Disability Art is Dead, Long Live Disability Art!: The Sick Crip Disabled Avant-Garde.
This article critically engages performances of the Disabled Avant-Garde (DAG), a live art collaboration of Aaron Williamson and the late Katherine Araniello, who advocate for sick and crip political subjectivity. Chiming with Robert McRuer's definitions of crip as 'excessive, flamboyant defiance' o...
| Publicado en: | Contemporary Theatre Review Vol. 34; no. 3; pp. 261 - 280 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Aug2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=182091413&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 182091413 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 10486801 7VS jtl: Contemporary Theatre Review issn: 10486801 maglogo: N pubinfo: dt: Aug2024 vid: 34 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 182091413 10.1080/10486801.2024.2388030 ppf: 261 ppct: 19 formats: fmt: – @attributes: type: T – @attributes: type: P size: 3.8MB tig: atl: Disability Art is Dead, Long Live Disability Art!: The Sick Crip Disabled Avant-Garde. aug: au: Roberts, Eleanor su: People with disabilities in art Avant-garde (Arts) Williamson, Aaron Araniello, Katherine McRuer, Robert sug: subj: People with disabilities in art Avant-garde (Arts) Williamson, Aaron Araniello, Katherine McRuer, Robert keyword: accessibility austerity crip humour crip theory disability art disability culture disability studies inclusivity institutional critique live art performance art sickness ab: This article critically engages performances of the Disabled Avant-Garde (DAG), a live art collaboration of Aaron Williamson and the late Katherine Araniello, who advocate for sick and crip political subjectivity. Chiming with Robert McRuer's definitions of crip as 'excessive, flamboyant defiance' of the medical model of disability, DAG lampooned what they called 'juvenile forms of entertainment', patronising cultures of 'celebration', and disability arts funding structures of 'cheerleading for the Mayor'. Situating DAG historically within contexts of austerity (past, ongoing) and material infrastructures of disability art, this article argues that their legacy of crip humour and cultural unproduction is to demand disentanglement from the tyrannical binary of tragedy and celebration which frequently grips representations of disability. In performance interventions Stage Invasion (2011), Charity Stall (2007, 2008), and the film Amazing Art (2009), DAG appeared in turn as uninvited Grim Reapers, they ripped off unsuspecting publics through fake disability arts charity ventures, and they satirised empty rhetoric of inclusion and 'amazingness'. Their work speaks back sarcastically not only to sinister and hegemonic assessments of who is 'really' disabled, but also who is 'really' an artist in the face of austerity and disability 'inspiration porn'. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Theatre Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Theatre Review holder: Taylor & Francis Ltd dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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