsis
£15.00
Kontejner Kontejner: Curatorial Perspectives on the Body,
Book Synopsis
£28.50
Kontejner Touch Me Festival: Energy Ab/Use
Book Synopsis
£19.00
Kontejner Device Art: 4.012
Book Synopsis
£19.00
Indiana University Press Masquerading Politics Kinship Gender and
Book SynopsisTrade Review[This] book as a whole stands as a major achievement not only in Yoruba history and historical anthropology, but in recent historiographic trends using ritual institutions and performances as primary historical sources. It will have a major impact in Yoruba studies, and in the study of West African history more generally. Willis should be commended for penetrating a complex and socially guarded ritual resource to glean the hidden histories manifested therein. * African Studies Review *Willis's work should be a must-read for students and established scholars alike. * Africa *Table of ContentsAcknowledgementsIntroduction1. The Early History of Otta and the Origins of Egungun and Gelede2. "Children" and "Wives" in the Politics of the Oyo Empire during the Era of the Atlantic Slave Trade3. The Emergence of New Warriors, Wards, and Masquerades: The Otta Kingdom during the Era of Imperial Collapse4. "A Thing to Govern the Town": Gendered Masquerades and the Politics of the Chiefs and the Monarchy in the Rebuilding of a Town, 1848–18595. Wives, Warriors, and Masks: Kinship, Gender, and Ethnicity in Otta, 1871–1928Conclusion: Egungun and Gelede at Otta TodayBibliographyIndex
£63.00
Indiana University Press Masquerading Politics
Book SynopsisTrade Review[This] book as a whole stands as a major achievement not only in Yoruba history and historical anthropology, but in recent historiographic trends using ritual institutions and performances as primary historical sources. It will have a major impact in Yoruba studies, and in the study of West African history more generally. Willis should be commended for penetrating a complex and socially guarded ritual resource to glean the hidden histories manifested therein. * African Studies Review *Willis's work should be a must-read for students and established scholars alike. * Africa *Table of ContentsAcknowledgementsIntroduction1. The Early History of Otta and the Origins of Egungun and Gelede2. "Children" and "Wives" in the Politics of the Oyo Empire during the Era of the Atlantic Slave Trade3. The Emergence of New Warriors, Wards, and Masquerades: The Otta Kingdom during the Era of Imperial Collapse4. "A Thing to Govern the Town": Gendered Masquerades and the Politics of the Chiefs and the Monarchy in the Rebuilding of a Town, 1848–18595. Wives, Warriors, and Masks: Kinship, Gender, and Ethnicity in Otta, 1871–1928Conclusion: Egungun and Gelede at Otta TodayBibliographyIndex
£25.19
Indiana University Press The Politics of Musical Time
Book SynopsisTrade ReviewScholarship has established that arts exist through complex networks with historical time; aesthetic forms have distinctive rhythmic-temporal lives; and devotional meditations are based on diurnal, mythical and other time-based imaginings. Yet, The Politics of Musical Time brings these dimensions together in a most original manner, throwing sharp analytical light on synchronic and diachronic relations between musical and social temporalities in Bengal. It does so by analyzing the materiality of sonic time as a highly nuanced expansion of relations between affect and economy, meaning and rhythm, the past and the contemporary, devotion and context, and aesthetics and everyday life. It is a unique and significant contribution to studies of South Asian religions, aesthetics, and historical and contemporary time. -- Sukanya Sarbadhikary, author of The Place of Devotion: Siting and Experiencing Divinity in Bengal-VaishnavismTable of ContentsAccessing Audiovisual MaterialsAcknowledgmentsNotes on Spelling and TransliterationNotes on Representing Musical SoundNotes on Dating SystemsIntroduction: Kīrtan's Influence Derives from TimePart I: Genealogies of Kīrtan1. Temporality and Devotional Performance in Bengal2. The Seeds of Kīrtan: Histories and Imaginaries of Devotional Song in Early Modern Bengal3. Devotional Song Arrives in the City: Histories of Patronage and Images of the Devout Musician in the Colonial Period4. Institutional Pasts and Professional Futures: Temporalities of Instruction and Performance in Contemporary West BengalPart II: The Devotional Aesthetics of Musical Expansion5. Word-Pictures: Expansions of Mood and Meaning in Kīrtan Song Texts6. Sonic Synchronies of Tāl Theory7. The Divine Play of the Tax Collector: Musical Expansion, Embodied Response, and Didactic Storytelling in a Līlā KīrtanPart III: The Shrinking Markets for Expanding Songs8. The Marketplace of Music Festivals: Modern Social Time and Musical Labor9. Media Markets: Visualization and the Abstraction of Musical Time10. Conclusion: Kīrtan OnlineGlossaryBibliographyIndex
£59.50
Yale University Press Sharon Hayes
Book SynopsisIn her performances, videos, and installations, Sharon Hayes (b 1970) explores the nexus between politics, history, speech, and desire. This book provides an insight into the complex motivations and development of Hayes' projects.
£17.10
Yale University Press Jan Fabre TroubleynLaboratorium Agrarian Studies
Book SynopsisThis handsome book peers into Troubleyn/Laboratorium, the workspace, collective art space, and creative incubator of Belgian multidisciplinary artist Jan Fabre (b. 1958), whose performances, staged since the 1980s, have brought him international acclaim and recognition. Expressing the collective aims of Fabreâs theatre company, Troubleyn/Laboratorium functions as his workspace as well as a nurturing environment for the activities of his theater company and young artists alike, in which artists are free to develop and materialize their creative impulses. The building, situated in a progressive multicultural neighborhood in northern Antwerp, houses a uniquely integrated collection of art works from international visual artists, writers, theatre makers, and philosophers, with whom Jan Fabre feels a close affinity and whose works represent the overall cooperative spirit of the space itself. Fostering an environment that is as progressive as the artistâs varied oeuvre, Troubleyn/Laboratoriu
£33.25
Yale University Press Sophie Whettnall at Work Agrarian Studies
Book SynopsisThis unconventional publication explores the process of making art through the work and studio practice of Sophie Whettnall (b. 1973), a contemporary Belgian artist whose works range from video art, installation, and performance to sculpture and drawing. In addition to copious illustrations of Whettnall's artwork that highlight its relationship to the studio and the artist's creative process, the book features three conversations. The first, between Whettnall and fellow artist Marina Abramovic, explores transmission, violence, and femininity. The second, between Emiliano Battista and Scott Samuelson, situates Whettnall's work and practice in the broader context of contemporary art and the theoretical framework that shapes it. In the third, Carine Fol and Whettnall share with the reader the behind-the-scenes discussions and decisions that go into the mounting of an exhibition. Distributed for MercatorfondsExhibition Schedule:CENTRALE for contemporary art, Brussels (04/04/1908/04/19)
£38.00
University of Michigan Press Mass Performance
Book Synopsis
£90.00
University of California Press Minimal Art A Critical Anthology
Book SynopsisIncluding an introduction and bibliography, this is a collection of writings by and about the work of the 1960s minimalists, generously illustrated with photographs of paintings, sculpture, and performance.Table of ContentsAnne M. Wagner: Reading Minimal Art Preface Lawrence Alloway: Systemic Painting Michael Benedikt: Sculpture as Architecture: New York Letter, 1966-67 Mel Bochner: Serial Art, Systems, Solipsism David Bourdon: The Razed Sites of Carl Andre Nicolas Calas: Subject Matter in the Work of Barnett Newman Michael Fried: Art and Objecthood Bruce Glaser: Questions to Stella and Judd E. C. Goossen: Two Exhibitions Dan Graham: Photographs Clement Greenberg: Recentness of Sculpture Peter Hutchinson: Mannerism in the Abstract David Lee: A Systematic Revery from Abstraction to Now Allen Leepa: Minimal Art and Primary Meanings Lucy R. Lippard: Eros Presumptive Robert Morris: Notes on Sculpture Toby Mussman: Literalness and the Infinite Brian O'Doherty: Minus Plato John Perreault: Minimal Abstracts Yvonne Rainer: A Quasi Survey of Some "Minimalist" Tendencies in the Quantitatively Minimal Dance Activity Midst the Plethora, or an Analysis of Trio A Barbara Rose: A B C Art Harold Rosenberg: Defining Art Irving Sandler: Gesture and Non-Gesture in Recent Sculpture Willoughby Sharp: Luminism and Kineticism Elayne Varian: Schemata 7 Samuel Wagstaff, Jr.: Talking with Tony Smith Richard Wollheim: Minimal Art Martial Raysse, Dan Flavin, Robert Smithson: Writings Bibliography (compiled by Alicja T. Egbert) Index
£28.05
University of California Press Performance Artists Talking in the Eighties
Book SynopsisFeatures more than 100 performance artists' interviews that highlight complex issues in performance art, including the role of identity in performer-audience relationships and art as an exploration of everyday conventions rather than a demonstration of virtuosity.Table of ContentsPreface by Linda M. Montano Introduction: Shall We Talk? Linda M. Montano Performs Autobiographical Voices, by Angelika Festa PART ONE sex Introduction by Christine Tamblyn Vito Acconci Philip Corner Paul Cotton Karen Finley Vanalyne Green Lynn Hershman Dick Higgins Laurel Klick Steven Kolpan Jill Kroesen Robert Kushner Minnette Lehmann Lydia Lunch Paul McCarthy Tim Miller Frank Moore and Linda Mac Vernita Nemec Pat Oleszko Carolee Schneemann Barbara Smith Annie Sprinkle and Veronica Vera Hannah Wilke PART TWO food Introduction by Moira Roth Jerri Allyn Nancy Barber John Cage Angelika Festa Howard Fried Joan Jonas Alison Knowles Leslie Labowitz Suzanne Lacy Les Levine Antoni Miralda Susan Mogul Faith Ringgold Rachel Rosenthal Martha Rosler Richard Schechner Bonnie Sherk Stuart Sherman Anne Tardos and Jackson Mac Low PART THREE money/fame Introduction by Laura Cottingham Eleanor Antin Robert Ashley Bob and Bob Eric Bogosian Nancy Buchanan Linda Frye Burnham Papo Colo Lowell Darling Steven Durland Simone Forti Mel Henderson Julia Heyward Mikhail Horowitz Allan Kaprow Tom Marioni Meredith Monk Jim Pomeroy Willoughby Sharp Michael Smith Martin Von Haselberg Martha Wilson PART FOUR ritual/death Introduction by Lucy R. Lippard Marina Abramovicˇ and Ulay Helene Aylon Chris Burden John Cage Ping Chong George Coates Betsy Damon Terry Fox Cheri Gaulke Alex Grey Deborah Hay Geoffrey Hendricks Donna Henes Kim Jones Alistair MacLennan Ann Magnuson Ruth Maleczech Paul McMahon Ana Mendieta Hermann Nitsch Lorraine O’Grady Morgan O’Hara Pauline Oliveros Adrian Piper Jerome Rothenberg Brian Routh Robert Schuler Theodora Skipitares Stelarc Elaine Summers Fiona Templeton Mierle Laderman Ukeles William Wegman Paul Zaloom Ellen Zweig Afterword: Quicksilver and Revelations: Performance Art at the End of the Twentieth Century, by Kristine Stiles Biographies Index
£28.05
Princeton University Press Rehearsals of Manhood
Book Synopsis
£32.30
University of British Columbia Press Inside Killjoys Kastle
Book SynopsisExploring the making and experience of a lesbian feminist haunted house, this book reframes and reclaims queer feminist histories with humour, provocation, and theoretical sophistication.Table of ContentsLesbian Rule: Welcome to the Hell House / Cait McKinney and Allyson MitchellRISING FROM THE DEAD: INCEPTION1 Scaling Up and Sharing Out Dyke Culture: Killjoy’s Kastle’s Haunted Block Party / Heather LoveLesbianizing the Institution: The Haunting Effects of Killjoy Hospitality at the Art Gallery of York University / Emelie Chhangur 2 Feminist Killjoys (and Other Wilful Subjects) / Sara AhmedKilljoy in the ONE Archives: Activating Los Angeles’s Queer Art and Activist Histories / David Evans Frantz THE KASTLE: EXECUTION3 Inside Job: Learning, Collaboration, and Queer-Feminist Contagion in Killjoy’s Kastle / Helena Reckitt Valerie Solanas as the Goddamned Welcoming Committee / Felice Shays Valerie Solanas Script 4 Playing Demented Women’s Studies Professor Tour Guide, or Performing Monstrosity in Killjoy’s Kastle / Moynan King Demented Women’s Studies Professor Tour Guide Script The Sound of White Girls Crying / Nazmia Jamal Paranormal Killjoys / Ginger Brooks Takahashi Menstruating Trans Man / Chase Joynt A Ring around Your Finger Is a Cord around Your Genitals! / Chelsey Lichtman Once upon a Time I Was a Riot Ghoul / Kalale Dalton-Lutale Riot Ghoul / Andie Shabbar Inconvenienced / Madelyne Beckles On the Cusp of the Kastle / Karen Tongson 5 Processing Killjoy’s Kastle: A Deep Lez Performance / Ann CvetkovichTHE CRYPT: ARCHIVING AND REFLECTIONFacebook Statements: “We Learn More Every Time We Do This”6 Reflections of a Real-Life Feminist Killjoy: Ball-Busters and the Recurring Trauma of Intergenerational Queer-Feminist Life / Kyla Wazana TompkinsR.I.P. Little Frida’s / Chris E. Vargas 7 Home Sick: Horror, Gothic Storytelling, and the Queers Who Haunt Houses / S. Trimble8 The Graveyards of Community Gathering: Archiving Lesbian and Feminist Life in London / Catherine GrantLeave Britney Alone! and Other Ghostly Feelings / Tobias B.D. Wiggins Index
£28.80
Cornell University Press Performing Live Aesthetic Alternatives for the
Book SynopsisCurrent philosophies of art remain sadly dominated by visions of its end and lamentations of decline. Defining the very notions of art and the aesthetic as special products of Western modernity, they suggest that postmodern challenges to traditional...Trade ReviewThe essays are lively and engaging in many ways. Not only is Shusterman informative about topics relating to mass-media arts and self-fashioning, his reflections consistently raise important philosophical issues concerning our postmodernist condition and the cultural and sociological factors fostering it. Furthermore, Shusterman's arguments are fecund and provocative, his style vigorous, and his critique of current analytical and continental philosophical approaches adroit.... We cannot but admire the skill and verve of Shusterman's attempts to bring philosophy back to its original goals of teaching us how to live more fully and wisely. -- Trevor Whittock * British Journal of Aesthetics *Shusterman's new book is a collection of mutually complementary essays which encompass a decade of writing. It represents his pragmatist aesthetics critically applied to a range of issues, theories, and methods foregrounded by recent work in both analytic and continental philosophy. Interestingly, the contemporary vitality of some of these issues is in part due to the influence of Shusterman's previous writings.... Shusterman's text is enormously sophisticated not only in the range of philosophical and cultural sources which he is able to draw upon, but also in the probing and succinct way in which these are applied. * Mind *
£97.20
MP-OKL Uni of Oklahoma Ernest Haycox and the Western
Book SynopsisIn this new book about Ernest Haycox's literary career, Richard Etulain tells the engrossing story of his rise through the ranks of popular magazine and serial fiction to become one of the Western's most successful creators.Trade ReviewThe distinguished western-U.S. historian Richard W. Etulain resurrects the neglected Western writer Ernest Haycox from undeserved obscurity. Etulain traces the development of Haycox's career from its origins in the 'pulps' and the 'slicks' in the 1920s and '30s to such illustrious historical novels as The Wild Bunch and Bugles in the Afternoon in the 1940s. Professor Etulain's critical study is definitive."" - Gary Scharnhorst, author of Owen Wister and the West
£23.70
LSU Press Performing New Orleans
Book Synopsis
£34.20
Northwestern University Press The Arabian Nights
Book SynopsisA twelve-member cast enacts Scheherazade's tales of love, lust, comedy, and dreams. This adaptation offers a wonderful blend of the lesser-known tales from Arabian Nights with the recurring theme of how the magic of storytelling holds the power to change people.
£15.26
Rutgers University Press Local Acts CommunityBased Performance in the
Book SynopsisA survey of community-based performance in the US from its roots, to its flourishing during the 1960s, to present-day popular culture. It provides descriptions of performances and processes, first-person stories, and analysis and shows how ritualism reinforces community identification while aestheticism enables locals to transgress cultural norms.Trade ReviewCohen-Cruz's book is a highly effective local (and global) act in itself; paralleling the culturally democratic acts it is inspired by, Local Acts will in turn inspire others. -- Lucy R. Lippard * author of The Lure of the Local: Senses of Place in a Multicentered Society *Cohen-Cruz's book is a highly effective local (and global) act in itself; paralleling the culturally democratic acts it is inspired by, Local Acts will in turn inspire others. -- Lucy R. Lippard * author of The Lure of the Local: Senses of Place in a Multicentered Society *Table of ContentsList of Illustrations Acknowledgments Introduction Part I. Legacies 1. Early Antecedents 2. Motion of the Ocean 3. Establishing the Field Part II. Principles 4. Between Ritual and Art 5. Criticism Part III. Methodologies 6. Storytelling 7. Performance Structures Closing: Boundary Jumping Notes Bibliography Index
£29.70
Rutgers University Press Dont Act Just Dance The Metapolitics of Cold War
Book SynopsisTrade Review"This book is a tour de force, a grand jeté, a series of sustained arabesques introducing a new and exciting way of thinking through the relation between aesthetic and political forms in twentieth-century American culture." -- Virginia Jackson * University of California-Irvine *"Don’t Act, Just Dance is an exceptional study of cold war culture. Americanists will find indispensable Kodat's brilliant meta-political analyses of works by George Balanchine, Merce Cunningham, Stanley Kubrick, and Marianne Moore. I cannot recommend this book too highly." -- Harilaos Stecopoulos * author of Reconstructing the World: Southern Fictions and U.S. Imperialisms, 1898-1976 *"An important manifesto for dance as a subject of serious scholarly attention in academic disciplines beyond dance history and dance studies … the book's final case studies are brilliant comparative meditations on the complex, multilayered relationship between Cold War art and politics." * Dance Chronicle *Table of ContentsPrefacePart I Rethinking Cold War Culture1 Combat Cultural2 History: From the WPA to the NEA (through the CIA)3 Theory: Adorno and Rancière (Abstraction, Modernism, Gender, Sexuality)4 Dancing: “Don’t Act, Just Dance”Part II Rereading Cold War Culture5 Figures in the Carpet: Balanchine, Cunningham, “Persia”6 Spartacus7 From Art as Diplomacy to Diplomacy as Art: The Red Detachment of Nixon in ChinaNotesBibliographyIndex
£32.40
Rutgers University Press Dont Act Just Dance The Metapolitics of Cold War
Book SynopsisTrade Review"This book is a tour de force, a grand jeté, a series of sustained arabesques introducing a new and exciting way of thinking through the relation between aesthetic and political forms in twentieth-century American culture." -- Virginia Jackson * University of California-Irvine *"Don’t Act, Just Dance is an exceptional study of cold war culture. Americanists will find indispensable Kodat's brilliant meta-political analyses of works by George Balanchine, Merce Cunningham, Stanley Kubrick, and Marianne Moore. I cannot recommend this book too highly." -- Harilaos Stecopoulos * author of Reconstructing the World: Southern Fictions and U.S. Imperialisms, 1898-1976 *"An important manifesto for dance as a subject of serious scholarly attention in academic disciplines beyond dance history and dance studies … the book's final case studies are brilliant comparative meditations on the complex, multilayered relationship between Cold War art and politics." * Dance Chronicle *Table of ContentsPrefacePart I Rethinking Cold War Culture1 Combat Cultural2 History: From the WPA to the NEA (through the CIA)3 Theory: Adorno and Rancière (Abstraction, Modernism, Gender, Sexuality)4 Dancing: “Don’t Act, Just Dance”Part II Rereading Cold War Culture5 Figures in the Carpet: Balanchine, Cunningham, “Persia”6 Spartacus7 From Art as Diplomacy to Diplomacy as Art: The Red Detachment of Nixon in ChinaNotesBibliographyIndex
£105.40
Duke University Press Correspondence Course
Book SynopsisAn epistolary history of the international avant-garde of happenings, Fluxus, and performance and conceptual art emerges from decades of correspondence between Carolee Schneemann and other artists and intellectuals.Trade Review“Correspondence Course is a book at once combative and communal, aesthetic and feminist. Schneeman chronicles a life dedicated to uncompromised artistic exploration of her own assumptions, as well as those of others, all in the name of conceptual progress.” - Trinie Dalton, Bookforum“One realizes in reading this hefty collection just how stealthily [Stiles] has made her way through the culture of her times, how she has maintained a brilliant dwelling for her creative process and psychic space, and steered a course based entirely on her own unique direction. Correspondence Course offers an ingenious view into a cultural life that does not fit neatly into the history books, if it’s there at all.” - Stephen Motika, Bomb“[A]n amazing look into the heart, soul, and psyche of a trend setting artist.” - Gypsey Elaine Teague, ARLIS/NA Reviews“A thick book of exuberant and extensive correspondence is a wonderful rarity in this era of tweets, emoticons, and Facebook updates. . . . [T]his selection provides an engaging historical document of a major segment of the American avant-garde in the last half of the 20th century. . . . Throughout her correspondence, Schneemann has the remarkable quality of being both unfailingly giving and fiercely honest.” - Kim Levin, ARTNews“Correspondence Course is many things: it is a book that encompasses an impressive amount of historical data that is of immense use to anyresearcher of late 20th-century art. It is also an archive of an extraordinary life during a time of tremendous changes in society and technology. Finally, it is a gripping story, at times difficult to put down—not your typical art historicalbook—and a tremendous achievement on the part of the editor, the artist and the publisher.” - Kathy Battista, Art Monthly“An accidental record of the way friends, enemies, the art world and ideas all crowd into an artist’s work can be found in Correspondence Course. . . . What a fascinating cacophony it is. . . . It is unusual to be given access to this kind of archive during the central figure’s lifetime. . . .” - Barry Schwabsky, The Nation“Kristine Stiles’s subtitle, An Epistolary History of Carolee Schneemann and Her Circle, suggests that like the correspondence of Virginia Woolf and the Bloomsbury Group, these letters will afford a privileged insight into the cultural milieu in which they were written. The first section in the book, focused on 1956–1968, may have the most historical éclat, but Schneemann’s letters are great throughout the forty-three years the book covers, and Stiles performed a careful and attentive scholarly treatment of them. This book is another brick in the edifice of modern art.”—Thomas McEvilley, author of The Triumph of Anti-Art: Conceptual and Performance Art in the Formation of Post-Modernism“Not only a revelatory stroll in Carolee Schneemann’s teeming archive, Correspondence Course demonstrates that letters, no less than canvases or installations, are works of art. An exquisitely dense meditation on address, Schneemann’s revelatory letters and Kristine Stiles’s deft critical framing perform a radical reconception of art history itself. At once deeply personal and profoundly philosophical, Correspondence Course illuminates and complicates pretty much every notion I have had about the past fifty years of avant-garde art. A brilliant, breathtaking, stunning book.”—Peggy Phelan, Stanford University“Correspondence Course is a book at once combative and communal, aesthetic and feminist. Schneeman chronicles a life dedicated to uncompromised artistic exploration of her own assumptions, as well as those of others, all in the name of conceptual progress.” -- Trinie Dalton * Bookforum *“Correspondence Course is many things: it is a book that encompasses an impressive amount of historical data that is of immense use to any researcher of late 20th-century art. It is also an archive of an extraordinary life during a time of tremendous changes in society and technology. Finally, it is a gripping story, at times difficult to put down—not your typical art historical book—and a tremendous achievement on the part of the editor, the artist and the publisher.” -- Kathy Battista * Art Monthly *“[A]n amazing look into the heart, soul, and psyche of a trend setting artist.” -- Gypsey Elaine Teague * ARLIS/NA Reviews *“A thick book of exuberant and extensive correspondence is a wonderful rarity in this era of tweets, emoticons, and Facebook updates. . . . [T]his selection provides an engaging historical document of a major segment of the American avant-garde in the last half of the 20th century. . . . Throughout her correspondence, Schneemann has the remarkable quality of being both unfailingly giving and fiercely honest.” -- Kim Levin * ARTNews *“An accidental record of the way friends, enemies, the art world and ideas all crowd into an artist’s work can be found in Correspondence Course. . . . What a fascinating cacophony it is. . . . It is unusual to be given access to this kind of archive during the central figure’s lifetime. . . .” -- Barry Schwabsky * The Nation *“One realizes in reading this hefty collection just how stealthily [Stiles] has made her way through the culture of her times, how she has maintained a brilliant dwelling for her creative process and psychic space, and steered a course based entirely on her own unique direction. Correspondence Course offers an ingenious view into a cultural life that does not fit neatly into the history books, if it’s there at all.” -- Stephen Motika * Bomb *Table of ContentsList of Illustrations vii Preface xi Acknowledgments xxi Introduction xxv The Letters 1956–1968 3 1969–1975 142 1976–1986 269 1987–1999 382 Index 491
£31.50
Duke University Press Collective Situations
Book SynopsisThis volume's essays, interviews, and artist statements—many of which are appearing in English for the first time—present a range of socially engaged art practices in Latin America between 1995 and 2010 that rethink the boundaries between art and activism.Trade Review“Enormously compelling and useful. Collective Situations reveals the inadequacy of art criticism and art history as they are now conceived and will compel us to ask what role writers and scholars can play in assuring that fleeting images, oral accounts, and ephemeral acts be written into history.” -- Harper Montgomery * CAA Reviews *"Each section is laden with artists, activists, and collectives that cannot live—or live well—in the constraints not only of settler colonial continuity, but also of Western art history. Instead, they catalyze, experiment, and pre-figure collectivity in the interstices of the situated—as a mode of critique and aesthetic method—to create lives worth sharing." -- Sarah Richter * TDR: The Drama Review *Table of ContentsIntroduction / Grant Kester and Bill Kelley Jr. 1 Part I. (Un)Civil Disobedience 19 1. Lava la bandera: The Colectivo Sociedad Civil and the Cultural Overthrow of the Fujimori-Montesinos Dictatorship / Gustavo Buntinx 21 2. Interview with Caleb Duarte of EDELO Residencia / Raquel de Anda 43 3. Grupo Etcétera: Project Description / Rodrigo Martí 58 An Interview with Etcétera / Etcétera 62 4. Artistas en Resistencia: Project Description / Kency Cornejo 79 An Interview with Artistas en Resistencia / Kency Cornejo 83 5. A Long Way: Argentine Artistic Activism of the Last Decades / Ana Longoni 98 Part II. Urbanism 113 6. Galatea/bulbo Collective: Project Description / Mariola V. Alvarez 117 "Participación" (2008) and Tijueneados Anóminos (2008-2009) / Bulbo 120 7. Interview with Tranvía Cero / María Fernanda Cartagena 130 8. Art Collectives and the Prestes Maia Occupation in São Paulo / Gavin Adams 149 9. Frente 3 de FevereiroProject Description / Rodrigo Martí 165 The Becoming World of Brazil / Fremte 3 de Fevereiro 169 10. Interview with Mauricio Brandão of BijaRi, October 9, 2011 / Mariola V. Alvarez 186 Part III. Memory 199 11. Skins of Memory: Art, Civic Pedagogy, and Social Reconstruction / Pilar Riaño Alcalá and Suzanne Lacy 203 12. Some Frameworking Concepts for Art and Social Practices in Colombia / David Gutiérrez Castañeda 220 13. Chemi Rosado-Seijo: Project Description / Marina Reyes Franco 241 An Interview with Chemi Rosado-Seijo / Sofía Gallisá Muriente, Marina Reyes Franco, and Beatriz Santiago Muñoz 245 Part IV. Indigeneity 255 14. Ala Plastica: Project Description / Fabian Cerejido 259 Otros-Nosotros: An Interview with Ala Plastica / Grant Kester 261 15. Interviwe with Pablo Sanaguano / Maria Fernanda Cartagena 279 16. The Empowerment Process of Community Communication in Ecuador / Alberto Muenala 297 Part V. Migrations 305 17. Of Co-Investigations and Aesthetic Sustenance: A Conversation / Colectivo Situaciones and Electronic Disturbance Theater / B.A.N.G. Lab 309 18. How Three Artists Led the Queens Museum into Corona and Beyond / Prerana Reddy 321 Part VI. Institutional Critique 339 19. Lurawi, Doing: An Anarchist Experience—Ch'ixi / LXS Colectiverxs 343 20. Con la Salud si se Juega: Project Description / Fabian Cerejido 367 The Tournament: Nodes of a Network Made of Undisciplined Knowledge / Juan Carlos Rodríguez 369 21. La Lleca Colectiva: Project Description / Elize Mazadiego 388 Exodus to La Lleca: Exiting from "Art" and "Politics" in Mexico / La Lleca 391 22. La Línea: Project Description / Elize Mazadiego 403 The Morras Project / Interdisciplinario la Línea/La Línea Interdisciplinary Group: Abril Castro, Esmeralda Ceballos, Kara Lynch, Lorena Mancilla, and Sayak Valencia-Miriam García 406 Contributors 413 Index 423
£94.05
Duke University Press Collective Situations
Book SynopsisThis volume's essays, interviews, and artist statements—many of which are appearing in English for the first time—present a range of socially engaged art practices in Latin America between 1995 and 2010 that rethink the boundaries between art and activism.Trade Review“Enormously compelling and useful. Collective Situations reveals the inadequacy of art criticism and art history as they are now conceived and will compel us to ask what role writers and scholars can play in assuring that fleeting images, oral accounts, and ephemeral acts be written into history.” -- Harper Montgomery * CAA Reviews *"Each section is laden with artists, activists, and collectives that cannot live—or live well—in the constraints not only of settler colonial continuity, but also of Western art history. Instead, they catalyze, experiment, and pre-figure collectivity in the interstices of the situated—as a mode of critique and aesthetic method—to create lives worth sharing." -- Sarah Richter * TDR: The Drama Review *Table of ContentsIntroduction / Grant Kester and Bill Kelley Jr. 1 Part I. (Un)Civil Disobedience 19 1. Lava la bandera: The Colectivo Sociedad Civil and the Cultural Overthrow of the Fujimori-Montesinos Dictatorship / Gustavo Buntinx 21 2. Interview with Caleb Duarte of EDELO Residencia / Raquel de Anda 43 3. Grupo Etcétera: Project Description / Rodrigo Martí 58 An Interview with Etcétera / Etcétera 62 4. Artistas en Resistencia: Project Description / Kency Cornejo 79 An Interview with Artistas en Resistencia / Kency Cornejo 83 5. A Long Way: Argentine Artistic Activism of the Last Decades / Ana Longoni 98 Part II. Urbanism 113 6. Galatea/bulbo Collective: Project Description / Mariola V. Alvarez 117 "Participación" (2008) and Tijueneados Anóminos (2008-2009) / Bulbo 120 7. Interview with Tranvía Cero / María Fernanda Cartagena 130 8. Art Collectives and the Prestes Maia Occupation in São Paulo / Gavin Adams 149 9. Frente 3 de FevereiroProject Description / Rodrigo Martí 165 The Becoming World of Brazil / Fremte 3 de Fevereiro 169 10. Interview with Mauricio Brandão of BijaRi, October 9, 2011 / Mariola V. Alvarez 186 Part III. Memory 199 11. Skins of Memory: Art, Civic Pedagogy, and Social Reconstruction / Pilar Riaño Alcalá and Suzanne Lacy 203 12. Some Frameworking Concepts for Art and Social Practices in Colombia / David Gutiérrez Castañeda 220 13. Chemi Rosado-Seijo: Project Description / Marina Reyes Franco 241 An Interview with Chemi Rosado-Seijo / Sofía Gallisá Muriente, Marina Reyes Franco, and Beatriz Santiago Muñoz 245 Part IV. Indigeneity 255 14. Ala Plastica: Project Description / Fabian Cerejido 259 Otros-Nosotros: An Interview with Ala Plastica / Grant Kester 261 15. Interviwe with Pablo Sanaguano / Maria Fernanda Cartagena 279 16. The Empowerment Process of Community Communication in Ecuador / Alberto Muenala 297 Part V. Migrations 305 17. Of Co-Investigations and Aesthetic Sustenance: A Conversation / Colectivo Situaciones and Electronic Disturbance Theater / B.A.N.G. Lab 309 18. How Three Artists Led the Queens Museum into Corona and Beyond / Prerana Reddy 321 Part VI. Institutional Critique 339 19. Lurawi, Doing: An Anarchist Experience—Ch'ixi / LXS Colectiverxs 343 20. Con la Salud si se Juega: Project Description / Fabian Cerejido 367 The Tournament: Nodes of a Network Made of Undisciplined Knowledge / Juan Carlos Rodríguez 369 21. La Lleca Colectiva: Project Description / Elize Mazadiego 388 Exodus to La Lleca: Exiting from "Art" and "Politics" in Mexico / La Lleca 391 22. La Línea: Project Description / Elize Mazadiego 403 The Morras Project / Interdisciplinario la Línea/La Línea Interdisciplinary Group: Abril Castro, Esmeralda Ceballos, Kara Lynch, Lorena Mancilla, and Sayak Valencia-Miriam García 406 Contributors 413 Index 423
£24.99
University of Texas Press Beyond the Moment
£75.60
University of Texas Press Beyond the Moment
£24.29
Duke University Press Presente
Book SynopsisIn ¡Presente! Diana Taylor asks what it means to be physically and politically present in situations where it seems that nothing can be done. As much an act, a word, an attitude, a theoretical intervention, and a performance pedagogy, Taylor maps ¡presente! at work in scenarios ranging from conquest, through colonial enactments and resistance movements, to present moments of capitalist extractivism and forced migration in the Americas. ¡Presente!—present among, with, and to; a walking and talking with others; an ontological and epistemic reflection on presence and subjectivity as participatory and relational, founded on mutual recognition—requires rethinking and unlearning in ways that challenge colonial epistemologies. Showing how knowledge is not something to be harvested but a process of being, knowing, and acting with others, Taylor models a way for scholarship to be present in political struggles.Trade Review“Diana Taylor advances a timely and necessary theorization of the politics of performance, delivering nuanced and heartfelt analysis of the creative strategies of artists and activists who labor to intervene in historical and contemporary injustices across the Americas. Showcasing Taylor as a scholar, activist, and accomplice present at the site of performance, ¡Presente! is an intellectually brilliant and crucial model of politically engaged theory.” -- Ramón H. Rivera-Servera, coeditor of * Blacktino Queer Performance *“A major project drawn from a life's work of travel, searching, introspection, and unceasing political commitment to and collaborations with artists and activists, ¡Presente! is a work of great power, poetics, and political impact.” -- Josh Kun, University of Southern California Annenberg School of Communication"For a work so theoretically rigorous, ¡Presente! stands out for its wide legibility. By foregoing unnecessary academic jargon and taking pains to explain her own ethical entanglements in plain English, Taylor’s scholarship makes for a surprisingly smooth read, though it is at times heartbreaking: she does not minimize the grimmer aspects of her subject matter, which include devastating accounts of kidnappings, torture, and genocide. The uninitiated reader will find her writing clear and unpretentious, and may discover that her gloss of the postcolonial canon does much to demystify." -- Sam Adrien Smith * Full Stop *"A valuable meditation on what it means to practice the responsibility of writing through social relations, on creating new ways of doing and being in academia, performance, and life." -- Analola Santana * Theatre Survey *"A call for a new spirit of militancy to see what is missing, learn to unlearn, and energize the fight." -- Angela Marino * Performance Research *"¡Presente! will quickly, and aptly, be assigned in classrooms and discussed by students, artists, and activists who will take up the politics of presence in their practices. Taylor challenges us to reexamine what we believe we know, how we know, and the obligations and responsibilities that accompany such knowledge." -- Kimberly Skye Richards * TDR *"Taylor writes an excellent study that encourages the reader to take a walk with her. . . . This book collects past Encuentros and invites all of us to be ¡presente!" -- Paola S. Hernández * Theatre Journal *"¡Presente! is a vital and timely text that speaks critically to our current national rhetoric." -- Karina Gutiérrez * Modern Drama *"Taylor gives us a deeply captivating book that takes us on a journey across a substantial period, across sites, archives and personal memories. This book is lucidly written and is highly accessible, providing a rich treasure trove of stories and concepts for scholars in performance studies, Latin American and hemispheric studies, Native Studies, Latinx, Chicana/o studies, de- and anticolonial studies, memory, affect, trauma, gender, queer and trans studies. The readers will appreciate and find particularly instructive its method for writing presences, conceptual interventions as well as provocations." -- Adwaita Banerjee * Space and Polity *Table of ContentsPrologue: Jumping the Fence ix 1. ¡Presente! 1 2. Enacting Refusal: Political Animatives 45 3. Camino Largo: The Zapatistas' Long Road toward Autonomy 67 4. Making Presence 105 5. Traumatic Memes 127 6. We Have Always Been Queer 153 7. Tortuous Routes: Four Walks through Villa Grimaldi 175 8. Dead Capital 203 9. The Decision Dilemma 226 Epilogue 245 Notes 251 Bibliography 299 Index 321
£80.10
Duke University Press The Play in the System
Book SynopsisAcknowledging the difficulty for artists in the twenty-first century to effectively critique systems of power, Anna Watkins Fisher theorizes parasitism—a form of resistance in which artists comply with dominant structures as a tool for practicing resistance from within.Trade Review“Anna Watkins Fisher's figure of the parasite offers us insight into the contemporary condition in which, due to ubiquitous appropriation and financialization, every oppositional gesture seems to have already been co-opted in advance. Her explorations illuminate the space in which artists and others are forced to operate today and outline ways in which it may still be possible, albeit quite ambiguously, to maneuver, resist, and express opposition.” -- Steven Shaviro, author of * The Universe of Things: On Speculative Realism *“Brilliant and provocative, The Play in the System explores the question: what subversive possibilities might a complicit subject—the parasite—hold? In the era of constant co-optation and coercive hospitality, the citizen is increasingly framed as a parasite. Rather than simply condemn this situation, Anna Watkins Fisher bridges new media and performance studies to understand how parasitical tactics, from hacking Amazon previews to harassing patriarchy, operate as subliminal dissent. This book, however, does not glorify the parasite: it profoundly deals with its limitations and possibilities—its dangerous voraciousness and its refusal to respect boundaries.” -- Wendy Hui Kyong Chun, author of * Updating to Remain the Same: Habitual New Media *“Fisher’s book reminds us unequivocally that insidious structures of racist, patriarchal, and exploitive neoliberal and corporate systems in which we are enmeshed (and even now, are laboring to uphold to survive within them) are porous and also potentially indestructible....” -- Nora Almeida * College and Research Libraries *“The Play in the System...is highly recommended for academic libraries supporting curricula engaged with critical visual studies, culture and media studies, performance studies, gender and women’s studies, and contemporary art.” -- Andrew Wang * ARLIS/NA Reviews *“The first half of [The Play in the System] is easy to love. It builds portable theories and applies them to a wide range of materials. . . . In the book’s second half, . . . [Fielder] deals frankly with her own shifting judgements and feelings—never more so than in the book’s bravura chapter on intergenerational conflict in feminist performance art.” -- Christopher Grobe * Performance Research *“The Play in the System is an expertly crafted and widely accessible publication that bridges disciplines with masterful detail and precision. . . . The Play in the System differs from related literature by centering the practitioners as parasites to their respective institutions, and by privileging individual and collective acts of resistance over more generalized institutional critique.” -- Camille Intson * TDR: The Drama Review *Table of ContentsList of Illustrations Introduction. Toward a Theory of Parasitical Resistance Interlude. Thresholds of Accommodation Part I. Redistribution: Institutional Interventions 1. User Be Used: Leveraging the Coercive Hospitality of Corporate Platforms 2. An Opening Structure: Núria Güell and Kenneth Pietrobono's Legal Loopholes Part II. Imposition: Intimate Interventions 3. Hangers-On: Chris Kraus's Parasitical Feminism 4. A Seat at the Table: Feminist Performance Art's Institutional Absorption and Parasitical Legacies Coda. It's Not You, It's Me: Roisin Byrne and the Parasite's Shifting Ethics and Politics Acknowledgments Notes Bibliography Index
£98.60
Duke University Press The Play in the System
Book SynopsisAcknowledging the difficulty for artists in the twenty-first century to effectively critique systems of power, Anna Watkins Fisher theorizes parasitism—a form of resistance in which artists comply with dominant structures as a tool for practicing resistance from within.Trade Review“Anna Watkins Fisher's figure of the parasite offers us insight into the contemporary condition in which, due to ubiquitous appropriation and financialization, every oppositional gesture seems to have already been co-opted in advance. Her explorations illuminate the space in which artists and others are forced to operate today and outline ways in which it may still be possible, albeit quite ambiguously, to maneuver, resist, and express opposition.” -- Steven Shaviro, author of * The Universe of Things: On Speculative Realism *“Brilliant and provocative, The Play in the System explores the question: what subversive possibilities might a complicit subject—the parasite—hold? In the era of constant co-optation and coercive hospitality, the citizen is increasingly framed as a parasite. Rather than simply condemn this situation, Anna Watkins Fisher bridges new media and performance studies to understand how parasitical tactics, from hacking Amazon previews to harassing patriarchy, operate as subliminal dissent. This book, however, does not glorify the parasite: it profoundly deals with its limitations and possibilities—its dangerous voraciousness and its refusal to respect boundaries.” -- Wendy Hui Kyong Chun, author of * Updating to Remain the Same: Habitual New Media *“Fisher’s book reminds us unequivocally that insidious structures of racist, patriarchal, and exploitive neoliberal and corporate systems in which we are enmeshed (and even now, are laboring to uphold to survive within them) are porous and also potentially indestructible....” -- Nora Almeida * College and Research Libraries *“The Play in the System...is highly recommended for academic libraries supporting curricula engaged with critical visual studies, culture and media studies, performance studies, gender and women’s studies, and contemporary art.” -- Andrew Wang * ARLIS/NA Reviews *“The first half of [The Play in the System] is easy to love. It builds portable theories and applies them to a wide range of materials. . . . In the book’s second half, . . . [Fielder] deals frankly with her own shifting judgements and feelings—never more so than in the book’s bravura chapter on intergenerational conflict in feminist performance art.” -- Christopher Grobe * Performance Research *“The Play in the System is an expertly crafted and widely accessible publication that bridges disciplines with masterful detail and precision. . . . The Play in the System differs from related literature by centering the practitioners as parasites to their respective institutions, and by privileging individual and collective acts of resistance over more generalized institutional critique.” -- Camille Intson * TDR: The Drama Review *Table of ContentsList of Illustrations Introduction. Toward a Theory of Parasitical Resistance Interlude. Thresholds of Accommodation Part I. Redistribution: Institutional Interventions 1. User Be Used: Leveraging the Coercive Hospitality of Corporate Platforms 2. An Opening Structure: Núria Güell and Kenneth Pietrobono's Legal Loopholes Part II. Imposition: Intimate Interventions 3. Hangers-On: Chris Kraus's Parasitical Feminism 4. A Seat at the Table: Feminist Performance Art's Institutional Absorption and Parasitical Legacies Coda. It's Not You, It's Me: Roisin Byrne and the Parasite's Shifting Ethics and Politics Acknowledgments Notes Bibliography Index
£25.19
Duke University Press The Cry of the Senses
Book SynopsisIn The Cry of the Senses, Ren Ellis Neyra examines the imaginative possibility for sound and poetics to foster new modes of sensorial solidarity in the Caribbean Americas. Weaving together the black radical tradition with Caribbean and Latinx performance, cinema, music, and literature, Ellis Neyra highlights the ways Latinx and Caribbean sonic practices challenge antiblack, colonial, post-Enlightenment, and humanist epistemologies. They locate and address the sonic in its myriad manifestations-across genres and forms, in a legal trial, and in the art and writing of Xandra Ibarra, the Fania All-Stars, Beatriz Santiago MuÑoz, Édouard Glissant, and Eduardo Corral-while demonstrating how it operates as a raucous form of diasporic dissent and connectivity. Throughout, Ellis Neyra emphasizes Caribbean and Latinx sensorial practices while attuning readers to the many forms of blackness and queerness. Tracking the sonic through their method of multisensorial, poetic listening, Ellis Neyra shows how attending to the senses can inspire alternate, ethical ways of collective listening and being.Trade Review“In this insightful and creative work, Ren Ellis Neyra centers affect against mandates to perform Latinidad as positivist, representational, and recuperative. Offering substantive methodological, theoretical, and analytical contributions, The Cry of the Senses is primed to reorient the direction of Latinx studies.” -- Leticia Alvarado, author of * Abject Performances: Aesthetic Strategies in Latino Cultural Production *“The Cry of the Senses is at once a poetic, disruptive, and critically demanding work. Ren Ellis Neyra theorizes the ways in which sensorial and material inventiveness, improvisation, and experimental ruptures are primary forms of thought and resistance in the Caribbean. It is a rare and profoundly pleasurable event when a critical work is exemplary of the material practices it explores, itself an eruption, a detour and a break. The work's poetic, expansive theorizing is promiscuous, high-low, feral, committed, and sly. It is a marvelous rearrangement of anticolonial frequencies and geologies, and a delight.” -- Beatriz Santiago Muñoz“This is a poetic and thought-provoking study.... The Cry of the Senses represents an important contribution to Caribbean and Latinx studies.” -- Michael Niblett * Journal of American Studies *“The Cry of the Senses shows—and, to some extent, argues—that the tools of poetics can be deployed to different ends, in non-totalizing ways. . . . Ellis Neyra demonstrates the creative potential and the conceptual excitement enabled by a more situated, more embodied response to, and examination of, literary and other texts.” -- Sarah Dowling * Poetics *“The Cry of the Senses offers a compelling elaboration of poetics through a Latinx, Caribbean, and African diasporic archive. . . . This is also a beautiful book in its own right that performs what it theorizes: poetic listening to a multifaceted archive that articulates worlds until now only imagined.” -- Pamela Zamora Quesada * Chiricú Journal *“Rejecting the white, Western focus on reason and the individual, the author foregrounds brownness, Afro-Latinidad, and Blackness to undermine racist and colonialist world views. . . . [The Cry of the Senses] is a rich and relevant text. Recommended.” * Choice *Table of ContentsPreface: The Ground? xi Acknowledgments xix Introduction: Cry Bomba 1 1. "¡Anormales!": Unruly Audition in Performances of 1970s Salsa 27 2. "I have been forced to hear a lot": The FALN, The Masses Are Asses, and the Sounds, Shapes, and Speeds of Puerto Rican Defiance 55 3. Sensorial Errancy in Beatriz Santiago Munoz's Cinema 91 4. Slow Lighting, Ecstatic Mourning, and Migratory Refuge 129 Coda, in Three: "fifty-two plastic bombs exploding as one, thundered against the sky" 163 Notes 171 Bibliography 203 Index 217
£98.60
Duke University Press The Cry of the Senses
Book SynopsisIn The Cry of the Senses, Ren Ellis Neyra examines the imaginative possibility for sound and poetics to foster new modes of sensorial solidarity in the Caribbean Americas. Weaving together the black radical tradition with Caribbean and Latinx performance, cinema, music, and literature, Ellis Neyra highlights the ways Latinx and Caribbean sonic practices challenge antiblack, colonial, post-Enlightenment, and humanist epistemologies. They locate and address the sonic in its myriad manifestations—across genres and forms, in a legal trial, and in the art and writing of Xandra Ibarra, the Fania All-Stars, Beatriz Santiago Muñoz, Édouard Glissant, and Eduardo Corral—while demonstrating how it operates as a raucous form of diasporic dissent and connectivity. Throughout, Ellis Neyra emphasizes Caribbean and Latinx sensorial practices while attuning readers to the many forms of blackness and queerness. Tracking the sonic through their method of multisensorial, pTrade Review“In this insightful and creative work, Ren Ellis Neyra centers affect against mandates to perform Latinidad as positivist, representational, and recuperative. Offering substantive methodological, theoretical, and analytical contributions, The Cry of the Senses is primed to reorient the direction of Latinx studies.” -- Leticia Alvarado, author of * Abject Performances: Aesthetic Strategies in Latino Cultural Production *“The Cry of the Senses is at once a poetic, disruptive, and critically demanding work. Ren Ellis Neyra theorizes the ways in which sensorial and material inventiveness, improvisation, and experimental ruptures are primary forms of thought and resistance in the Caribbean. It is a rare and profoundly pleasurable event when a critical work is exemplary of the material practices it explores, itself an eruption, a detour and a break. The work's poetic, expansive theorizing is promiscuous, high-low, feral, committed, and sly. It is a marvelous rearrangement of anticolonial frequencies and geologies, and a delight.” -- Beatriz Santiago Muñoz“This is a poetic and thought-provoking study.... The Cry of the Senses represents an important contribution to Caribbean and Latinx studies.” -- Michael Niblett * Journal of American Studies *“The Cry of the Senses shows—and, to some extent, argues—that the tools of poetics can be deployed to different ends, in non-totalizing ways. . . . Ellis Neyra demonstrates the creative potential and the conceptual excitement enabled by a more situated, more embodied response to, and examination of, literary and other texts.” -- Sarah Dowling * Poetics *“The Cry of the Senses offers a compelling elaboration of poetics through a Latinx, Caribbean, and African diasporic archive. . . . This is also a beautiful book in its own right that performs what it theorizes: poetic listening to a multifaceted archive that articulates worlds until now only imagined.” -- Pamela Zamora Quesada * Chiricú Journal *“Rejecting the white, Western focus on reason and the individual, the author foregrounds brownness, Afro-Latinidad, and Blackness to undermine racist and colonialist world views. . . . [The Cry of the Senses] is a rich and relevant text. Recommended.” * Choice *Table of ContentsPreface: The Ground? xi Acknowledgments xix Introduction: Cry Bomba 1 1. "¡Anormales!": Unruly Audition in Performances of 1970s Salsa 27 2. "I have been forced to hear a lot": The FALN, The Masses Are Asses, and the Sounds, Shapes, and Speeds of Puerto Rican Defiance 55 3. Sensorial Errancy in Beatriz Santiago Munoz's Cinema 91 4. Slow Lighting, Ecstatic Mourning, and Migratory Refuge 129 Coda, in Three: "fifty-two plastic bombs exploding as one, thundered against the sky" 163 Notes 171 Bibliography 203 Index 217
£25.19
Duke University Press Doing Nothing
£64.80
New York University Press The Queer Nuyorican
Book SynopsisFinalist for The Barnard Hewitt Award for Outstanding Research in Theatre History, given by the American Society for Theatre Research.Silver Medal Winner of The Victor Villaseñor Best Latino Focused Non-Fiction Book Award, given by the International Latino Book Awards.Honorable Mention for the Best LGBTQ+ Themed Book, given by the International Latino Book Awards.A queer genealogy of the famous performance space and the nuyorican aesthetic One could easily overlook the Nuyorican Poets Cafe, a small, unassuming performance venue on New York City's Lower East Side. Yet the space once hosted the likes of Victor Hernández Cruz, Allen Ginsberg, and Amiri Baraka and is widely credited as the homespace for the emergent nuyorican literary and aesthetic movement of the 1990s. Founded by a group of counterculturalist Puerto Rican immigrants and artists in the 1970s, the space slowly transformed the Puerto RicTrade ReviewA thrilling meditation on the seldom-acknowledged wild and wily ways artists of color in the 1990s and 2000s queered Nuyorican poetic performance by astutely reconnecting with its corporeally fluid founding aesthetics. Karen Jaime’s The Queer Nuyorican is a timely and seductive invitation to explore nuyorican aesthetics as an inclusive, mobile, inspiringly contentious Open Room. * Arnaldo Cruz-Malavé, author of Queer Latino Testimonio, Keith Haring, and Juanito Xtravaganza: Hard Tails *Karen Jaime’s assessment of the aesthetics cultivated and mobilized at the Nuyorican Poets Cafe takes a groundbreaking turn to render queer contributions as central to the artistic, cultural, and political legacy and future of this beloved institution. Bringing to light previously unexamined archival materials and offering a proximity of analysis only possible from the vantage point of a creative participant in the scene, Karen Jaime allows us to discover the Nuyorican anew. This intimate and rigorous volume will shape all future scholarship on the Cafe and the nuyorican aesthetic. * Ramón H. Rivera-Servera, Dean of the College of Fine Arts at the University of Texas at Austin *The Queer Nuyorican has the potential to make readers hopeful for a queer future through its particular connection to the queer past. The book’s chapters, organized by artistic subjects, make for a gratifying read for specialists, as well as more general audiences, allowing for a more queer, and racially diverse, view of the field. * The Journal of American Drama and Theatre *"The Queer Nuyorican is an extremely compelling book. By positioning herself so centrally and working with such a rich and heretofore underutilized archive, Karen Jaime transforms our perception of this leading Puerto Rican, Latinx, African American, and queer of color institution in New York City." * Latino Studies Journal *
£66.60
New York University Press The Queer Nuyorican
Book SynopsisFinalist for The Barnard Hewitt Award for Outstanding Research in Theatre History, given by the American Society for Theatre Research.Silver Medal Winner of The Victor Villaseñor Best Latino Focused Non-Fiction Book Award, given by the International Latino Book Awards.Honorable Mention for the Best LGBTQ+ Themed Book, given by the International Latino Book Awards.A queer genealogy of the famous performance space and the nuyorican aesthetic One could easily overlook the Nuyorican Poets Cafe, a small, unassuming performance venue on New York City's Lower East Side. Yet the space once hosted the likes of Victor Hernández Cruz, Allen Ginsberg, and Amiri Baraka and is widely credited as the homespace for the emergent nuyorican literary and aesthetic movement of the 1990s. Founded by a group of counterculturalist Puerto Rican immigrants and artists in the 1970s, the space slowly transformed the Puerto RicTrade ReviewA thrilling meditation on the seldom-acknowledged wild and wily ways artists of color in the 1990s and 2000s queered Nuyorican poetic performance by astutely reconnecting with its corporeally fluid founding aesthetics. Karen Jaime’s The Queer Nuyorican is a timely and seductive invitation to explore nuyorican aesthetics as an inclusive, mobile, inspiringly contentious Open Room. * Arnaldo Cruz-Malavé, author of Queer Latino Testimonio, Keith Haring, and Juanito Xtravaganza: Hard Tails *Karen Jaime’s assessment of the aesthetics cultivated and mobilized at the Nuyorican Poets Cafe takes a groundbreaking turn to render queer contributions as central to the artistic, cultural, and political legacy and future of this beloved institution. Bringing to light previously unexamined archival materials and offering a proximity of analysis only possible from the vantage point of a creative participant in the scene, Karen Jaime allows us to discover the Nuyorican anew. This intimate and rigorous volume will shape all future scholarship on the Cafe and the nuyorican aesthetic. * Ramón H. Rivera-Servera, Dean of the College of Fine Arts at the University of Texas at Austin *The Queer Nuyorican has the potential to make readers hopeful for a queer future through its particular connection to the queer past. The book’s chapters, organized by artistic subjects, make for a gratifying read for specialists, as well as more general audiences, allowing for a more queer, and racially diverse, view of the field. * The Journal of American Drama and Theatre *"The Queer Nuyorican is an extremely compelling book. By positioning herself so centrally and working with such a rich and heretofore underutilized archive, Karen Jaime transforms our perception of this leading Puerto Rican, Latinx, African American, and queer of color institution in New York City." * Latino Studies Journal *
£22.79
New York University Press Unbelonging
Book SynopsisHow Latinx artists engage in sonic subcultures to reject neoliberal definitions of belongingWhat is the connection between the British rock star Morrissey and the Latinx culture of transnational unbelonging? What is the relevance of dyke chords in Chicana feminist punk and lesbian dissolution? In what ways can dissonant sounds challenge systems of dominance?Unbelonging answers these questions and more through an exploration into Mexican and US-based Latinx artists', writers', and creators' use of the discordant sounds of punk, metal, and rock to give voice to the aesthetic of unbelonging, a rejection of consumerist and nationalist mentalities. Iván A. Ramos argues that racial identity and belonging have historically required legible forms of performance. Sound has been the primary medium that amplifies and is used to assign cultural citizenship and, for Latinx individuals, legibility is essential to music perceived as traditional and authentic to their natiTrade ReviewSound is the ground for Iván Ramos’s brilliant writing on visual art, performance, and subcultures that radiate out from Mexico, Los Angeles, and through the rest of Latina/o America. Ramos’s sonic grounding, actual and conceptual, is far from stable. Records melt, checkpoints are refused, the inauthentic is genuine, geopolitical narratives shake, punk is a Latina/o given rather than a something taken. The castaways of neoliberalism are key protagonists. The illegible artists and audiences and the bootleg tapes that live and play in this indispensable book push Ramos towards transformative theories about performance and aesthetics. Readers will no doubt become forever altered having come to know them intimately through Ramos’s beautiful treatise on unbelonging. -- Alexandra Vazquez, New York UniversityA lucid and theoretically informed account of how listening practices between Mexico and the United States can work in opposition to the national popular and its regimes of affect. Unbelonging sets the record straight on whitewashed accounts of rock and punk that ignore how Latinx subjects took up subcultural spaces and stances. Taking time to ‘feel brown’ beyond the boundaries of race and nation, Iván Ramos delivers up a new and vibrant account of aesthetic dissensus that will forward queer-of-color critique. -- Tavia Amolo Ochieng' Nyong'o, Yale UniversityIn his gloriously cranky yet deeply moving book, the performance-studies scholar Iván A. Ramos invites us to relish in the dissonance of the punk, metal, and other 'inauthentic sounds' bootlegged and bartered in the marketplaces of Mexico City and beyond from the late 1980s to 2015... In the company of Chicana punks, queer performance artists, filmmakers, and disaffected Morrissey fans on both sides of the U.S.-Mexico border, Ramos gives us the space, time, and fortitude to not belong together. -- Karen Tongson * The Chronicle of Higher Education *
£22.79
New York University Press Deadpan
Book SynopsisWinner of the 2023 National Book Critics Circle Award for CriticismWinner of the 2023 ASAP Book Prize, given by the Association for the Study of the Arts of the PresentExplores expressionlessness, inscrutability, and emotional withholding in Black cultural productionArguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan tracks instances and meanings of deadpana vaudeville term meaning dead faceacross literature, theater, visual and performance art, and the performance of self in everyday life.Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to earlTrade Review"In this startlingly original, theoretically nuanced, wide-ranging exploration of inexpressiveness as an underexamined performance repertoire in Black arts and culture, Tina Post makes a landmark contribution to the field of race and aesthetics. Deadpan explores the fine structure of a rhetorically intricate aesthetic technique as malleable in its uses as affect itself, and it does so with remarkable wit and precision." * Sianne Ngai, author of Theory of the Gimmick: Aesthetic Judgment and Capitalist Form *"A stellar study filled with dazzling prose, poignant persuasion, ethical intervention, and intellectual adventure. While dominant US culture regards blackness as hyper-expressive, melodramatic, and spectacular, Tina Post carefully directs our attention to the subtle and sometimes inscrutable art of black inexpression. Across a sweeping repertoire—from nineteenth- century daguerreotypes to twentieth-century avant-garde performance to twenty-first century memes and beyond—she affirms ‘illegibility’s efficacy for the black subject.’ She knows and shows that expressionlessness has been vital to black aesthetics, resistance, refusal, self-defense, self-making, and world-making. As I read about deadpan, my own face was anything but: Post’s arresting arguments and gorgeous sentences made my black visage light up with intrigue, wonder, and delight." * La Marr Jurelle Bruce, author of How to Go Mad without Losing Your Mind: Madness and Black Radical Creativity *"Tina Post’s Deadpan: The Aesthetics of Black Inexpression reconsiders the historical legacy of the concept outside of traditional accounts of comedy and humor studies by offering an impressive “investigation of the aesthetic affects at work at the intersection of blackness and embodied inexpressions”… the study provides an intelligent contribution to the strands of literature on black performance studies, humor studies, and visual studies at large." * Film Quarterly *"The text pulses with creativity as Post locates deadpan in theater, visual and performance art, performances of the self, and more ... With the ambition of her project and immense catalog of works, Post generates momentum for further study of Black aesthetics, affect, and modes of reserve." * Black Perspectives *"It is in Post’s creative and heterogenous readings that the force of her argument best comes across. From the surveilled, violated, and exploited black figure (Louis Agassiz’s daguerreotypes of enslaved people); to the display of black respectability (Richard Avedon’s group portrait William Casby and family, 1963); to black refusals of photographic capture (Rashid Johnson’s Jonathan with Hands, 1997); to the work of Robert Morris, who, without consciously invoking black imagery or cultural markers, embraced an “aesthetics of looming” linked to a racialized “paradigm of black threat”; to discomfiting fusions of dramatic realism and minstrelsy (Branden Jacobs-Jenkins’s first play, 2010’s Neighbors); to affective indeterminacy in contemporary rap (Atlanta’s aforementioned Rich Homie Quan), Post’s readings include both “black subjects who perform expressionlessness” and white artists whose work flirts with and feeds on the imaginary of blackness." * Artforum *
£62.90
New York University Press Deadpan
Book SynopsisWinner of the 2023 National Book Critics Circle Award for CriticismWinner of the 2023 ASAP Book Prize, given by the Association for the Study of the Arts of the PresentExplores expressionlessness, inscrutability, and emotional withholding in Black cultural productionArguing that inexpression is a gesture that acquires distinctive meanings in concert with blackness, Deadpan tracks instances and meanings of deadpana vaudeville term meaning dead faceacross literature, theater, visual and performance art, and the performance of self in everyday life.Tina Post reveals that the performance of purposeful withholding is a critical tool in the work of black culture makers, intervening in the persistent framing of African American aesthetics as colorful, loud, humorous, and excessive. Beginning with the expressionless faces of mid-twentieth-century documentary photography and proceeding to earlTrade Review"In this startlingly original, theoretically nuanced, wide-ranging exploration of inexpressiveness as an underexamined performance repertoire in Black arts and culture, Tina Post makes a landmark contribution to the field of race and aesthetics. Deadpan explores the fine structure of a rhetorically intricate aesthetic technique as malleable in its uses as affect itself, and it does so with remarkable wit and precision." * Sianne Ngai, author of Theory of the Gimmick: Aesthetic Judgment and Capitalist Form *"A stellar study filled with dazzling prose, poignant persuasion, ethical intervention, and intellectual adventure. While dominant US culture regards blackness as hyper-expressive, melodramatic, and spectacular, Tina Post carefully directs our attention to the subtle and sometimes inscrutable art of black inexpression. Across a sweeping repertoire—from nineteenth- century daguerreotypes to twentieth-century avant-garde performance to twenty-first century memes and beyond—she affirms ‘illegibility’s efficacy for the black subject.’ She knows and shows that expressionlessness has been vital to black aesthetics, resistance, refusal, self-defense, self-making, and world-making. As I read about deadpan, my own face was anything but: Post’s arresting arguments and gorgeous sentences made my black visage light up with intrigue, wonder, and delight." * La Marr Jurelle Bruce, author of How to Go Mad without Losing Your Mind: Madness and Black Radical Creativity *"Tina Post’s Deadpan: The Aesthetics of Black Inexpression reconsiders the historical legacy of the concept outside of traditional accounts of comedy and humor studies by offering an impressive “investigation of the aesthetic affects at work at the intersection of blackness and embodied inexpressions”… the study provides an intelligent contribution to the strands of literature on black performance studies, humor studies, and visual studies at large." * Film Quarterly *"The text pulses with creativity as Post locates deadpan in theater, visual and performance art, performances of the self, and more ... With the ambition of her project and immense catalog of works, Post generates momentum for further study of Black aesthetics, affect, and modes of reserve." * Black Perspectives *"It is in Post’s creative and heterogenous readings that the force of her argument best comes across. From the surveilled, violated, and exploited black figure (Louis Agassiz’s daguerreotypes of enslaved people); to the display of black respectability (Richard Avedon’s group portrait William Casby and family, 1963); to black refusals of photographic capture (Rashid Johnson’s Jonathan with Hands, 1997); to the work of Robert Morris, who, without consciously invoking black imagery or cultural markers, embraced an “aesthetics of looming” linked to a racialized “paradigm of black threat”; to discomfiting fusions of dramatic realism and minstrelsy (Branden Jacobs-Jenkins’s first play, 2010’s Neighbors); to affective indeterminacy in contemporary rap (Atlanta’s aforementioned Rich Homie Quan), Post’s readings include both “black subjects who perform expressionlessness” and white artists whose work flirts with and feeds on the imaginary of blackness." * Artforum *
£22.79
New York University Press Falling Floating Flickering
Book SynopsisInsists on the importance of embodiment and movement to the creation of Black socialityLinking African diasporic performance, disability studies, and movement studies, Falling, Floating, Flickering approaches disability transnationally by centering Black, African, and diasporic experiences. By eschewing capital's weighted calculus of which bodies hold value, this book centers alternate morphologies and movement practices that have previously been dismissed as abnormal or unrecognizable. To move beyond binaries of ability, Hershini Bhana Young traverses multiple geohistories and cultural forms stretching from the United States and the Mediterranean to Sierra Leone, Nigeria, and South Africa, as well as independent and experimental film, novels, sculptures, images, dance, performances, and anecdotes. In doing so, she argues for the importance of differential embodiment and movement to the creation and survival of Black sociality, and refutes stereotypic notioTrade ReviewA stellar work of scholarship. Young is fearless in her questions and generous in her thinking, providing readers with the tools to imagine, critique, and speculate alongside her. She powerfully demonstrates the necessity of reading disability in context and transforms our understandings of disability and performance. * Alison Kafer, author of Feminist, Queer, Crip *Falling, Floating, Flickering demonstrates that Black sociality emerges from and can be reconsidered by foregrounding differential embodiment. Throughout the book, moments of tension, moving through rich theoretical ideas and difficult lived and performed embodiments, are followed by moments of relief, where Hershini Bhana Young offers not simply places to rest, but places to be invigorated. Reading this work is incredibly pleasurable, and I am grateful for its clarity and capaciousness. * Keguro Macharia, author of Frottage: Frictions of Intimacy across the Black Diaspora *
£68.00
New York University Press Falling Floating Flickering
Book SynopsisInsists on the importance of embodiment and movement to the creation of Black socialityLinking African diasporic performance, disability studies, and movement studies, Falling, Floating, Flickering approaches disability transnationally by centering Black, African, and diasporic experiences. By eschewing capital's weighted calculus of which bodies hold value, this book centers alternate morphologies and movement practices that have previously been dismissed as abnormal or unrecognizable. To move beyond binaries of ability, Hershini Bhana Young traverses multiple geohistories and cultural forms stretching from the United States and the Mediterranean to Sierra Leone, Nigeria, and South Africa, as well as independent and experimental film, novels, sculptures, images, dance, performances, and anecdotes. In doing so, she argues for the importance of differential embodiment and movement to the creation and survival of Black sociality, and refutes stereotypic notioTrade ReviewA stellar work of scholarship. Young is fearless in her questions and generous in her thinking, providing readers with the tools to imagine, critique, and speculate alongside her. She powerfully demonstrates the necessity of reading disability in context and transforms our understandings of disability and performance. * Alison Kafer, author of Feminist, Queer, Crip *Falling, Floating, Flickering demonstrates that Black sociality emerges from and can be reconsidered by foregrounding differential embodiment. Throughout the book, moments of tension, moving through rich theoretical ideas and difficult lived and performed embodiments, are followed by moments of relief, where Hershini Bhana Young offers not simply places to rest, but places to be invigorated. Reading this work is incredibly pleasurable, and I am grateful for its clarity and capaciousness. * Keguro Macharia, author of Frottage: Frictions of Intimacy across the Black Diaspora *
£23.74
