Performance art Books
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
New York University Press Disability Works
Book Synopsis
£62.90
New York University Press Disability Works
Book Synopsis
£22.49
University of Minnesota Press This Is Not My World: Art and Public Space in
Book SynopsisA close-up history of the Yugoslav artists who broke down the boundaries between public and private In the decades leading up to the dissolution of socialist Yugoslavia, a collective of young artists based in Zagreb took to using the city’s public spaces as a platform for radical individual expression. This Is Not My World presents a detailed account of the Group of Six Authors and their circle in the prolific and experimental period from 1975 to 1985, highlighting the friction between public and private that underlied their innovative practices. Looking to circumvent the rigid bureaucracy of official art institutions, this freewheeling group of conceptual artists and their peers brought artistic activities directly to an unwitting public by staging provocative performances, exhibiting artworks, and interacting with passersby on the streets. Exploring artworks such as Vlasta Delimar’s act of tying herself to a tree in a busy pedestrian area, Željko Jerman’s production of a giant banner declaring “Intimate Inscription” in the city’s central square, and Vlado Martek’s creation of an artwork on a seaside beach using women’s underwear, Adair Rounthwaite examines the work of these artists as a site of tension between the intimacy of artistic expression and the political structure of the public sphere under state socialism. Whereas many histories of modern and contemporary art in formerly socialist countries tend to be dominated by discussions of ideology and resistance, This Is Not My World focuses its attention on the affective aspects of the group’s activities, using artist interviews and extensive documentation to bring the reader closer to the felt experience of their public interventions. Situating the group’s work within the context of broader developments in conceptualism and theories of the avant-garde, Rounthwaite provides a fresh consideration and newly detailed account of this marginalized episode in global art history. Trade Review "This Is Not My World is a highly original take on the Zagreb experimental art scene of the 1970s. While studiously situating the practices of the Group of Six Authors in their cultural–political context, Adair Rounthwaite’s remarkable achievement is to simultaneously snatch them away from this context and open them up to concepts and readings that make them relevant beyond the frameworks of Yugoslav and East European art history."—Ivana Bago, independent scholar "This Is Not My World is not just a detailed account of the work of the Group of Six Authors but a response to it. As experimental in its scholarship as its subjects were in their artmaking, this book is poised to make an important critical and methodological intervention in the recent turn toward ‘global’ art histories."—Branislav Jakovljević, author of Alienation Effects: Performance and Self-Management in Yugoslavia, 1945–91
£23.39
Fordham University Press Transmedial Resonance
£86.02
New Village Press Meeting the Moment: Socially Engaged Performance,
Book SynopsisThe experiences of a diverse range of progressive theater and performance makers in their own words. Curated stories from over 75 interviews and informal exchanges offer insight into the field and point out limitations due to discrimination and unequal opportunity for performance artists in the United States over the past 55 years. In this work, performers, often unknown beyond their immediate audience, articulate diverse influences. They also reflect on how artists are educated and supported, what content is deemed valuable and how it is brought to bear, as well as which audiences are welcome and whether cross-community exchange is encouraged. The book’s voices bring the reader from 1965 through the first wave of the covid-19 pandemic in 2020. They point to more diverse and inclusive practices and give hope for the future of the art.
£64.00
Arc Humanities Press Caroline Bergvall’s Medievalist Poetics:
Book Synopsis
£120.00
Liverpool University Press Jewish–Muslim Interactions: Performing Cultures
Book SynopsisBy exploring dynamic Jewish-Muslim interactions across North Africa and France through performance culture in the 20th and 21st centuries, we offer an alternative chronology and lens to a growing trend in media and scholarship that views these interactions primarily through conflict. Our volume interrogates interaction that crosses the genres of theatre, music, film, art, and stand-up, emphasising creative influence and artistic cooperation between performers from the Maghrib, with a focus on Algeria, Tunisia, Morocco, and diaspora communities, notably in France. The plays, songs, films, images, and comedy sketches that we analyse are multilingual, mixing not only with the former colonial language French, but also the rich diversity of indigenous Amazigh and Arabic languages. The volume includes contributions by scholars working across and beyond disciplinary boundaries through anthropology, ethnomusicology, history, sociology, and literature, engaging with postcolonial studies, memory studies, cultural studies, and transnational French studies. The first section examines accents, affiliations, and exchange, with an emphasis on aesthetics, familiarity, changing social roles, and cultural entrepreneurship. The second section shifts to consider departure and lingering presence through spectres and taboos, in its exploration of absence, influence, and elision. The volume concludes with an autobiographical afterword, which reflects on memories and legacies of Jewish-Muslim interactions across the Mediterranean. Contributors: Cristina Moreno Almeida, Jamal Bahmad, Adi Saleem Bharat, Aomar Boum, Morgan Corriou, Ruth Davis, Samuel Sami Everett, Fanny Gillet, Jonathan Glasser, Miléna Kartowski-Aïach, Nadia Kiwan, Hadj Miliani, Vanessa Paloma Elbaz, Elizabeth Perego, Christopher Silver, Rebekah Vince, Valérie ZenattiTrade Review"This collection dances off the page, with a series of engaging, accessible, insightful essays on the many ways in which Jewish and Muslim artists and performers from North Africa engaged (and continue to engage) with one another creatively, through comedy, art, film, theater, and music, from the colonial period to the present day."Sarah Abrevaya Stein, UCLA"Excellent ouvrage appelé à faire date. Savamment argumenté et novateur, il bouscule intelligemment des schèmes et des préjugés fossilisés. Les éclairages qu'il apporte sur les relations entre Juifs et Musulmans, oubliées ou occultées, sont pertinents et vivifiants. La mise en évidence, solidement argumentée et nuancée, de leurs affinités artistiques, culturelles et autres, va à contre-courant de l'approche conflictuelle habituelle de leurs interactions. Ce livre a l'immense mérite de sortir des sentiers battus et d'ouvrir de stimulantes perspectives de recherches. A l'ère des extrêmes et du déferlement du populisme, sa lecture s'impose absolument." - Mohammed Kenbib, Université Mohammed V de Rabat [Original quote]"A landmark volume that skilfully and innovatively disrupts fossilized schemas and prejudices through its arguments. The insights that it brings to bear on Jewish-Muslim relations, hitherto obfuscated or forgotten, are pertinent and restorative. Its elucidation of artistic and cultural affinities, convincingly argued and with great nuance, serves as a counterpoint to the more commonplace narrative of conflict when it comes to such interactions. This book is particularly noteworthy as it takes us off the beaten track and opens up stimulating avenues for research. In an era of extremes and a surge in populism it is a must read." - Mohammed Kenbib, Université Mohammed V de Rabat [English translation]"Quand les arts et la création artistique racontent les relations des juifs et des musulmans, ils offrent, alors, au lecteur les échos vibrants d'une histoire partagée dont les héritages résonnent encore aujourd'hui. C'est le défi relevé par les auteurs de cet ouvrage, affranchis des paradigmes politiques et idéologiques, et qui entre passé et présent renouent avec une histoire qui n'existe plus." - Karima Dirèche, CNRS TELEMME [Original quote]"When the creative and performing arts recount relations between Jews and Muslims, they offer to the reader vibrant echoes of a shared history whose legacies continue to resound today. Such is the challenge taken up by the authors of this volume who, free from political and ideological paradigms, reconnect with a forgotten history, somewhere between past and present." - Karima Dirèche, CNRS TELEMME [English translation]"A fascinating, eminently readable collection of essays documenting the dynamic, creative, and surprisingly close collaboration between Muslims and Jews in all domains of the performing arts in the Maghreb and in France from the 1920s to the contemporary post-independence period. In this collection, we encounter a colourful gallery of artists, authors, producers – both Muslims and Jews – who together entertained generations of mixed audiences with theatre plays in vernacular Arabic, cabaret performances, concerts, films, and comic one-man shows.This volume offers us a welcome and timely antidote to the feeling of complete deterioration of the relations between Jews and Muslims in recent decades."Professor Lucette Valensi, École des hautes études en sciences sociales'In brief, this is an exciting and much needed contribution to intercommunal religious studies in North Africa and France. …Scholars in art, music, theater and film will undoubtedly applaud the incontestable demonstration that the arts deeply matter in history and geopolitics.' Tamara Dee Turner, The Journal of North African Studies Table of ContentsAcknowledgements Introduction Samuel Sami Everett and Rebekah Vince I. Accents, Affiliations, and Exchange Albert Samama, a Tunisian Filmmaker in the Ottoman Empire at War (1911–1913) Morgan Corriou Translated by David Motzafi-Haller More than Friends? On Muslim-Jewish Musical Intimacy in Algeria and Beyond Jonathan Glasser Nationalist Records: Jews, Muslims, and Music in Interwar North Africa Christopher Silver Marie Soussan: A Singular Trajectory Hadj Miliani and Samuel Sami Everett Retelling the Jewish Past in Tunisia through Narratives of Popular Song Ruth F. Davis ‘Free, but United’? Artistic and Political Issues of Intercommunal Solidarity in Tunisia and Algeria, 1940–1960 Fanny Gillet Translated by David Motzafi-Haller II. Absence, Influence, and Elision Neglected Legacies: Omissions of Jewish Heritage and Muslim-Jewish Relations in Algerian Bandes Dessinees, 1967 through the 1980s Elizabeth Perego Forgotten Encounters: Sounds of Coexistence in Moroccan Rap Music Cristina Moreno Almeida Unmuted Sounds: Jewish Musical Echoes in Twenty-first Century Moroccan and Israeli Soundscapes Aomar Boum Connecting the Disconnect: Music and its Agency in Moroccan Cinema’s Jewish-Muslim Interactions Vanessa Paloma Elbaz Jerusalem Blues: On the Uses of Affect and Silence in Kamal Hachkar’s Tinghir-Jerusalem: Les echos du Mellah (2012) Jamal Bahmad A Newfound Voice from across the Mediterranean: Kamal Hachkar’s Dans tes yeux, je vois mon pays (2019) Milena Kartowski-Aiach Translated by David Motzafi-Haller Creative Coexistence or Creative Co-resistance? Transcultural Complexity in the Work of Street Artist ‘Combo’ Nadia Kiwan Shalom alikoum! Challenging the Conflictual Model of Jewish-Muslim Relations in France through Stand-up Comedy Adi Saleem Bharat Post-face Valerie Zenatti Afterword - Translated by Samuel Sami Everett About the Contributors Index
£29.99
Arlen House Fear Not
Book SynopsisPoet Stephen James Smith's sympathies lie with the addicted and the convicted, often responding to what he finds on life's margins. His sharp-edged forceful language derives from his gifts as a performance poet and his fearlessness in looking into the eye of his subject matter. His poems get their charge, as well as their shape and substance, from his use of demotic rhythms, the vividness of his vernacular and his emotional directness.
£19.76
Boydell & Brewer Ltd The Multimedia Works of Contemporary Latin
Book SynopsisIn contemporary Latin America, an emerging crosscurrent of pioneering female writers and artists with an interest in transgressing traditional boundaries of genre, media, gender and nation are using their work to voice dissent against pressing social issues including neo-liberal consumerism, environmental degradation, mass migration and gender violence.Table of ContentsList of Illustrations List of Contributors Acknowledgements INTRODUCTION: A Crosscurrent of Contemporary Latin American Women Multimedia Artists and Writers, S.E.L. Bowskill and J.E. Lavery CHAPTER 1: The Transliterary: The Novel and Other Multimedia Horizons Beyond (and Close to) the Textual, Ana Clavel CHAPTER 2: Commentary on Fe/males: Sieges of the Post Human (Transmedia Installation), Eugenia Prado Bassi CHAPTER 3: An Anthropaphagic Ch'ixi Poetics, Eli Neira CHAPTER 4: My Relationship with Artistic Creation Began with Words, Regina José Galindo CHAPTER 5: imagetext, Carla Faesler CHAPTER 6: Voices/Bodies, Mónica Nepote CHAPTER 7: Redefining Meaning: The Interweaving of the Visual and Poetic, Pilar Acevedo CHAPTER 8: The Territory is Home, Gabriela Golder and Mariela Yeregui CHAPTER 9: Reflections on a Multimedia Practice, Jacalyn Lopez Garcia CHAPTER 10: Digital Weaving, Lucia Grossberger Morales CHAPTER 11: Eli Neira, Regina José Galindo and Ana Clavel: "Polluting" Corporealities and Intermedial/Transliterary Crossings, Jane E. Lavery CHAPTER 12: The Digital Condition: Subjectivity and Aesthetics in "Fe/males" by Eugenia Prado Bassi, Carolina Gainza CHAPTER 13: The Transmedia, Post-Medium, Postnational and Nomadic Projects of Pilar Acevedo, Rocío Cerón and Mónica Nepote, Sarah E.L. Bowskill CHAPTER 14: The Art of the Hack: Poets Carla Faesler and Mónica Nepote and Booktuber Fátima Orozco, Emily Hind CHAPTER 15: The Places of Pain: Intermedial Mode and Meaning in Via Corporis by Pura López Colomé and Geografía de dolor by Monica González, Nuala Finnegan CHAPTER 16: Words, Memory and Space in Intermedial Works by Gabriela Golder and Mariela Yeregui, Claudia Kozak CHAPTER 17: Fungibility and the Intermedial Poem: Ana María Uribe, Belén Gache and Karen Villeda, Debra Ann Castillo CHAPTER 18: Hypertext and Biculturality in Two Autobiographical Hypermedia Works by Latina Artists Lucia Grossberger Morales and Jacalyn Lopez Garcia, Thea Pitman CHAPTER 19: Dialogues Across Media: The Creation of (New?) Hybrid Genres by Belén Gache and Marina Zerbarini, Claire Taylor Bibliography Index
£80.75
Rutgers University Press Speaking Truths: Young Adults, Identity, and
Book SynopsisThe twenty-first century is already riddled with protests demanding social justice, and in every instance, young people are leading the charge. But in addition to protesters who take to the streets with handmade placards are young adults who engage in less obvious change-making tactics. In Speaking Truths, sociologist Valerie Chepp goes behind-the-scenes to uncover how spoken word poetry—and young people’s participation in it—contributes to a broader understanding of contemporary social justice activism, including this generation’s attention to the political importance of identity, well-being, and love. Drawing upon detailed observations and in-depth interviews, Chepp tells the story of a diverse group of young adults from Washington, D.C. who use spoken word to create a more just and equitable world. Outlining the contours of this approach, she interrogates spoken word activism’s emphasis on personal storytelling and “truth,” the strategic uses of aesthetics and emotions to politically engage across difference, and the significance of healing in sustainable movements for change. Weaving together their poetry and personally told stories, Chepp shows how poets tap into the beautiful, emotional, personal, and therapeutic features of spoken word to empathically connect with others, advance intersectional and systemic analyses of inequality, and make social justice messages relatable across a diverse public. By creating allies and forging connections based on friendship, professional commitments, lived experiences, emotions, artistic kinship, and political views, this activist approach is highly integrated into the everyday lives of its practitioners, online and face-to-face. Chepp argues that spoken word activism is a product of, and a call to action against, the neoliberal era in which poets have come of age, characterized by widening structural inequalities and increasing economic and social vulnerability. She illustrates how this deeply personal and intimate activist approach borrows from, builds upon, and diverges from previous social movement paradigms. Spotlighting the complexity and mutual influence of modern-day activism and the world in which it unfolds, Speaking Truths contributes to our understanding of contemporary social change-making and how neoliberalism has shaped this political generation’s experiences with social injustice.Trade Review"This beautifully written work deftly interweaves vignettes and poems to illustrate the culture of spoken word in meticulous detail." -- Jerusha O. Conner * author of The New Student Activists: The Rise of Neoactivism on College and University Campuses. *"In this timely and deeply incisive investigation of poet-activists in Washington, D.C., Chepp illuminates the capacity of spoken word to transcend single-axis identity politics and create visionary, intersectional coalitions." -- Patrick Ryan Grzanka * Editor of Intersectionality: Foundations and Frontiers *"Valerie Chepp’s Speaking Truths beautifully adds to the growing literature on poetry slams, spoken word, and their surrounding communities. By exploring young poets as social justice activists, Chepp reminds us of the arts' undying capacity to imagine and build new, just, and more equitable worlds. Speaking Truths is a necessary offering in the burgeoning sub field of slam and spoken word studies." -- Javon Johnson * author of Killing Poetry: Blackness and the Making of Slam and Spoken Word Communities *New Books Network: New Books in Popular Culture interview with Valerie Chepp * New Books Network: New Books in Popular Culture *"This beautifully written work deftly interweaves vignettes and poems to illustrate the culture of spoken word in meticulous detail." -- Jerusha O. Conner * author of The New Student Activists: The Rise of Neoactivism on College and University Campuses. *"In this timely and deeply incisive investigation of poet-activists in Washington, D.C., Chepp illuminates the capacity of spoken word to transcend single-axis identity politics and create visionary, intersectional coalitions." -- Patrick Ryan Grzanka * Editor of Intersectionality: Foundations and Frontiers *"Valerie Chepp’s Speaking Truths beautifully adds to the growing literature on poetry slams, spoken word, and their surrounding communities. By exploring young poets as social justice activists, Chepp reminds us of the arts' undying capacity to imagine and build new, just, and more equitable worlds. Speaking Truths is a necessary offering in the burgeoning sub field of slam and spoken word studies." -- Javon Johnson * author of Killing Poetry: Blackness and the Making of Slam and Spoken Word Communities *New Books Network: New Books in Popular Culture interview with Valerie Chepp * New Books Network: New Books in Popular Culture *"Speaking Truths provides a nuanced examination of the inner workings of spoken word activism, draws clear connections to a diverse body of sociological theory, and perhaps most importantly, firmly situates creative activism as a meaningful form of social justice work." -- Julie Gouweloos * Mobilization *Table of ContentsList of Tables Preface 1 Spoken Word Activism: Young Adults and Social Justice in the Age of Neoliberalism 2 Spinning Stories from Words Got Spit: Researching a Verbal Arts Community 3 Speaking Truths: Experiential Knowledge, Embodied Testimony, and Activist Storytelling 4 Creative Politics: Art, Justice, and Empathic Possibilities 5 Healing Justice: The Politics of Healthy Selves and Communities 6 #Activism and Beyond: Sustainability and Social Change in a Digital World 104 7 Intersectionality as Activist Strategy: Toward a New Identity Politics Appendix A: Doing Ethnographic Research in the Era of Social Media Appendix B: Core Sample by Venue Participation Acknowledgments Notes Bibliography Index
£55.25
Rutgers University Press Caribes 2.0: New Media, Globalization, and the
Book SynopsisIn Caribes 2.0, author Jossianna Arroyo looks at the Caribbean mediasphere in the twenty-first century. Arroyo argues that we have seen a return to tropes such as blackface, brownface, cultural and ethnic stereotypes, and violent representations of the poor, the marginalized, and the racialized. Caribes 2.0 looks at these tropes as well as the work of writers, vloggers, performers, and photographers that have become media figures or have used new media platforms to promote their work and examines how they are challenging and negotiating these media representations. It analyzes contemporary Caribbean cultures to discuss, taste, guides, and actions (social and virtual) that shape Caribbean global communities today. Departing from Edouard Glissant’s insight that “Caribbean reality might not be accessed by remote control” the book considers what types of political and social agencies are created by mediation. Caribes 2.0 deviates from these historical-globalized views of subjected, colonized Caribbean bodies, and their material conditions, to examine the relationship between the local and the global in contemporary Caribbean cultures, and the role that media is playing in the invisibility or hyper-visibilty of Caribbean cultures in the islands and the U.S. diaspora. Trade Review"Jossianna Arroyo offers a magistral deconstruction of 21st-century forms of necropolitics insidiously wielded via Twitter, Youtube, Instagram, Facebook, TikTok, and other digital platforms; television; and literary and cinematic production. With sophisticated straightforwardness, Arroyo compels us to critically look at the too-familiar imagery accompanying the invention and reproduction of Caribbean otherness across centuries and nations." -- Odette Casamayor-Cisneros * associate professor of Latin American and Caribbean Literatures and Cultures, University of Pennsylv *“Caribes 2.0 offers canny insight into the logics of visibility, performance and politics that blossom in the mediascapes of a globalized Caribe. Refusing easy takes, the book tracks the afterlives of slavery and ongoing anti-Black racism as they morph and reassemble in twenty-first-century Caribbean media. Moving seamlessly between TikTok and Televisa, Santo Domingo and Orlando, Arroyo offers fascinating readings of what 'viral' racial images and outlaw performativity reveal about neoliberal codes for self-making—and their refusal.” -- Rachel Price * associate professor of Spanish and Portuguese, Princeton University *Table of Contents 1 Caribbean Mediascapes: After the Image 2 Enacting Others: Blackface, Brownface, and Caribbean Selves 3 Ratchetness and Vlogging the Self 4 Cities of the Dead: Performing Life in the Caribbean 5 Indebted Citizenships and Afterlives of Disaster Acknowledgments Notes Works Cited Index
£107.20
Rutgers University Press King of Hearts: Drag Kings in the American South
Book SynopsisWhile drag subcultures have gained mainstream media attention in recent years, the main focus has been on female impersonators. Equally lively, however, is the community of drag kings: cis women, trans men, and non-binary people who perform exaggerated masculine personas onstage under such names as Adonis Black, Papi Chulo, and Oliver Clothesoff. King of Hearts shows how drag king performers are thriving in an unlikely location: Southern Bible Belt states like Tennessee, Georgia, and South Carolina. Based on observations and interviews with sixty Southern drag kings, this study reveals how they are challenging the region’s gender norms while creating a unique community with its own distinctive Southern flair. Reflecting the region’s racial diversity, it profiles not only white drag kings, but also those who are African American, multiracial, and Hispanic. Queer scholar Baker A. Rogers—who has also performed as drag king Macon Love—takes you on an insider’s tour of Southern drag king culture, exploring its history, the communal bonds that unite it, and the controversies that have divided it. King of Hearts offers a groundbreaking look at a subculture that presents a subversion of gender norms while also providing a vital lifeline for non-gender-conforming Southerners.Trade Review"If you live on the fringe of society and challenge its most predominant norm, the majority isn't going to tell your story, or frankly, even know you exist. It's up to us to tell our own stories and Roger's brilliant book does just that. They share their story as well as the unique experience of Southeastern drag kings. They're taking up space, showcasing a specific demographic, and leading the way for others. The Kings have come."— Murray Hill, New York City drag king and comedian "King of Hearts is a readable and accessible adventure in the world of drag kinging, gender bending, and transmasculine life in the South. The author locates the spectacular performances of these drag kings within the place where they live and the rich history of drag kinging in the American South. If you are interested in being a drag king, understanding shows, or expanding your ideas about gender and sexuality, this is the book for you."— Amy L. Stone, author of Cornyation: San Antonio's Outrageous Fiesta TraditionTable of ContentsIntroduction Chapter 1: History of Drag Kinging in the Southeastern United States Chapter 2: Drag Kinging at the Intersections of Identities Chapter 3: Drag Kinging as a Resource for Everyday Life Chapter 4: Controversies in the Drag King Community Conclusion Acknowledgments Appendix A: Demographics Table Appendix B: My Queer Methodology References Index
£21.59
Rutgers University Press King of Hearts: Drag Kings in the American South
Book SynopsisWhile drag subcultures have gained mainstream media attention in recent years, the main focus has been on female impersonators. Equally lively, however, is the community of drag kings: cis women, trans men, and non-binary people who perform exaggerated masculine personas onstage under such names as Adonis Black, Papi Chulo, and Oliver Clothesoff. King of Hearts shows how drag king performers are thriving in an unlikely location: Southern Bible Belt states like Tennessee, Georgia, and South Carolina. Based on observations and interviews with sixty Southern drag kings, this study reveals how they are challenging the region’s gender norms while creating a unique community with its own distinctive Southern flair. Reflecting the region’s racial diversity, it profiles not only white drag kings, but also those who are African American, multiracial, and Hispanic. Queer scholar Baker A. Rogers—who has also performed as drag king Macon Love—takes you on an insider’s tour of Southern drag king culture, exploring its history, the communal bonds that unite it, and the controversies that have divided it. King of Hearts offers a groundbreaking look at a subculture that presents a subversion of gender norms while also providing a vital lifeline for non-gender-conforming Southerners.Trade Review"If you live on the fringe of society and challenge its most predominant norm, the majority isn't going to tell your story, or frankly, even know you exist. It's up to us to tell our own stories and Roger's brilliant book does just that. They share their story as well as the unique experience of Southeastern drag kings. They're taking up space, showcasing a specific demographic, and leading the way for others. The Kings have come." -- Murray Hill * New York City drag king and comedian *"King of Hearts is a readable and accessible adventure in the world of drag kinging, gender bending, and transmasculine life in the South. The author locates the spectacular performances of these drag kings within the place where they live and the rich history of drag kinging in the American South. If you are interested in being a drag king, understanding shows, or expanding your ideas about gender and sexuality, this is the book for you." -- Amy L. Stone * author of Cornyation: San Antonio's Outrageous Fiesta Tradition *"If you live on the fringe of society and challenge its most predominant norm, the majority isn't going to tell your story, or frankly, even know you exist. It's up to us to tell our own stories and Roger's brilliant book does just that. They share their story as well as the unique experience of Southeastern drag kings. They're taking up space, showcasing a specific demographic, and leading the way for others. The Kings have come." -- Murray Hill * New York City drag king and comedian *"King of Hearts is a readable and accessible adventure in the world of drag kinging, gender bending, and transmasculine life in the South. The author locates the spectacular performances of these drag kings within the place where they live and the rich history of drag kinging in the American South. If you are interested in being a drag king, understanding shows, or expanding your ideas about gender and sexuality, this is the book for you." -- Amy L. Stone * author of Cornyation: San Antonio's Outrageous Fiesta Tradition *Table of ContentsIntroduction Chapter 1: History of Drag Kinging in the Southeastern United States Chapter 2: Drag Kinging at the Intersections of Identities Chapter 3: Drag Kinging as a Resource for Everyday Life Chapter 4: Controversies in the Drag King Community Conclusion Acknowledgments Appendix A: Demographics Table Appendix B: My Queer Methodology References Index
£55.25
Rutgers University Press Neo-Burlesque: Striptease as Transformation
Book SynopsisThe neo-burlesque movement seeks to restore a sense of glamour, theatricality, and humor to striptease. Neo-burlesque performers strut their stuff in front of audiences that appreciate their playful brand of pro-sex, often gender-bending, feminism. Performance studies scholar and acclaimed burlesque artist Lynn Sally offers an inside look at the history, culture, and philosophy of New York’s neo-burlesque scene. Revealing how twenty-first century neo-burlesque is in constant dialogue with the classic burlesque of the nineteenth and twentieth centuries, she considers how today’s performers use camp to comment on preconceived notions of femininity. She also explores how the striptease performer directs the audience’s gaze, putting on layers of meaning while taking off layers of clothing. Through detailed profiles of iconic neo-burlesque performers such as Dita Von Teese, Dirty Martini, Julie Atlas Muz, and World Famous *BOB*, this book makes the case for understanding neo-burlesque as a new sexual revolution. Yet it also examines the broader community of “Pro-Am” performers who use neo-burlesque as a liberating vehicle for self-expression. Raising important questions about what feminism looks like, Neo-Burlesque celebrates a revolutionary performing art and participatory culture whose acts have political reverberations, both onstage and off.Trade Review"A thorough exploration of the genre, Lynn Sally's insightful Neo-Burlesque: Striptease as Transformation has earned its place on the shelf of every neo-burlesque academic.” -- Dita Von Teese * author of Burlesque and the Art of the Teese/Fetish and the Art of the Teese *"A smart, feminist tour de force that strips away the stigmas, social, and legal bullshit surrounding burlesque, and gets down to the nitty-gritty of this sacred art form and the potentially deeply inspiring experience it holds for performers and audience alike. A must read for anybody interested in dance, art, and sexy fun." -- Annie Sprinkle and Beth Stephens * artists and authors of Assuming the Ecosexual Position *"With the deft eye of a performer-turned-ethnographer, Lynn Sally provides an insider’s account of the history and stakes of burlesque performance. Indeed, Neo-Burlesque demonstrates that underneath the performer’s coy wink, tuck, and flash lie a matrix of political entanglements that inform how gender, power, and sexuality shape our society’s engagement with popular entertainment." -- E. Patrick Johnson * author of Honeypot: Black Southern Women Who Love Women *"Lynn Sally taps her secret history as a burlesque dancer as well as multiple histories of the performing female body in this dazzling study of contemporary burlesque’s cultural meanings. Smart, funny, and moving, Sally's stories and insights will make you rethink this art form and the women who participate in it." -- Linda Mizejewski * author of Ziegfeld Girl: Image and Icon in Culture and Cinema *"Artist-scholar Lynn Sally shines a spotlight on some of the most iconic neo-burlesque performers of the past two decades. A rich addition to the field of striptease studies, Neo-Burlesque deftly reveals how 'unruly' and 'awarish' women creatively and critically interrogate their own construction through the wit of a knowing wink." -- Dr. Sherril Dodds * Professor of Dance at Temple University and editor of The Bloomsbury Companion to Dance Studies *"Neo-Burlesque is an impassioned manifesto for the transformative power of burlesque performance. Sally engages her insider perspective to document and theorize how neo-burlesque performers are remaking gender, sexuality, beauty, and feminist politics through the art of the striptease." -- Jillian Hernandez * author of Aesthetics of Excess: The Art and Politics of Black and Latina Embodiment *"Theoretically sophisticated, rigorously researched, and written with confidence and ease, Neo-Burlesque: Striptease as Transformation takes aim at blind spots in academic approaches to sexuality, the female body and the boundaries between high and low cultures. Sally uses case studies enriched by her own experience as a stripper to argue for the radical potential of neo-burlesque. At the same time, she brings a critical eye to its failures to disentangle race from the cultural ideals of femininity and female beauty that neo-burlesque put—literally—on stage. Sally makes a bold and important contribution to the growing body of scholarship on unruly, 'nasty' women who, with fearlessness and wit, insist on not only being heard but also seen. An engrossing and eye-opening read!" -- Kathleen Rowe Karlyn * founding director of the Cinema Studies program and professor emerita at the University of Oregon and author of The Unruly Woman: Gender and the Genres of Laughter *"Through interviews with performers and descriptive analyses of their acts, Sally characterizes burlesque as a complex practice with interesting historical underpinnings and unexpected contemporary manifestations. It is truly special to read an academic book where the author ensures that its primary subjects—burlesque performers—get to define, in their own words, what they are doing and why. An engaging read that builds toward a more holistic understanding of burlesque." -- Meredith Heller * author of Queering Drag: Redefining the Discourse of Gender-Bending *"Lynn Sally has written the account of record of the germination of the Neo Burlesque movement. Her perspective has been formed through her insider position as a performer, producer and emcee, giving her the authority to name the key contributions that the Neo Burlesque movement has made to feminism, politics, sexuality, and gender. This inclusive account of burlesque history will be enjoyed by burlesque audiences and scholars of performance and feminism. It is a book you will want to read cover to cover." -- Dr. Alison J. Carr * artist and author of Viewing Pleasure and Being a Showgirl: How Do I Look? *"Dr. Lynn Sally shares an essential insider’s view of an individualistic performing art and how it combines nostalgia and irony to comment on current events. Entertaining and academically diligent, this book connects all the dots between feminism and fun." -- Jo Weldon * founder of The New York School of Burlesque and author of Fierce: The History of Leopard Print *"A Different Kind of Coming Out: AFAB Dreams of Becoming a Drag Queen," by Lynn Sally * The Gay & Lesbian Review *"This remarkable treatise on a formerly taboo subject is a serious examination of an art form that has been tossed off as frivolous entertainment....But the book is not solely a scholarly treatise. Sally delights in taking her reader right into adult entertainment nightclubs via the book’s fabulous color photos, giving them front row seats, as one reviewer put it, as Sally 'shines a spotlight on the most iconic performers of the last two decades.'" * Sierra County Sun *"Striptease, once seen broadly as a symbol of women’s oppression, becomes in Sally's book a tool of empowerment, and she shows how different artists choose to wield it. Peppered with photographs and film stills from a vast array of performances, the book opens up a vibrant, engaging dialogue. Whether readers are new to or familiar with neo-burlesque, they’ll find that Sally’s book is an entertaining and informative study of striptease as performance art." * Library Journal *"?NEO-BURLESQUE SLAPS GLITTER ON FEMINISM AND MAKES IT SHINE," by Lynn Sally * Zócalo Public Square *"?Ladies' Night 2 for 1 refill with "Dr. Lucky" Lynn Sally" * Coffee, Candy, and Creatives podcast *"A thorough exploration of the genre, Lynn Sally's insightful Neo-Burlesque: Striptease as Transformation has earned its place on the shelf of every neo-burlesque academic.” -- Dita Von Teese * author of Burlesque and the Art of the Teese/Fetish and the Art of the Teese *"A smart, feminist tour de force that strips away the stigmas, social, and legal bullshit surrounding burlesque, and gets down to the nitty-gritty of this sacred art form and the potentially deeply inspiring experience it holds for performers and audience alike. A must read for anybody interested in dance, art, and sexy fun." -- Annie Sprinkle and Beth Stephens * artists and authors of Assuming the Ecosexual Position *"With the deft eye of a performer-turned-ethnographer, Lynn Sally provides an insider’s account of the history and stakes of burlesque performance. Indeed, Neo-Burlesque demonstrates that underneath the performer’s coy wink, tuck, and flash lie a matrix of political entanglements that inform how gender, power, and sexuality shape our society’s engagement with popular entertainment." -- E. Patrick Johnson * author of Honeypot: Black Southern Women Who Love Women *"Lynn Sally taps her secret history as a burlesque dancer as well as multiple histories of the performing female body in this dazzling study of contemporary burlesque’s cultural meanings. Smart, funny, and moving, Sally's stories and insights will make you rethink this art form and the women who participate in it." -- Linda Mizejewski * author of Ziegfeld Girl: Image and Icon in Culture and Cinema *"Artist-scholar Lynn Sally shines a spotlight on some of the most iconic neo-burlesque performers of the past two decades. A rich addition to the field of striptease studies, Neo-Burlesque deftly reveals how 'unruly' and 'awarish' women creatively and critically interrogate their own construction through the wit of a knowing wink." -- Dr. Sherril Dodds * Professor of Dance at Temple University and editor of The Bloomsbury Companion to Dance Studies *"Neo-Burlesque is an impassioned manifesto for the transformative power of burlesque performance. Sally engages her insider perspective to document and theorize how neo-burlesque performers are remaking gender, sexuality, beauty, and feminist politics through the art of the striptease." -- Jillian Hernandez * author of Aesthetics of Excess: The Art and Politics of Black and Latina Embodiment *"Theoretically sophisticated, rigorously researched, and written with confidence and ease, Neo-Burlesque: Striptease as Transformation takes aim at blind spots in academic approaches to sexuality, the female body and the boundaries between high and low cultures. Sally uses case studies enriched by her own experience as a stripper to argue for the radical potential of neo-burlesque. At the same time, she brings a critical eye to its failures to disentangle race from the cultural ideals of femininity and female beauty that neo-burlesque put—literally—on stage. Sally makes a bold and important contribution to the growing body of scholarship on unruly, 'nasty' women who, with fearlessness and wit, insist on not only being heard but also seen. An engrossing and eye-opening read!" -- Kathleen Rowe Karlyn * founding director of the Cinema Studies program and professor emerita at the University of Oregon an *"Through interviews with performers and descriptive analyses of their acts, Sally characterizes burlesque as a complex practice with interesting historical underpinnings and unexpected contemporary manifestations. It is truly special to read an academic book where the author ensures that its primary subjects—burlesque performers—get to define, in their own words, what they are doing and why. An engaging read that builds toward a more holistic understanding of burlesque." -- Meredith Heller * author of Queering Drag: Redefining the Discourse of Gender-Bending *"Lynn Sally has written the account of record of the germination of the Neo Burlesque movement. Her perspective has been formed through her insider position as a performer, producer and emcee, giving her the authority to name the key contributions that the Neo Burlesque movement has made to feminism, politics, sexuality, and gender. This inclusive account of burlesque history will be enjoyed by burlesque audiences and scholars of performance and feminism. It is a book you will want to read cover to cover." -- Dr. Alison J. Carr * artist and author of Viewing Pleasure and Being a Showgirl: How Do I Look? *"Dr. Lynn Sally shares an essential insider’s view of an individualistic performing art and how it combines nostalgia and irony to comment on current events. Entertaining and academically diligent, this book connects all the dots between feminism and fun." -- Jo Weldon * founder of The New York School of Burlesque and author of Fierce: The History of Leopard Print *"A Different Kind of Coming Out: AFAB Dreams of Becoming a Drag Queen," by Lynn Sally * The Gay & Lesbian Review *"This remarkable treatise on a formerly taboo subject is a serious examination of an art form that has been tossed off as frivolous entertainment....But the book is not solely a scholarly treatise. Sally delights in taking her reader right into adult entertainment nightclubs via the book’s fabulous color photos, giving them front row seats, as one reviewer put it, as Sally 'shines a spotlight on the most iconic performers of the last two decades.'" * Sierra County Sun *"Striptease, once seen broadly as a symbol of women’s oppression, becomes in Sally's book a tool of empowerment, and she shows how different artists choose to wield it. Peppered with photographs and film stills from a vast array of performances, the book opens up a vibrant, engaging dialogue. Whether readers are new to or familiar with neo-burlesque, they’ll find that Sally’s book is an entertaining and informative study of striptease as performance art." * Library Journal *"NEO-BURLESQUE SLAPS GLITTER ON FEMINISM AND MAKES IT SHINE," by Lynn Sally * Zócalo Public Square *"Ladies' Night 2 for 1 refill with "Dr. Lucky" Lynn Sally" * Coffee, Candy, and Creatives podcast *Table of ContentsPreface: Revelations and Disidentification Introduction: Definitions and Methodologies 1 Burlesque as Popular Performance: MsTickle’s Explicit Body as Palimpsest 2 Burlesque as Monster/Beauty: Beautiful Monsters and the Monstrosity of Beauty in Dita Von Teese 3 Burlesque as Unruly: Dirty Martini and the Political Efficacy of an Invisible Wink 4 Burlesque as Pretty/Funny: The Comedic Stylings of Little Brooklyn’s Burlesquing Burlesque 5 Burlesque as Parodic Pageantry: The Agitprop Theatrics of Bambi the Mermaid’s Miss Coney Island Pageant 6 Burlesque as Camp: Gender Becoming in World Famous *BOB*’s “One Man Show” 7 Burlesque as Revolution: The Ridiculous Theatre of Julie Atlas Muz Conclusion: Nasty Women and Female Chauvinist Pigs Acknowledgments Notes Bibliography Index
£44.20
Diaphanes AG Performing Human Rights – Contested Amnesia and
Book SynopsisThe invisibilization of political violence, its material traces, and spatial manifestations, characterizes conflict and post-conflict situations. Yet, artists, writers, and human rights activists increasingly seek to challenge this invisibility, contesting the related historical amnesia through counter-semantics and dissonant narratives. Adopting “performance” as a concept that is defined by repetitive, aesthetic practices—such as speech and bodily habits through which both individual and collective identities are constructed and perceived—this collection addresses various forms of performing human rights in transitional situations in Spain, Latin America, and the Middle East. Bringing scholars together with artists, writers, and curators, and working across a range of disciplines, Performing Human Rights addresses these instances of omission and neglect, revealing how alternate institutional spaces and strategies of cultural production have intervened in the processes of historical justice and collective memory. Table of ContentsPERFORMING HUMAN RIGHTSContested Amnesia and Aesthetic Practices in the Global South TABLE OF CONTENTS Liliana Gómez: Performing human rights. An introduction BETWEEN LAW AND THE WRITING OF HISTORY Zahira Aragüete Toribio: Epistemic encounters amidst impunity: forensic investigations of mass crimes in Post-Franco Spain Vikki Bell: Taking the risk of images, after all: between form and formlessness at the Espacio Memoria y Derechos Humanos, ex-ESMA, Argentina Liliana Gómez: Beyond the courtroom: on dust, haunting, and the archive FORENSIC AESTHETICS AND POLITICS OF MEMORY Friederike Pannewick: The poetics and politics of the body in pain. Sinan Antoon’s novel The Corpse Washer Elena Rosauro: To speak of the silence of a country. An approach to Spanish contemporary artistic practices related to history and memory Stephenie Young: Boundary-aesthetics: obscured scenographies of violence at the U.S./Mexican Border PERFORMING HUMAN RIGHTS Joscelyn Jurich: Performing karama: Abounaddara’s emergency cinema in theory and praxis Pauline Bachmann: The subversive potential of opacity: Poema/processo and 3Nós3’s artistic strategies during Brazil’s military dictatorship Dorota Sajewska: Performing periphery or the ambivalence of demodernization. Notes on Artur Żmijewski’s film Glimpse POSTSCRIPTUM Uriel Orlow: Letter from Lubumbashi
£38.00
Karolinum,Nakladatelstvi Univerzity Karlovy,Czech Republic Czech Action Art: Happenings, Actions, Events,
Book SynopsisCzech action art - a medium similar to performance art that does not require an audience - emerged out of the political and social turmoil of the 1960s. This movement has received little critical attention, however, as the Iron Curtain prevented its dissemination to an international audience. Here theorist and art historian Pavlina Morganova gives this art scene its due, chronicling its inception and tracing its evolution through to the present. Morganova explains the various forms of action art, from the "actions" and "happenings" of the 1960s; to the actions of land art that encompass stones, trees, water, or fire; to recent displays of body art; to the actions of the latest generation of artists, who are using the principles of action art in contemporary postconceptual and participative art. Along the way, she introduces the most prominent Czech artists of each specific niche, including Milan Knizak, Zorka Saglova, Ivan Kafka, Petr Stembera, Karel Miler, Jiri Kovanda, and Katerina Seda, and demonstrates not only the changes in the art forms themselves but also the shifting roles of artists and spectators after World War II. With over one hundred illustrations, Czech Action Art introduces this heretofore overlooked but fascinating art form to a global readership.
£17.99
Editorial Tenov S.L. Joseph Beuys–Manresa – A Spiritual Geography
Book SynopsisThe first performances by Joseph Beuys were a radical turning point for twentieth-century art. Beuys saw art as a transformative action that is both personal and communal, and his expanded artistic practice engaged spirituality, personal mythology, political structures, and symbolic materials. For Manresa, one of his legendary performance actions, which took place on December 15, 1966 in Düsseldorf, he collaborated with the Danish artists Henning Christiansen and Bjørn Nørgaard. This book presents never-before-seen materials from the performance, including texts, images, scripts, and preparatory drawings, alongside contributions from scholars and critics that offer further insight. Friedhelm Mennekes, an art critic and Jesuit priest, analyses Saint Ignatius of Loyola’s imprint on Beuys’s work while elucidating its spiritual complexity, looking beyond the popular vision of the artist as shaman. Pilar Parcerisas examines Beuys’s spiritual geography, explaining the importance the town of Manresa within it and also laying out the physical and mystical coordinates of Eurasia, a site that was always present in Beuys’s work. Klaus-D. Pohl addresses the paradoxical union between Beuys’s mysticism and the neo-Dadaists of Fluxus. Beuys’s collaborator Bjørn Nørgaard recalls his time working with the German artist and reflects on the paths he opened up. Finally, art historian Harald Szeemann considers the possibility of liberating politics through spirituality.Table of ContentsM A N R E S A (Homage to Schmela) - Joseph Beuys, Henning Christiansen and Björn NörgaardArt and religion as a movement of resurgence - Friedhelm MennekesI also fly to you, Manresa - Pilar ParcerisasThe Manresa features at the Block Beuys in Darmstadt - Klaus D.PohlJoseph Beuys and his place within the Fluxus movement - Klaus D.Pohl“Where is Element 3” - Harald SzeemannManresa - Björn NörgaardOpening lecture for the performance carried out in Manresa in 1994 - Harald SzeemannReality multiplied by 3 - Henning ChristiansenThe cross of Björn Nörgaard - Pilar Parcerisas
£28.00
