Back Stages
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A01=Shannon Jackson
Art
Author_Shannon Jackson
Category=ATD
Contemporary
Critique
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_nobargain
eq_non-fiction
essays
feminism
Harrel Fletcher
higher education
history
Hull-House
installation
Media
Museum
Participation
Paul Ramirez Jonas
Performa
Performance
Politics
queer
Reform
Rick Lowe
site specific
Social Change
Theaster Gates
Theory
visual culture
wpa
Product details
- ISBN 9780810144842
- Weight: 363g
- Dimensions: 152 x 226mm
- Publication Date: 30 Jun 2022
- Publisher: Northwestern University Press
- Publication City/Country: US
- Product Form: Paperback
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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 Ramirez Jonas, Harrel 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.
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 Ramirez Jonas, Harrel 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.
Shannon Jackson is the Cyrus and Michelle Hadidi Professor of Rhetoric and of Theater, Dance, and Performance Studies at the University of California, Berkeley. She is the author of The Builders Association: Performance and Media in Contemporary Theater; Social Works: Performing Art, Supporting Publics; Professing Performance: Theatre in the Academy from Philology to Performativity; and Lines of Activity: Performance, Historiography, Hull-House Domesticity. Her writing has also appeared in dozens of museum catalogs, journals, and edited collections. Jackson has received numerous awards, including a 2015 John Simon Guggenheim Fellowship, and she serves on the board of the Kramlich Art Foundation and the Oakland Museum of California, among others.
