Documenting more than seven years of social practice and research by Lucy Wright.
Critical analyses of cultural spectacle and social identity by eighteen major Australian scholars and practitioners.
An exploration of what it means to be fabulous—and why eccentric style, fashion, and creativity are more political than ever.
Introduces urban hitchhiking, a reflective practice of sharing a walk with strangers, and considers its relevance for research and artistic practice.
In misc. folder 7.
The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women’s art practices provide a fascinating instance of women’s eccentric experiences of the myriad effects of globalization.
Drawing on more than ten years of ethnographic research in and around New York City, the book offers a kaleidoscope of subjects and stories that address how race is negotiated in today’s world-including tales of book-vending numerologists, urban conspiracy theorists, corrupt police officers, mixed-race neo-Nazis, and gospel choirs forbidden to catch the Holy Ghost.
Part of the Library of Performing Rights (LPR) (P3041).
Attempts to reconcile the paradoxes of Iranians’ everyday life in the first decade of the twenty-first century.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Madison presents the neglected yet compelling and necessary story of local activists in South Saharan Africa who employ modes of performance as tactics of resistance and intervention in their day-to-day struggles for human rights.
A look at how those outside the racial and sexual mainstream negotiate majority culture—not by aligning themselves with or against exclusionary works but rather by transforming these works for their own cultural purposes. Muñoz calls this process “disidentification,” and through a study of its workings, he develops a new perspective on minority performance, survival, and activism.
This cross-disciplinary study draws on both Theatre Studies and Sociology to examine the performance situations of Forced Entertainment’s productions ‘Bloody Mess’ and ‘The World in Pictures’: What practices do participants employ to create the `space` and ´characters` in a performance? In what ways do the spectators become the actual ´players` in a performance? The book contains numerous interviews with Tim Etchells, founding member and artistic director of Forced Entertainment. In German with some English texts.