Copyright 2008 by the Studies in Art Education National Art Education Association A Journal of Issues and Research 2008, 49(2),136-146 “This Performance Art is for the Birds:” Jackass, ‘Extreme’ Sports, and the De(con)struction of Gender

Robert W. Sweeny Indiana University of Pennsylvania

Correspondence Many challenges currently face art educators who aim to address aspects of popular regarding this article visual culture in the art classroom. This article analyzes the relationship between should be sent to the performance art and the MTV program Jackass, one example of problematic author at 115 Sprowls popular visual culture. Issues of gender representation and violence within the Hall, 470 N. 11th context of Reality TV and ‘extreme’ sports will be analyzed, with the intent of Street, Indiana, PA questioning the pedagogical limitations and possibilities of such topics within the 15701. E-mail: field of art education, in order to provide art educators with related critical peda- [email protected] gogical strategies. The author wishes to thank Dr. Charles This isn’t a movie: it’s a symptom. Garoian for his invaluable review of an —Brian Webster (2005) early draft of this article, which was presented at With the release of Jackass Number Two in 2006 (Tremaine, 2005), the 2006 NAEA Annual the entertainment world was once again confronted with a peculiar chal- Conference, Chicago, lenge: How to respond to a motion picture released by a major studio Illinois. made up of short clips featuring gross-out gags and life-threatening stunts, with no script, no actors, a minimal budget, and enough images of excrement to justify the double entendre of the title? Simple. Either applaud the film for its lowbrow insolence and potential for cathartic release, or pan it for the same reasons. As film critic Brian Webster (2005) states, the popular television show and film series might be best thought of as a representation of a larger problem, of all things wrong with the entertainment world in the 21st century, an infec- tious meme that, upon viewing, spreads beyond the sealed confines of the cathode ray tube into the living room, the backyard, and the quiet 1The opening scene suburban street.1 presents this through the (subtle) metaphor It is this infectious potential of Jackass, the television show and its of the Jackass crew filmic offshoots, and the larger confluence of reality TV, ‘extreme’ sports, recreating the ‘running and accessible media that it represents, that requires a thoughtful, critical with the bulls,’ replacing Pamplona with a response from art educators living within a visual culture. Does Jackass, stereotypical suburban an example of popular, problematic visual culture, represent the limits neighborhood, the bulls of that which can be discussed in the art classroom: the unteachable? Or, destroying bodies and buildings alike. might an analysis of Jackass, as it relates to contemporary performance art theory and practice, allow for constructive responses that address issues of media violence and gender representation, where art educators and students might develop critical, creative responses that resist infection?

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“This Performance Art is for the Birds” The television program Jackass debuted on MTV in 2000. It was quickly reviled for featuring stunts and gags performed by a variety of individuals, the most popular of which were Steve-O (Steven Glover), Chris Pontius, Bam Margera, and Johnny Knoxville (Philip John Clapp). The show was developed from two sources: Big Brother skateboarding magazine and the skateboarding video Landspeed: CKY (Margera, 1999). It is important to note that both of these inspirations are derived from the world of skateboarding; the marketing of skateboarding as an ‘extreme’ sport points to the larger interrelationship between shows such as Jackass and media representations of gender identity, with provocative links to recent examples from performance art practices, which will be discussed following an exploration of the Jackass phenomenon. Jackass continued a tradition of inane, risqué, and blatantly lowbrow programming on MTV established by shows like Beavis and Butthead and The Tom Green Show. It also tapped into the Reality TV market, extending the voyeurism of Big Brother, which debuted in the Netherlands in the summer of 1999, and anticipating gross-out shows such as Fear Factor (2000). It became infamous when young people started to mimic stunts from the show, such as in the case of 13-year-old Connecticut native Jason Lind, who tried to re-create the infamous ‘meat suit’ perfor- mance from season one. This segment involved the character Johnny Knoxville lying atop a large barbeque grill, wearing a flame retardant suit covered with steaks. Awkwardly rising from the grill, Knoxville samples a piece of barbequed meat, and states, wearily: “This performance art is for the birds.” Whereas Knoxville was suitably protected from the intense heat of the fire, Lind was not; he doused his legs with gasoline and lit himself on fire, suffering from second and third degree burns to his legs and feet (Teller, 2001). News of the Lind case quickly spread, generating responses from MTV as well as politicians such as Joe Lieberman (2001), Independent Senator from Connecticut, who noted in a press briefing: Most children are not going to make the tragic mistake Jason Lind did. But there are a number of children out there watching your programming who may be susceptible to the powers of MTV’s persuasion and try one of these stunts without thinking of the consequences. That being the case, I think we all have an obligation—parents and programmers alike—to do what we can to protect these children and limit the potential for harm to them. As referenced by Lieberman, and in the Webster (2005) epigraph, many feel that MTV holds an undue amount of influence on today’s

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youth. In a statement, titled MTV’s Programming Hurts Kids (Pitts, 2005), U.S. Congress lawmaker Joseph R. Pitts, a Republican from Pennsylvania, addressed the House of Representatives on the dangers of MTV: “Madam Speaker, it seems that Music Television plays a lot more than music these days. From reality TV to tasteless dramas, MTV has become one of cable’s largest purveyors of smut.” While Pitts does not mention Jackass or the Lind case specifically, he does reinforce the image of MTV as being harmful to the youth of the United States. In this statement, the danger is increased in the shift from broadcasting professionally produced music videos to the increased airplay of Reality TV programs, such as The Real World, Road Rules, and, of course, Jackass. These Reality TV programs lack the gloss of the average music video; they appear amateurish, and, therefore, are more easily replicated. In response to such criticism, MTV can comfortably refer to the disclaimer that precedes each episode of Jackass: The following show features stunts performed by professionals and/or total idiots under very strict control or supervision. MTV and the producers insist that neither you or anyone else attempt to recreate or perform anything you have seen on this show. This statement is clearly offered as a legal protection from lawsuits such as those that followed in the wake of the Jason Lind incident. However, as viewed within the larger spectrum of Reality TV programming, the legitimacy of the ‘reality’ of Jackass is thrown into question through the use of the label ‘professional.’ Surely part of the provocative nature of the show is due to the fact that the activities caught on film typically require little skill: Can one be a professional Jackass? Although the Jackass crew represents the ‘average,’ bored, white male, who, for lack of anything better to do, attempts to outdo friends through physical exertion and body humor, they are, in most cases, well-trained, either as professional skateboarders, or, in the case of Steve-O, as a circus clown. The unprofessional production of the skits, shot on handheld digital video without the assistance of a ‘steady cam’ device, contributes to their unvarnished allure. Art educators and students might first inquire as to the relationship between the professional training and assistance that the Jackass crew undergoes, and the low-tech manner of presentation as the first of many critical questions raised by the show. Why go to so much trouble to develop and organize these skits and stunts, only to present them as if they were spontaneous, and unplanned? What are the responsibilities of MTV, and the producers of Jackass, when these stunts are replicated, with disastrous consequences, in the case of Jason Lind? I suggest that the tension between the production and the presen- tation of Jackass introduces a problematic scenario for those who buy

138 Studies in Art Education “This Performance Art is for the Birds” into the ‘reality’ of Reality TV. 2 As Andrejevic (2004) suggests, Reality TV exists within and is sustained by complex networks of commerce, technology, and visuality, increasing the potential for both suspicion 2See jagodzinski (2003) for a relevant, Lacanian and glamorization of the mechanisms of surveillance, of watching and analysis of the ‘reality’ of being watched. Jackass therefore presents itself as a marker for the limits Reality TV. of acceptable social behavior, as the symptom indicates the spread of disease or illness, while indicating that replication of the activities are within the reach of the average viewer. As such, they might also stand for rites of passage for masculinity in an age of reality TV and interactive media. Masculinity and Jackass The “professionals and/or total idiots” who make up the Jackass crew are, by and large, white men between the ages of 20 and 30, from middle-class backgrounds. Occasionally a woman will assist with a stunt or prank, but they are typically acting out a stereotypical role, such as a cardholder in a boxing match (held in a sporting goods store) or a nurse in a fertility clinic.3 While most segments do not directly address the notion of masculinity, many depict, and perhaps reinforce, gender 3In fact, this stunt was stereotypes. a challenge to see which cast member could As Judith Butler (1999) proposed, gender is performed, and is ejaculate the fastest, therefore far more complex than the binary male/female designations and who could produce the most semen, a rare commonly prescribed in Western cultures. When masculine difference example of a direct appears in the Jackass program, it is often as a prop or gag. Jason “Wee reference to masculinity Man” Acuna is a professional skater and little person who is well known in the program. in the world of skateboarding. He often appears next to Preston Lacy, who is clearly overweight, and stands out against the athletic male bodies of the remainder of the Jackass crew. These two represent the limits of the body image reinforced in Jackass, while still within the white male template. These two often participate in separate skits that bring these differences to the forefront. Lacy and Acuna are infantilized, wearing diapers and running through urban streets, and often cannot participate in many of the skits that are based on endurance. Provided with these examples, it might be easy to assess that Jackass simply reinforces a notion of masculinity where violence equates with competition, and difference in terms of body image and sexuality is eliminated, or marginalized through satire. Is it possible that the program could present a critique of masculinity, or perhaps, operate as both reinforcement and critique, simultaneously? I will attempt to answer this question, first, by looking at relevant examples from the history of performance art, and second, by framing the activities of Jackass within contemporary ‘extreme’ sports marketing.

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Jackass and Performance Art As a contemporary art form, performance art is often seen as a synthesis of world theatrical and dance traditions (Schechner, 2002). Within the visual arts, many root the early forms of performance art to the work of the DADA group, where participants sought to translate the absurdity of life in Europe during World War I into art, fusing visual and performing arts, and combining popular culture with high cultural art forms (Richter, 1997). Performance art rests uneasily within the linear narratives of 20th- century Western art, existing on the border between high and low culture, theatre and visual art, education and entertainment. It inhabits this liminal space, the space between established ways of thinking, and as art educator Charles Garoian (1999) has proposed, performance art can allow for critical interventions within educational spaces where disciplinary boundaries are fixed and behaviors delimited. Many performance artists have questioned notions of gender identity through their work, from the cabaret acts of DADA artists Hugo Ball and Baroness Else von Freytag-Loringhoven to the ‘interior scroll’ of Carollee Schneeman, extending to performances central to the social life of many drag queens as documented in Paris is Burning (Livingston, 1990). Performance art allows for difference to be addressed, magnified, and thrown into greater relief, critiquing gender stereotypes while, perhaps, reinforcing such binary distinctions. As the ‘Meat Suit’ skit suggests, the concept of performance art is not foreign to the Jackass crew. Johnny Knoxville makes mention of the term in at least two skits. In an interview prior to the release of Jackass, The Movie (2002), he was asked the following questions: M: Have you ever been slapped with the performance-artist tag? JK: Yeah, performance art is one thing and performance artist is another. Performance artists are always so goddamn self- important and intellectualizing everything they do. I don’t intel- lectualize anything I do. I’m kind of uncomfortable with that term because it just comes across as highbrow, elitist, pompous and not entertaining. We’re just trying to make you laugh. M: Would you feel more comfortable just calling it modern slapstick? JK: Yeah, we’re just like the Three Stooges except we’re doing it for real. (Cummins, 2001) Knoxville clearly sees himself as something other than a performance artist, though he leaves open the possibility for Jackass as performance art. This raises the question: Can one create performance art without being considered a performance artist?

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The more interesting question relates to Knoxville’s statement, “This performance art is for the birds,” from the ‘Meat Suit’ skit described earlier. Why does Johnny Knoxville make this statement, and perhaps, more importantly, why is it included in the skit if the connection is not important? Is it a knowing jab at the ‘highbrow, elitist, pompous, and not entertaining’ performance artists? Or, is it a way of framing his actions as performance art? How would the MTV viewer take this comment? Would she/he even recognize the term? The term might conjure images of the Blue Man Group or Cirque de Soleil, although the shock tactics used in Jackass is far from the glitz of the Las Vegas strip. It could remind some MTV viewers of the controversy surrounding the National Endowment of the Arts, and their funding of controversial contemporary artists including performance artists Tim Miller and Holly Hughes. Though perhaps not as recog- nizable, the destruction, and perhaps, deconstruction, of gender in the work of performance artists Chris Burden and Paul McCarthy might allow art educators and students to begin to critique the ‘performance art’ presented in Jackass. Chris Burden made a name for himself early in his career by testing the limits of his body and the temperament of his audience. In Shoot (1971), he held a gallery opening where, assisted by two friends, he was shot in the arm while the event was filmed (Reed, 2001).4 In Five Day 4A selection of Burden’s Locker Piece (1971), Burden locked himself in a locker with 5 gallons of work can be viewed at http://www.ubu. water in the space above, and a five-gallon bucket below to collect waste com/film/burden. produced over the duration of the piece. html. In a recent, ironic Paul McCarthy certainly uses a variety of tactics designed to elicit twist to this infamous piece, Burden and discomfort from his audience, including the liberal use of a variety partner Nancy Rubins of materials that simulate bodily fluids and waste. In Painter (1995), were rumored to have McCarthy adopts the personae of a cartoon-like artist in a low-budget resigned their positions as teachers in UCLA’s video piece. He wears a bulbous fake nose and oversized prosthetic hands art department after an that he uses to awkwardly fling food and paint onto canvas and across art student loaded a gun his living space, surrounded by oversized paint tubes labeled ‘orange’ and fired it during an art and ‘shit.’ At the conclusion, he meets with an art dealer, who spends an performance in class. inordinate amount of time sniffing his posterior. Both artists explore the boundaries of the human body in their work, typically through violent actions: Burden through self-inflicted pain, and McCarthy through the destruction of the performance space, remnants of which have been displayed as works in their own right. Through these acts of violence, they disturb the separation between performer and audience, challenging Western theatrical traditions in a manner similar to that suggested by Antonin Artaud. In his concept of the “Theatre of Cruelty,” Artaud (1994) suggested that incorporating the ritual engagement of Eastern cultures with Western theatrical tradi-

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tions might create a dramatic space that could perform a critical role in society, allowing for the realization of Aristotelian catharsis. If the work of Burden and McCarthy can be considered cathartic, is this a form of catharsis that is reserved for white men, as the examples that have been presented might suggest? Although Jackass typically limits participation to white men, performance art historically has been a field where participation encompasses a wide variety of gender identifica- tions and ethnicities (Garoian, 1999). For example, performance artist Diamanda Galas fuses numerous musical traditions in her recorded works and performance pieces, which deal with the AIDS crisis and the effects of the Turkish genocide (Kosman, 2006). William Pope.L uses feats of endurance to explore issues related to race, such as Great White Way (2001–present), which consists of Pope.L crawling from the Statue of Liberty to the Bronx over a 5-year period (Workman, 2002). While certainly not exhaustive, these artists point to the variety exem- plified by contemporary performance art practices and raise the following question: Do white men, as a privileged group, have the ability to use self-destruction as either a metaphor, or as entertainment, where other groups might not? Answering this would require an analysis of the mass media in general, which is beyond the scope of this article. However, a discussion of documentation in the previously discussed examples will allow for the issue of representation and mediation to be explored further. Each of these artists has documented their work: Galas has produced audio as well as video records of her work, while the work of Pope.L resists comprehensive documentation due to the duration of many of his pieces. McCarthy and Burden both documented their early perfor- mances through available film technologies. This is perhaps both an aesthetic choice and one born of necessity. Before the development of the Sony Handycam® in 1983, moving images were shot using tradi- tional film equipment (Sony, 2007). This equipment was quite bulky by contemporary standards, and resulted in a grainy, washed-out picture quality that is easily emulated by affordable contemporary digital video technology. The documentation used by these performance artists is shared with Jackass, a fact that allows the performances to be viewed by a wider audience, becoming commodified in the process. This mediation of the activities presented in Jackass would seem to push it beyond the antics of bored juveniles or spontaneous street theatre, also allowing for the work to have broader cultural influence. Video transforms socially aberrant behavior into art, in the previously discussed examples, while it makes Jackass television, due to the intent of the participants. This does not mean that we cannot read either against the grain of artistic intent. This critical inversion might point to a moment when Jackass is understood as something more that pranks and stunts, and, in the same turn, the work

142 Studies in Art Education “This Performance Art is for the Birds” of Burden, McCarthy, Galas and Pope.L is seen within a broader cultural context that includes America‘s Funniest Home Videos and Cops.5 5This ironic potential Performance art offers innumerable opportunities for participation, was not overlooked by Burden, who paid when compared with earlier art forms and practices (Goulish, 1999). for a 10-second clip As such, Jackass as performance art does not seem that far-fetched. of Through the Night Contributing to the accessibility of Jackass is the low-tech manner in Softly to be broadcast on Southern California which the program is shot and presented. The Jackass aesthetic is one Cable TV in 1975. that is both easily accessible and easily replicated, as the numerous Jackass-style clips available on YouTube and Google video indicate. This links the work of video-based performance artists and the Jackass ‘profes- sionals.’ However, this relationship might be better understood through a discussion of recent attempts to market skateboarding as an ‘extreme’ sport. Skateboarding and Being Filmed Ever watch kids skateboarding in a park or any public place with things like stairs and railings? They seem not to mind crashing. In fact, it’s almost as if the skateboarding is secondary to the real fun of falling down in a cool way (Pesca, 2001). The transition from filming skateboarding to filming extreme behavior can be seen in the staple of early Jackass clips involving shopping carts being ridden into a variety of plants, trees, and shrubbery. The camera is held by someone who is typically also rolling on a skateboard, a technique developed by skaters for videos released by companies for promotion of products or team members. Skateboard videos have become increasingly polished, employing high tech cameras and editing techniques, while still incorporating an amateur sensibility. In the early Jackass shopping cart stunts, the successfully completed skateboarding trick is replaced with an absurd conclusion. Whether this evolved from post-skate session boredom, or from the ‘bails‘ sections of skate video that featured the tricks that did not end as planned, usually 6As a lifelong skate- with physical injury, the connection between skateboarding and Jackass boarder, I can personally is solid.6 attest to the influence What of skateboarding and performance art? Theorist Richard that the handheld video camera has had on skate- Schechner describes performance art as “twice behaved behavior” (as boarding. Though I have cited in Garoian, 1999, p. 5). While I argue that skateboarding is rarely taken part in such performance art in specific instances, such as Mark Gonzales’ (1998) documentation, I have installation at Stadtisches Museum in Monchengladbach, Germany 7, witnessed an increase in video documentation, the documentation of skateboarding changes the nature of the actions, to the point where I can and has changed the sport as a whole. almost guarantee that at any skate spot there will Skateboarding, when filmed, has the potential to become ‘twice be someone filming. behaved,’ as it is performed and subsequently viewed, by both the skater 7http://www.cheryldunn. and audience, allowing for the perpetuation of styles and tricks. As net/films/back_worlds_ skateboarding becomes a popular sport, marketed to young people as for_words.html

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‘extreme,’ most visibly in the ESPN Xgames, the lines between perfor- mance art and skating tend to blur. The send-ups of ‘extreme’ roller- skating, urban kayaking, and even shopping cart riding of Jackass are particularly interesting if seen as a critique of this mass-commodification of an underground sport. When seen in this light, Jackass becomes a critique of the branding of skateboarding as an ‘extreme’ sport, and the masculinity that accom- panies this label. In order to carry out this critique, however, the Jackass skits must engage in violent, or at best reckless, activities that reinforce a notion of masculinity. As Johanna Drucker (2006) suggests, many contemporary art forms acknowledge the complicity between economic, social, and cultural issues. She refers to the performances of Vanessa Beecroft as problematic examples of contemporary art that raise issues of exploitation and gender, participating in practices that many cultural critics wish to dismantle. Beecroft has staged performances that involve arrangements of scantily clad fashion models that smack of exploitation, though similar scenarios are commonplace and generally accepted in the fashion world. In VB39 (1999), Beecroft arranges a group of Navy SEALS in the San Diego Museum of Contemporary Art in formation and on display for the audience to see. In doing so, she generates the potential for conversa- tions regarding gender policies in the military as well as the connection between national security and masculinity (Drucker, 2006). In much the same way, the masculinity represented by Jackass can be questioned, if one acknowledges the problematic nature of the original presen- tation, and how this is not the intent of the participants: this would undoubtedly be seen as the ‘intellectualizing’ behavior of performance artists that Johnny Knoxville disparages. The ‘End’ Jackass can thus be read as a complex intersection of gender stereo- types, ‘extreme’ sport mockery, and performance art. This analysis raises larger questions regarding popular visual culture and art education: Is it appropriate to incorporate media sources that are vulgar and poten- tially dangerous if imitated, as in the case of Jackass as well as Burden, McCarthy, Galas, and Pope.L? Is it still relevant to discuss performance art, and perhaps organize performances as studio activities, if the students are limited to their range of ‘appropriate’ responses? The dangers of emulation are clearly identified in the case of Jason Lind. Perhaps the role of the art educator, when discussing challenging subject matter, is to present a number of responses that are relevant and critical without being life-threatening. One constructive possi- bility is that art students might choose to reenact Jackass skits, replacing the existing markers of gender and race with those of their choosing,

144 Studies in Art Education “This Performance Art is for the Birds” subverting the initial intent: A barbecue grill becomes a Betty Crocker® Easy Bake Oven; a ‘meat suit’ becomes a prom dress. These types of activities are certainly not free from controversy. In my brief example, one stereotype is replaced with another, an action that is pointless unless followed by further critical investigation. Inevitably, it is up to individual art educators to decide which art forms, concepts, and actions are most relevant for classroom inclusion. If MTV’s programming does, indeed, ‘hurt children,’ and if Jackass is not just a movie, but a symptom, then it seems quite relevant to discuss these issues with young people, who are the target demographic for these programs. It is also important not to assume that young people are not already participating in gestures that are critical in nature. As popular visual culture continues to expand and increase in complexity, so do the possibilities that young people are analyzing and challenging these productions in ways unrec- ognizable to those more accustomed to centralized media forms. Artistic production will continue to diversify and expand in an age of participatory media (Jenkins, 2006). The ability for individuals to document lived experience, emulate media forms, and share them via social media outlets such as YouTube and Flickr will provide challenges for art educators engaged with questions regarding digital visual culture; these developing forms of expression may also open up possibilities for critical questions to be asked and for creative responses to be formed (Sweeny, 2004). As I have suggested, the themes of gender stereotypes, consumerism, and subcultural identification warrant the discussion of the relationship between Jackass and performance art in the art classroom. You may agree. Perhaps, however, you side with Johnny Knoxville and proclaim that these issues are “for the birds”?

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