Catalogue > By Keyword > Shannon Jackson
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Empty Stages, Crowded Flats: Performativity as Curatorial Strategy
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.
Performance Matters Archive
Boxset contains 40 DVDS documenting public events with contextualising texts. Shelved in Oversize section.
Living as Form : Socially engaged art from 1991 - 2011
Living as Form grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a survey of more than 100 projects that use aesthetics to affect social dynamics.
Elmgreen & Dragset: Performances 1995-2011
Showcases 43 performances and live works by Danish-Norwegian artist duo, marking the first time the artists’ practice is considered in depth from a performance perspective.
Working Publics
Social Works: Performing Art, Supporting Publics
An interdisciplinary approach to the forms, goals and histories of innovative social practice in both contemporary performance and visual art.
This item is referenced in the Dreams for an Institution Guide (P2313).
Performance Matters: Performing Idea
Audio CD of Symposium and performances for Performing Idea.Track List:
Professing Performance: Theatre in the Academy from Philology to Performativity
Considers the connection amongst a range of performance forms such as oratory, theatre, dance, and performance art and explores performance as both a humanistic and technical field of education. This item is referenced in the Dreams for an Institution Guide (P2313).
Performing Idea: Reciprocal Aesthetics
Performance Matters, Performing Idea – Reciprocal Aesthetics 7th October 3:00-7:30pm Toynbee Studios. The participation of the spectator in making the meaning of the work of art has been a staple of art and performance practices long before the recent charged debates on ‘relational aesthetics.' Yet art, however solitary, is arguably always a kind of collaboration and involves itself in some form of exchange. What can be at stake in this exchange? Speakers will examine the notion and limits of the idea that contemporary art and performance is a reciprocal affair. They will ask what gets transacted in contemporary art? What is given and what is taken, what is shared and what cannot be shared? This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)
Performing Idea: Reciprocal Aesthetics
Performance Matters, Performing Idea – Reciprocal Aesthetics7th October3:00-7:30pmToynbee StudiosWith: Ron Athey, Wafaa Bilal, Maaike Bleeker, Shannon Jackson and Julie Tolentino The participation of the spectator in making the meaning of the work of art has been a staple of art and performance practices long before the recent charged debates on ‘relational aesthetics.’ Yet art, however solitary, is arguably always a kind of collaboration and involves itself in some form of exchange. What can be at stake in this exchange? Speakers will examine the notion and limits of the idea that contemporary art and performance is a reciprocal affair. They will ask what gets transacted in contemporary art? What is given and what is taken, what is shared and what cannot be shared?
