‘a game-changer, a must-read for scholars, students and artists alike’ – Tom Finkelpearl At a time when art world critics and curators heavily debate the social, and when community organizers and civic activists are reconsidering the role of aesthetics in social reform, this book makes explicit some of the contradictions and competing stakes of contemporary experimental art-making. Social Works is an interdisciplinary approach to the forms, goals and histories of innovative social practice in both contemporary performance and visual art. Shannon Jackson uses a range of case studies and contemporary methodologies to mediate between the fields of visual and performance studies. The result is a brilliant analysis that not only incorporates current political and aesthetic discourses but also provides a practical understanding of social practice.
Shannon Jackson explores a range of disciplinary, institutional, and political puzzles that engage the social and aesthetic practice of performance in this collection of twenty essential essays spanning her career. Back Stages starts by considering the historical connection between performance practice and movements of social reform, while later writings analyze disciplinary debates on the place of performance in higher education and within the contemporary field of socially engaged art, tracking fraught and allied relationships to literary studies, art history, visual culture, theater, social theory, and critical theory. At a time of increased aesthetic experimentation and political debate within the art world, these essays alight on artists, groups, and cultural organizations whose experiments have challenged conventions of curation and critique, including Theaster Gates, Paul Ramírez Jonas, Harrell Fletcher, and My Barbarian. Throughout, Jackson navigates the political ambivalences of performance, from the late nineteenth to the twenty-first century, tracking shifts in participatory art that seek to resist capitalism, even as such performance work paradoxically risks neoliberal appropriation by a post-Fordist experience economy. Back Stages surfaces unexpected cross-disciplinary connections and provides new opportunities for mutual engagement within a wide network of educational, artistic, and civic sectors. A substantial introduction excavates the critical links between the essays and a variety of disciplines and movements.
A lavishly illustrated history and critical appraisal of The Builders Association, an award-winning intermedia performance company, with detailed accounts of its major productions. This book begins with the building of a house, and the building of a company while building the house. It expands to look at the ideas found in various rooms, some of which expanded into virtual space while they still were grounded in the lives of the artists in the house. —from the preface by Marianne Weems The Builders Association, an award-winning intermedia performance company founded in 1994, develops its work in extended collaborations with artists and designers, working through performance, video, architecture, sound, and text to integrate live performance with other media. Its work is not only cross-media but cross-genre—fiction and nonfiction, unorthodox retellings of classic tales and multimedia stagings of contemporary events. This book offers a generously illustrated history and critical appraisal of The Builders Association, written by Shannon Jackson, a leading theater scholar, and Marianne Weems, the founder and artistic director of the company. It also includes critical meditations from such artists and scholars as Elizabeth Diller, Pico Iyer, Saskia Sassen, Kate Valk, and many others. Technological wizardry in the theater has a long history, going back to the deus ex machina of ancient Greek drama. The Builders Association makes its technological dependence visible, putting backstage technologies center stage and presenting architectural assemblies of screens and bodies. Jackson and Weems explore a series of major productions—from MASTER BUILDER (Ibsen by way of Gordon Matta-Clark) to SUPERVISION (an exploration of dataveillance) to HOUSE/DIVIDED (the foreclosure crisis juxtaposed with the Joads of Steinbeck's The Grapes of Wrath). Each work is described through a series of steps, including “R&D,” “Operating Systems,” “Storyboard,” and “Rehearsal/Assembly.” The Builders Association not only traces the evolution of an intermedial aesthetic practice but also tells a story about how a group makes the risky decision to make art in the first place.
They were twin sisters born in Arkansas, both given up for adoption. One grew up in Tennessee, the other in Texas. They reached maturity never knowing of each other's existence. Through malice and revenge, two men bring the two sisters together. One man gone mad and bent on vengeance, the other one man deranged at being rejected. One sister, after learning what she thinks is the truth about a murderer, must find a way to warn her twin of the danger they both are facing. But what that sister doesnt realize isXthere are two evils, instead of one, out to get them. But then again, what the two evil men dont realize is, its a scientific factoblood really is thicker than water!
Evil and Greed are running amuck in the town of Middleville, Tennessee. Pregnant teenagers are missing and newborn babies are being sold to the highest bidder. A young boy unwillingly finds himself the target of two greedy men as he stubbles onto a plot to abduct teenage girls who have one thing in common they are all pregnant. It's daja vu for Jena Freemen who finds herself revisited by the very thing that led to her giving up her daughters twenty-six years agoB!seibab tekramkcal SECOND CHANCE is about another time and another chance for a daughter and a mother; for a young pregnant girl, who had been the victim of a kidnapping when she was three years old, only to find herself kidnapped again; and for a boy who had been at the wrong plance at the wrong time.
Today's academic discourse is filled with the word 'perform'. Nestled amongst a variety of prefixes and suffixes (re-, post-, -ance, -ivity?), the term functions as a vehicle for a host of contemporary inquiries. For students, artists, and scholars of performance and theatre, this development is intriguing and complex. By examining the history of theatre studies and related institutions and by comparing the very different disciplinary interpretations and developments that led to this engagement, Professing Performance offers ways of placing performance theory and performance studies in context.
During its impressive career over the last decades the term 'performative' has been attributed with many parallel meanings in the humanities, philosophy, arts, or economics. Empty Stages, Crowded Flats additionally applies the notion of the performative to the context of curating with the aim to unfold a potential that so far has been mostly unused. The book is following J. L. Austin, Judith Butler, and others in their belief in the performative capacity to transform reality with words and other cultural utterances, but it also emphasises the often dismissed, colloquial notion of the performative as something being 'theatre-like', believing that those two strands are in fact interdependent and intertwined. Empty Stages, Crowded Flats investigates an array of staged situations, from choreographed exhibitions, immaterial museums, theatres of negotiation, and discursive marathons, to street carnivals and subversive public-art projects, and asks how 'theatre-like' strategies and techniques can in fact enable 'reality making' situations in art, and how, as a consequence, curating itself becomes staged, dramatised, choreographed, and composed. With contributions by Frédérique Aït-Touati, Knut Ove Arntzen, Nedjma Hadj Benchelabi, Claire Bishop, Beatrice von Bismarck, Rui Catalão, Vanessa Desclaux, Tim Etchells, Galerie, Karin Harrasser, Shannon Jackson, Ana Janevski, Lina Majdalanie, Ewa Majewska, Florian Malzacher, Maayan Sheleff, Gerald Siegmund, Claire Tancons, Kasia Tórz, Rachida Triki, Jelena Vesić, Joanna Warsza, and Catherine Wood. A publication by House on Fire, Live Art Development Agency & Alexander Verlag Berlin. The book series Performing Urgency is supported by the Culture Programme of European Union.
The majestic beauty of Grand Teton National Park has moved people throughout time. Native Americans believed in the spiritual power of the towering mountain peaks and journeyed there to gain special powers. Early fur traders, who had just crossed less ominous mountain ranges, viewed with trepidation the massive obstacle that loomed before them on their passage to the Pacific Northwest. In others, the Tetons ignited vision and passion--a vision to preserve for all generations to come and a passion to protect the independent way of life known by the first settlers of this western frontier. The formation of Grand Teton National Park spanned the course of nearly 70 years. Although there were many people who shared the struggle before them, it was not until Stephen Mather and Horace M. Albright took up the fight in 1915 that steps towards success were taken. Albright's tenacity and ability to convey his vision to philanthropist John D. Rockefeller Jr. set in motion a very long journey that culminated with Pres. Harry S. Truman signing today's Grand Teton National Park into existence on September 13, 1950.
Sean Jackson and Jennifer Reed Jackson are at the point of decision within their marriage. Sean has to figure out how to make it back from Afghanistan with so much on his mind. Jennifer must decide whether she is fully invested in the success of their relationship or if she would rather be in the arms of another. Love, sex, and an underlying issue that they may not have the strength to overcome. THE DEPLOYMENT comes for what's already there to be revealed.
A revealing account on the various occurrences in the world that greatly affect humanity This World We Live In is an absolute expression of Shannon R. Johnson feelings on Holidays, Marriage , Mistreatment of Michael Jackson and Drugs, Money,World Religion and the Goverment,Splashed with enlightening Scriptures from the Bible this eye-opening read is a call for everyone to take part and bring the world to where God wants it to be.
Many times throughout my life I have felt lost, abandoned, confused, alone and forgotten by God. Each of these wandering times in The Waiting-Place, has set me up for an on-purpose encounter with Him. It is in these moments that my humanness collides with His Holiness and I am propelled deeper in my relationship with Him. If you are wandering, feeling lost and forgotten, if you have received a promise or word from God but feel it will never come to pass, then this study is for you. The next thirty days can change your life, your perspective and your understanding. Let's get you through The Waiting-Place and closer to your promise.
Teenagers face unique challenges. Attempting to navigate the transition between childhood and adulthood can be complex. In consideration of this transition, it is important to recognize that the thoughts, opinions, and actions of teens matter. They are our future, and as they lift their voice they have the power to make a positive difference throughout the world. Seventeen audacious teens have authored essays based on their unique experiences and perspectives. In this informative book, these young people discuss some of the reasons why they and teens everywhere matter and how everyone can make a difference. The issues raised reflect some of the challenges that adolescents encounter every day. The topics covered in the essays include public service, social media and cyber-bullying, stereotypes, academic and athletic achievement, diversity, and activism. Why I Matter...A Teen Perspective will inspire teens to utilize their gifts and blessings to make a difference. Proceeds from this book will be donated to the Jack and Jill of America Foundation. Why I Matter...A Teen Perspective was written by teenagers. Alex Armour Jr., Ayanna Armour, Morgan Bell, Jurnie Brayboy, Bryce Gaines, Aiden Haynes, Sydney Honorable, Conrad Hutchins, Jacqueline Hutchins, Shannon Jackson, Brianna Latham, Andrew McCoy, Skyelar Montgomery, Solenne Montgomery, Kamryn Powell, Tyler Webber, and Scott Woods II are all members of Jack and Jill of America, Incorporated, Alexandria-Mount Vernon Chapter. The authors wrote this book to inspire and uplift teens, and to raise money to support charitable work.
Slavery's Descendants brings together twenty-five contributors from a variety of racial backgrounds, to tell their personal stories of exhuming and exorcising America's racist past. Together, they help us confront the legacy of slavery and reclaim a more complete picture of U.S. history, one cousin at a time"--
Mobilizing Pedagogy serves as a document of two intersecting projects by leading practitioners of socially engaged art, Suzanne Lacy and Pablo Helguera. Since the early 1970s, Los Angeles artist, writer and professor Suzanne Lacy has been staging performance-based interventions that engage with social themes and urban issues, advocating for radical political change. Profoundly influenced by Lacy, New York-based Pablo Helguera represents the next generation of socially engaged artists. Through his performances, installations, exhibitions and writings he addresses history, pedagogy, sociolinguistics, ethnography and memory.Comprising text, photography, installation, collage, video and archival documentation, The School of Panamerican Unrest and The Skin of Memory/La Piel de la Memoria are representative of two seminal works by Helguera and Lacy (with anthropologist Pilar Riaño-Alcalá). Collectively these works incorporate many overlapping themes in the artists' practices, including immigration, race and social organisation, while more generally proving the efficacy and importance of socially engaged art today.
Controversial, provocative, and at the same time poignantly humorous. Andrea Fraser (*1965 in Billings, Montana) is one of the most influential and pioneering artists of her generation and has been captivating her audience for more than thirty years. She employs a wide range of media, including prints, photographs, installations, and performances as well as texts and videos, time and again reformulating the same question: what we all want from art--the motivation behind Fraser's artistic production, how we view it, and how the art market distributes it.The richly illustrated catalogue allows tracing the artist for the first time from the beginning of her career. It assembles the early Four Posters (1984) as well as her famous performances, such as Museum Highlights (1989), Inaugural Speech (1997), and Official Welcome (2001/03), linking them with her most recent videos.Exhibition: Museum der Moderne Salzburg, 21.3.-5.7.2015
The good neighbors, the folk under the hill, the fae. Spirits, ghosts, and outsiders, often thought to be gods. They step into the real world to play, not caring or knowing how humans live. And like children playing with dolls, they have the power to completely change the story. Featuring stories from Theric Jepson, Jack Campbell, Jr., Matthew M. Bartlett, Nicole Tanquary, Franklin Charles Murdock, Aubrey Campbell, Thomas Mead, Adan Ramie, Adrean Messmer, Betsy Phillips, Amanda C. Davis, Sophia Rose, Alexis A. Hunter, Shannon Iwanski, Kristin J. Cooper, Alex Shvartsman, James Michael Shoberg, Guy J. Jackson, Sandra M. Odell, Deborah Walker, Lynda Clark, Robin Wyatt Dunn, Stephen S. Power, Erin K. Wagner, Tracy Fahey, Samantha Kymmell, Diandra Linneman, Preston Dennett, and Senoa Carroll-Bradd, Faed will take you back to the fairy tales of your youth and into realms where no child would dare to tread.
The CSIS Commission on Countering Violent Extremism, cochaired by Tony Blair and Leon Panetta, was formed to develop a comprehensive and actionable blueprint to combat the growing appeal of violent extremism in the United States and abroad. Specifically, the Commission considered what the next U.S. administration must do, in close collaboration with governmental and nongovernmental partners, to diminish the appeal of extremist ideologies and narratives. This report is the culmination of the Commission’s work.
The present study was designed to assess the validity and utility of the proposed Aggression subscale, determine the impact of including the proposed subscale on the psychometric structure of the PAAS, ascertain if the inclusion of the proposed aggression subscale provides the PAAS with greater theoretical congruity, assess the exercise sensitivity of the proposed aggression subscale, and provide further evidence of the exercise sensitivity of the four extant PAAS subscales.
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