Hostname: page-component-78c5997874-m6dg7 Total loading time: 0 Render date: 2024-11-08T21:33:28.442Z Has data issue: false hasContentIssue false
  • English
  • Français

The Way We Perform Now

Published online by Cambridge University Press:  13 January 2015

Shannon Jackson
Get access Rights & Permissions [Opens in a new window]

Abstract

This piece is adapted from a lecture delivered in the “Performing Institutions” series curated by Artists Space with the 2012 Whitney Biennial. The event also included David Velasco of Artforum as well as Sarah Michelson, who had just become the first choreographer to win the Bucksbaum Award for the best work presented at the Whitney Biennial. Artists Space represented the Performing Institutions series in the following terms: “Taking as its starting point the 2012 Whitney Biennial's allocation of the fourth floor Emily Fischer Landau Galleries as a performance space for music, dance, theater, and participatory programming, this series of talks consider the status of performance and ‘virtuosity’ within the parameters of an institutional public sphere. Does this turn toward ‘activity without end product’ potentially shift entrenched relations between institution and artist, artwork and viewer, or reinforce a contemporary experience of totalizing social production?”

Type
Dialogues
Information
Dance Research Journal , Volume 46 , Issue 3: Dance in the Museum , December 2014 , pp. 53 - 61
Copyright
Copyright © Congress on Research in Dance 2014 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Works Cited

Davies, Siobhan. 2010. “Parallel Voices.” http://www.siobhandavies.com/studios/events/archive/parallel-voices2010/introduction/341-parallel-voices-2010.html.Google Scholar
Faires, Robert. 2012. “Fusebox Festival: All Shook Up.” Austin Chronicle. April 27. http://www.austinchronicle.com/arts/2012-04-27/fusebox-festival/.Google Scholar
Hardt, Michael. 2005. “Immaterial Labor and Artistic Production.” Rethinking Marxism: A Journal of Economics, Culture & Society 17(2): 175–177.Google Scholar
Horwitz, Andy. 2011. “Visual Art Performance vs. Contemporary Performance.” Culturebot, November 25. http://www.culturebot.org/2011/11/11663/visual-art-performance-vs-contemporary-performance/.Google Scholar
Jackson, Shannon. 2011. Social Works: Performing Art, Supporting Publics. Abingdon: Oxon, UK: Routledge.Google Scholar
Jowitt, Deborah. 2012. “Walking Backward in Devotion.” DanceBeat, March 3. http://www.artsjournal.com/dancebeat/2012/03/walking-backward-in-devotion/.Google Scholar
Kourlas, Gia. 2012. “Do Not Feed or Annoy the Dancers.” New York Times. April 1. http://www.nytimes.com/2012/04/02/arts/dance/michael-clarks-whos-zoo-at-whitney-biennial-2012.html.Google Scholar
La Rocco, Claudia. 2011. “Yvonne Rainer Blasts Marina Abramovic at MOCA LA.” The Performance Club, November 11. http://theperformanceclub.org/2011/11/yvonne-rainer-douglas-crimp-and-taisha-paggett-blast-marina-abramovic-and-moca-la/.Google Scholar
La Rocco, Claudia. 2012a. “Ode to Sweat.” The Performance Club. March 15. http://theperformanceclub.org/2012/03/ode-to-sweat/.Google Scholar
La Rocco, Claudia. 2012b. “Mothers in Search of a Child.” New York Times. May 18. http://theater.nytimes.com/2012/05/19/theater/reviews/there-we-will-be-buried-at-the-whitney-biennial.html.Google Scholar
La Rocco, Claudia. 2012c. “All Things Seen: Claudia La Rocco in Conversation with Marissa Perel.” Movement Research Critical Correspondence, April 19, 2012. http://www.movementresearch.org/criticalcorrespondence/blog/?p=4888.Google Scholar
La Rocco, Claudia. 2012d. “Do a Little Dance, Make a Little Love.” The Performance Club. http://theperformanceclub.org/2012/03/do-a-little-dance-make-a-little-love/.Google Scholar
Levere, Jane. 2006. “MoMA Expands Again.” ARTnews 105(10): 67.Google Scholar
Levine, David. 2006. “Bad Art & Objecthood.” Art/US no. 13, May/June. Reprinted in The Performance Club, September 11, 2012. http://theperformanceclub.org/2012/09/reprint-bad-art-objecthood/.Google Scholar
Marx, Karl. 1991. Capital: A Critique of Political Economy. London: Penguin Books.Google Scholar
Maxwell, Richard. 2012. “500 Words: Richard Maxwell, as Told to David Velasco.” Artforum, April 25. http://artforum.com/words/id=30817.Google Scholar
Sebaly, Abigail. 2010. “Cold Storage and New Brightness: The Merce Cunningham Acquisition at the Walker Art Center.” Brooklyn Rail, December 10. http://www.brooklynrail.org/2011/12/dance/cold-storage-and-new-brightness-the-merce-cunningham-acquisition-at-the-walker-art-center.Google Scholar
Velasco, David. 2012. “Performing Institution.” Symposia presented by Artists Space, May 26 and 29. http://artistsspace.org/programs/performing-institution-event.Google Scholar
Virno, Paolo. 1996. “Virtuosity and Revolution: The Political Theory of Exodus.” In Radical Thought in Italy: A Potential Politics, edited by Hardt, Michael and Virno, Paolo, 13–37. Minneapolis, MN: University of Minnesota Press.Google Scholar
Virno, Paolo. 2004. A Grammar of the Multitude. Los Angeles, CA: Semiotext(e) Foreign Agents Series.Google Scholar