Shannon Jackson – författare

‘a game-changer, a must-read for scholars, students and artists alike’ – Tom FinkelpearlAt 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.

‘a game-changer, a must-read for scholars, students and artists alike’ – Tom FinkelpearlAt 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.

The first in a series of four thematic volumes devoted to the world-class Kramlich Collection, the largest and most significant private collection of modern and contemporary media art. How does art respond to contemporary social questions? How, especially, does moving-image art address the themes that move us most? Drawn on works from the Kramlich Collection of time-based media art, The Human Condition comments on a range of complex political issues such as civil war, psychological isolation, human rights, gender relations, nuclear catastrophe and planetary degradation. Along the way, the featured artists innovate in their hybrid use of sound, image, performance, sculpture and screen technology. Since their first acquisition in 1987, pioneering collectors Pamela and Richard Kramlich have established one of the foremost international collections of media, video, film, slide, photography and performance art. In the first of four volumes devoted to the collection, The Human Condition presents signature works by internationally recognized artists such as Marina Abramovic, Doug Aitken, Dara Birnbaum, James Coleman, Pierre Huyghe, William Kentridge, Christian Marclay, Steve McQueen, Richard Mosse, Bruce Nauman, Shirin Neshat and Nam June Paik. The Human Condition also features newly commissioned essays from leading curators and scholars specializing in time-based media art, including Erika Balsom, Bill Brown, Adrienne Edwards, Chrissie Iles, Isaac Julien, Barbara London, Mark Nash, Catherine Wood and others. This book engages both newcomers and experts in the field with captivating imagery and rigorous reflection on some of the most influential contemporary art practices of the 20th and 21st centuries.

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. This 2004 book 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. Throughout, she explores the institutional history of performance in the US academy in order to revise current debates around the role of the arts and humanities in higher education.

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. This 2004 book 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. Throughout, she explores the institutional history of performance in the US academy in order to revise current debates around the role of the arts and humanities in higher education.

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.

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.