Performative Representation of Working-Class Laborers: They Work Hard
for the Money is a transdisciplinary anthology intersecting art theory
praxis, comparative literature, film & media studies, performance art,
ethnic studies, gender studies, age & aging, geography, and labor
studies. The book investigates and analyzes artwork created by artists or
collectives working within the dialogue of Postmodernism and current
global arts production. The focus on performative aspect of labor
as art and affect becomes more sensate and less about the exploited body
of labourers, liberating the representation of waged bodies and
further diversifying the field of Working-Class Studies.
1. Introduction.-
2. Performative Representations of Working Class
Labour as Language Games - Jennifer Vanderpool.- 3. Just coal seams and
heartbroken miners Poetic Representations of the 1984/85 Miners Strike in
(Post-) Industrial South Yorkshire - Ryan Bramley.- 4. The Feminine Mystique
and Reproduction Work: Anarchiving Labour Representation at EYE Film Museum
- Paula Albuquerque.- 5. Have You Ever Heard of Surplus Value? The Hard Work
of Representing Sex Work - PJ Starr.- 6. Precarious, Heroes and The Art of
Cleaning: Reading Cleaning Women. - Annika Olsson.- 7. Raising the Red
Rag Recontextualizing Working Class Womens Labour through Nightcleaners
(1975) and 36 to 77 (1978) - Colin Gardner.- 8. The opposite of looking is
not invisibility. The opposite of yellow is not gold - Huong Ngô & Hông-n
Truong.- 9. You Dont Have to Believe Me - Farrah Karapetian.- 10. Real
Work: Affective Labour and Reality Television. - Alexis Hudgins.-
11. Political Remix Video and the Working Class: Broadcasting Voices of
Resistance - Diran Lyons.- 12. Puffins, Porgs, Labour, and Lightsabers:
Production and Consumption of Cultural Space on the Skellig Coast of Ireland
- Jake Rowlett.
Jennifer Vanderpool holds a Ph.D. in Art Critical Practices in Trauma Studies from UC Santa Barbara. Her work has been awarded funding from DéPOT in partnership with the Social Science and Humanities Research Council of Canada, Andy Warhol Foundation for the Visual Arts, US-UK Fulbright Commission, Los Angeles Department of Cultural Affairs, Ohio Arts Council, Kunstrådet: Danish Arts Council, Kulturrådet: Swedish Arts Council, and Malmö Stad.
Colin Gardner is a Distinguished Professor Emeritus at UC Santa Barbara. His publications include Chaoid Cinem
a: Deleuze and Guattari and the Topological Vector of Silence (2021), exploring the use of silences and sonic drop-outs in sound films. This builds upon his previous book, Beckett, Deleuze and the Televisual Event: Peephole Art (Palgrave Macmillan, 2012). He co-edited Deleuze and the Animal and Ecosophical Aesthetics: Art Ethics and Ecology with Patricia MacCormack.
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