To Make Time Ppear

Total Page:16

File Type:pdf, Size:1020Kb

To Make Time Ppear ! ∀#∃∃! ! % &#∋() ! ∗+,−(! . / 0 ! 1 22 !30!!2&∃#∀2 0 0 1 0 0 ∋ ) 0 1 3 0 3 ! 4 0 4 0 0 4 0 1 56 3 7! 4 0 00 ! 1 0 0 03 3 ! 4 4 4 8 0 0 9 : 4 7 1 1 0 7 7 4 3 0 2 ! 22 ,3!30 !! 8 0 1, ;30!! Art Journal The mission of Art Journal, founded in %)'%, is to provide a forum for In This Issue Vol. !", no. # scholarship and visual exploration in the visual arts; to be a unique voice in the Fall $"%% fi eld as a peer-reviewed, professionally mediated forum for the arts; to operate ! Katy Siegel in the spaces between commercial publishing, academic presses, and artist Title TKTK Editor in Chief Katy Siegel presses; to be pedagogically useful by making links between theoretical issues Editor Designate Lane Relyea and their use in teaching at the college and university levels; to explore rela- Reviews Editor Howard Singerman tionships among diverse forms of art practice and production, as well as among Senior Editor Joe Hannan art making, art history, visual studies, theory, and criticism; to give voice and Centennial Essay Editorial Assistant Mara Hoberman publication opportunity to artists, art historians, and other writers in the arts; Digital Fellow Katherine Behar to be responsive to issues of the moment in the arts, both nationally and glob- " Krista Thompson Designer Katy Homans ally; to focus on topics related to twentieth- and twenty-fi rst-century concerns; A Sidelong Glance: The Practice of African Diaspora Art History in the United States Production Nerissa Vales to promote dialogue and debate. Table of Codirectors of Publications Joe Hannan, Betty Leigh Hutcheson Captions in Art Journal and The Art Bulletin use standardized language Editorial Board Doryun Chong, Constance DeJong, Jan Estep, Karin Higa, to describe image copyright and credit information, in order to clarify the Saloni Mathur, Terence E. Smith, Jenni Sorkin, Rachel Weiss Contents Forum: Performance, Live or Dead copyright status of all images reproduced as far as possible, for the benefi t of readers, researchers, and subsequent users of these images. Art Journal (issn """'-($')) is published quarterly by the College Art Information on the copyright status of a reproduction is placed within " Amelia Jones, Introduction Association, !" Broadway, $%st fl oor, New York, NY %"""'. $%$.*)%.%"!%, parentheses, at the end of the caption data. A distinction is made between ext. '%'. E-mail: [email protected]. Website: www.collegeart.org. "" copyright status of an artwork and of the photograph or scan of an artwork Ron Athey, Getting It Right . Zooming Close Compilation copyright © $"%% College Art Association, Inc. Contents copyright © provided for reproduction purposes, where this information has been provided $"%% by the respective authors, artists, and other rights holders. All rights in Art "" Sven Lutticken, Performing Time to us. Journal and its contents reserved by the College Art Association and their respective In order to provide clear information to readers, rights holders, and owners. Except as permitted by the Copyright Act, including section %"+ (the fair "" Sharon Hayes, The Engendering of Illusion subsequent users of images, CAA has established conventions for describing the use doctrine), or other applicable law, no part of the contents of Art Journal may copyright status of the works we publish: be reproduced without the written permission of the the author(s) and/or other "" Sophia Yadong Hao, Memory Is Not Transparent rights holders. The opinions expressed in this journal are those of the authors and Artwork in the public domain not necessarily of the editors and the College Art Association. Artwork copyright © Name "" Branislav Jakovljević, On Performance Forensics: Photograph copyright © Name Subscriptions and back issues: Art Journal is available only as a benefi t of The Political Economy of Reenactments Photograph provided by [name of photographer, image bank, or other membership in the College Art Association. For information about member- provider] ship, please write to CAA, !" Broadway, $%st fl oor, New York, NY %"""'. "" William Pope.L, Canary in the Coal Mine Artwork published under fair use $%$.*)%.%"!%, ext. %$ . E-mail: [email protected]. Send orders, address Photograph by Name (where copyright is not asserted by the provider) changes, and claims to Membership Services, CAA. For back-issue purchases, "" Helen Reckitt, To Make Time Appear Photograph by the author contact nyo, [email protected]. Where the information is available, a work of art is identifi ed as being either Authorization to copy or photocopy texts for internal or personal use (be- in copyright or in the public domain. If the copyright holder is known, it is yond uses permitted by sections %"+ and %"- of the US Copyright Law) is granted Features identifi ed. If an artwork is in the public domain but copyright is asserted in by the College Art Association without charge. For educational uses, such as the photograph or scan of the artwork used for reproduction, the copyright course packs or academic course intranet websites, please contact the Copyright "" Miwako Tezuka status of both artwork and photograph is identifi ed in two discrete notices. Clearance Center at www.copyright.com/. For other uses, please fi rst contact the However, a caption may contain no copyright information at all, where none Experimentation and Tradition: individual author and/or other rights holder to obtain written permission, then is available. The absence of a copyright notice or a © symbol should not be the College Art Association. The Avant-Garde Play Pierrot Lunaire by Jikken Kōbō and Takechi Tetsuji assumed to indicate that an image is either in or out of copyright. Similarly, the Postmaster: Send address changes to Art Journal, College Art Association, absence of any statement that a work is “in the public domain” should not be "" Sarah Kanouse !" Broadway, $%st fl oor, New York, NY %"""'. Periodicals postage paid at construed as indicating that it is not in the public domain—only that informa- New York, NY, and at additional mailing offices. Printed by GHP, West Haven, CT. tion was insu, cient for the editors to make a determination. Take It to the Air: Radio as Public Art Printed in the U.S.A. Reproductions of pictures of material not subject to copyright may have caption information that contains copyright information for the photograph or Advertising: Send inquiries to Helen Bayer, c/o CAA; $%$.()$.''$*; scan used for reproduction but not for the content of the photograph. [email protected]. Where permission was requested from a rights holder, the language re- Reviews Submissions: Art Journal welcomes submission of essays, features, interviews, quested by that rights holder is used, in some instances edited for clarity. forums, and other projects concerning modern and contemporary art from The term “photograph [or scan] provided by” is used to indicate the supplier "" Lisa Florman on Kenneth Silver, ed., Chaos and Classicism: Art in France, Italy, and Germany, authors and artists worldwide and at every career stage. Please include of the photograph or scan. “Courtesy of” is not used. !"!#–!"$%, and the exhibition Chaos and Classicism: Art in France, Italy, and Germany, !"!#–!"$%, photocopies of images. Except in extraordinary circumstances, previously The term of copyright varies internationally, and CAA does not assert that a published material is ineligible for consideration. It is not necessary to be a work identifi ed as in the public domain is necessarily out of copyright through- Solomon R. Guggenheim Museum, New York and Bilbao, $"%"–%% ; Robert Sli& in on CAA member to contribute. For further details, visit www.collegeart.org. out the world. Where the caption indicates that we are asserting fair use, we Elisabeth Sussman and Lynn Zelavanksy, eds., Paul Thek: Diver, A Retrospective, and the make that assertion under United States law. Mail submissions and proposals to Katy Siegel, Art Department, Hunter College, exhibition Paul Thek: Diver, A Retrospective, Whitney Museum of American Art, $"%"–%%, The authors and publisher make reasonable e. orts to ascertain the rights *)! Park Avenue, New York, NY %""$%. You may also attach text to an e-mail status of all third-party works. Any corrections should be sent to the attention and Harald Falckenberg and Peter Weibel, eds., Paul Thek: Artist’s Artist; Jaleh Mansoor on message and send to [email protected]. Book reviews: Art Journal of the Publications Department, CAA. does not accept unsolicited reviews. Books for review should be mailed to the Rosalyn Deutsche, Hiroshima after Iraq: Three Studies in Art and War; Lara Weibgen on Victor Publications Dept. at CAA. Letters: Letters should be sent to the editor-in-chief, Art Journal is available online in JSTOR (www.jstor.org), Ebsco Information Tupitsyn, The Museological Unconscious: Communal (Post)Modernism in Russia, Boris Groys, with a copy to the reviews editor if the letter concerns a review. Letters are shown Services (www.ebsco.com), and ProQuest/UMI (www.proquest.com), through to the author of the contribution in question, who has the option to reply. Letters institutional subscribers such as libraries. It is indexed in Artbibliographies Modern, History Becomes Form: Moscow Conceptualism, and Matthew Jesse Jackson, The Experimental should add to the argument in a substantive manner and are subject to editing. Art Index, Arts and
Recommended publications
  • Are We There Yet?
    ARE WE THERE YET? Study Room Guide on Live Art and Feminism Live Art Development Agency INDEX 1. Introduction 2. Lois interviews Lois 3. Why Bodies? 4. How We Did It 5. Mapping Feminism 6. Resources 7. Acknowledgements INTRODUCTION Welcome to this Study Guide on Live Art and Feminism curated by Lois Weaver in collaboration with PhD candidate Eleanor Roberts and the Live Art Development Agency. Existing both in printed form and as an online resource, this multi-layered, multi-voiced Guide is a key component of LADA’s Restock Rethink Reflect project on Live Art and Feminism. Restock, Rethink, Reflect is an ongoing series of initiatives for, and about, artists who working with issues of identity politics and cultural difference in radical ways, and which aims to map and mark the impact of art to these issues, whilst supporting future generations of artists through specialized professional development, resources, events and publications. Following the first two Restock, Rethink, Reflect projects on Race (2006-08) and Disability (2009- 12), Restock, Rethink, Reflect Three (2013-15) is on Feminism – on the role of performance in feminist histories and the contribution of artists to discourses around contemporary gender politics. Restock, Rethink, Reflect Three has involved collaborations with UK and European partners on programming, publishing and archival projects, including a LADA curated programme, Just Like a Woman, for City of Women Festival, Slovenia in 2013, the co-publication of re.act.feminism – a performing archive in 2014, and the Fem Fresh platform for emerging feminist practices with Queen Mary University of London. Central to Restock, Rethink, Reflect Three has been a research, dialogue and mapping project led by Lois Weaver and supported by a CreativeWorks grant.
    [Show full text]
  • Heiser, Jörg. “Do It Again,” Frieze, Issue 94, October 2005
    Heiser, Jörg. “Do it Again,” Frieze, Issue 94, October 2005. In conversation with Marina Abramovic Marina Abramovic: Monica, I really like your piece Hausfrau Swinging [1997] – a video that combines sculpture and performance. Have you ever performed this piece yourself? Monica Bonvicini: No, although my mother said, ‘you have to do it, Monica – you have to stand there naked wearing this house’. I replied, ‘I don’t think so’. In the piece a woman has a model of a house on her head and bangs it against a dry-wall corner; it’s related to a Louise Bourgeois drawing from the ‘Femme Maison’ series [Woman House, 1946–7], which I had a copy of in my studio for a long time. I actually first shot a video of myself doing the banging, but I didn’t like the result at all: I was too afraid of getting hurt. So I thought of a friend of mine who is an actor: she has a great, strong body – a little like the woman in the Louise Bourgeois drawing that inspired it – and I knew she would be able to do it the right way. Jörg Heiser: Monica, after you first showed Wall Fuckin’ in 1995 – a video installation that includes a static shot of a naked woman embracing a wall, with her head outside the picture frame – you told me one critic didn’t talk to you for two years because he was upset it wasn’t you. It’s an odd assumption that female artists should only use their own bodies.
    [Show full text]
  • VIPAW Wall Texts
    3rd Venice International Performance Art Week, 2016 Ouch – Pain and Performance A screening programme curated by Live Art Development Agency, London “I see pain as an inevitable byproduct of interesting performance.” Dominic Johnson According to Wikipedia ‘pain’ is an “unpleasant feeling often caused by intense or damaging stimuli…(it) motivates the individual to withdraw from damaging situations and to avoid similar experiences in the future.” But for many artists and audiences the opposite is just as true, and pain within the context of performance is a challenging, exhilarating and profound experience. Ouch is a collection of documentation and artists’ films looking at pain and performance. The works are not necessarily performances about pain, but in some way involve or invoke pain in their making or reading or experience - both the pain artists cause themselves within the course of their work, whether intentional or not, and the experiences of audiences as they are invited to inflict pain on artists or are subjected to pain and discomfort themselves. The selected works feature eminent and ground breaking artists from around the world whose practices address provocative issues including the lived experiences of illness, the aging female body, cosmetic surgery, addiction, embodied public protest, animalistic impulses, blood letting, staged fights, acts of self harm and flagellation, and what can happen when you invite audiences to be complicit in performance actions. Ouch featured artists: Marina Abramovic, Ron Athey, Marcel.Li Antunez Roca, Franko B, Wafaa Bilal, Rocio Boliver, Cassils, Bob Flanagan, Regina Jose Galindo, jamie lewis hadley, Nicola Hunter & Ernst Fischer, Oleg Kulik, Martin O’Brien, Kira O’Reilly, ORLAN, Petr Pavlensky.
    [Show full text]
  • FAÇADE: ZONE A: Religion/Family
    CHECKLIST for Participant Inc. February 14-April 4, 2021 Curated by Amelia Jones Archival and research assistance by Ana Briz, David Frantz, Hannah Grossman, Dominic Johnson, Maddie Phinney *** UNLESS OTHERWISE NOTED ALL ITEMS ARE FROM THE RON ATHEY ARCHIVE*** ***NOTE: photographs are credited where authorship is known*** FAÇADE: Rear projection of “Esoterrorist” text by Genesis P’Orridge, edited and video mapped as a word virus, as projected in the final scene of Ron Athey’s Acephalous Monster, “Cephalophore: Entering the Forest,” 2018-19. Video graphics work by Studio Ouroboros, Berlin. ZONE A: Religion/Family This section of the exhibition features a key work expanding on Ron Athey’s family and religious upbringing as a would-be Pentacostal minister: his 2002 live multimedia performance installation Joyce, which is named after Athey’s mother. It also includes elements from Athey’s archive relating to Joyce—including two costumes from the live performance—and his life within and beyond his fundamentalist origin family (such as unpublished writings from his period of recovery in the 1980s, and the numerous flyers advertising fundamentalist revivals he attended). The section is organized around materials that evoke the mix of religiosity and dysfunctional (sexualized and incestuous) family dynamics Athey experienced as a child and wrote about in some of his autobiographical writings that are included in the catalogue, including Mary Magdalene Footwashing Set (1996), which was included in a group show at Western Project in Los Angeles in 2006 and in the Invisible Exports Gallery “Displaced Person” show in 2012, a former gallery just around the corner from Participant Inc.’s location.
    [Show full text]
  • Introduction to Art Making- Motion and Time Based: a Question of the Body and Its Reflections As Gesture
    Introduction to Art Making- Motion and Time Based: A Question of the Body and its Reflections as Gesture. ...material action is painting that has spread beyond the picture surface. The human body, a laid table or a room becomes the picture surface. Time is added to the dimension of the body and space. - "Material Action Manifesto," Otto Muhl, 1964 VIS 2 Winter 2017 When: Thursday: 6:30 p.m. to 8:20p.m. Where: PCYNH 106 Professor: Ricardo Dominguez Email: [email protected] Office Hour: Thursday. 11:00 a.m. to Noon. Room: VAF Studio 551 (2nd Fl. Visual Art Facility) The body-as-gesture has a long history as a site of aesthetic experimentation and reflection. Art-as-gesture has almost always been anchored to the body, the body in time, the body in space and the leftovers of the body This class will focus on the history of these bodies-as-gestures in performance art. An additional objective for the course will focus on the question of documentation in order to understand its relationship to performance as an active frame/framing of reflection. We will look at modernist, contemporary and post-contemporary, contemporary work by Chris Burden, Ulay and Abramovic, Allen Kaprow, Vito Acconci, Coco Fusco, Faith Wilding, Anne Hamilton, William Pope L., Tehching Hsieh, Revered Billy, Nao Bustamante, Ana Mendieta, Cindy Sherman, Adrian Piper, Sophie Calle, Ron Athey, Patty Chang, James Luna, and the work of many other body artists/performance artists. Students will develop 1 performance action a week, for 5 weeks, for a total of 5 gestures/actions (during the first part of the class), individually or in collaboration with other students.
    [Show full text]
  • (Un)Disciplined Bodies: Ascetic Transformation in Performance Art
    (Un)Disciplined Bodies: Ascetic Transformation in Performance Art Tatiana A. Koroleva A Thesis In the Department Of Humanities Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Humanities) at Concordia University Montreal, Quebec, Canada April, 2014 © Tatiana A. Koroleva, 2014 ABSTRACT (Un)Disciplined Bodies: Ascetic Transformation in Performance Art Tatiana A. Koroleva, Ph.D. Concordia University, 2014 This dissertation investigates different modalities of self-transformation enacted in ritualistic performance art by the examination of the work of three contemporary performance artists – Marina Abramović, Linda Montano and Ron Athey. Drawing on theoretical models of ritual, in particular the model of ascetic ritual developed in the works of Gavin Flood and Richard Valantasis, Georges Bataille’s theory of sacrifice, concepts of wounded healing by Laurence J. Kirmayer and Jess Groesbeck, and recent studies of ascetic self-injury in psychiatry and psychoanalysis, I argue that ritualistic performance provides a useful model of the therapy of the body that undermines rigid models of the individual self. Ritualistic performance employs a variety of methods of re-patterning of the dominant standard of individuality and formation of alternative model of the body associated with the ascetic self. In view of significance of the transcendence of the body in the work of these artists I employ a theory of “transformation” to reflect upon performative methodology developed in the artworks of Abramović, Montano, and Athey. iii AKNOWLEDGEMENTS I would like to acknowledge the support and generosity I have received from my academic advisors: Mark Sussman, Tim Clark, and Shaman Hatley. Their work and contributions have been invaluable to the research and writing for this dissertation.
    [Show full text]
  • SPILL Study Room Guide
    Study Room Guide SPILL STUDY BOXES November 2012 In 2012 SPILL Festival of Performance, Ipswich invited the Agency to create a special pop-up version of the Study Room for the SPILL Study Café. For the Study Café the Agency curated a selection of 20 Study Boxes each containing a range of hand picked DVDs, books and other materials around specific themes that we believed would inspire, excite and intrigue artists and audiences attending the Festival in Ipswich. The Study Boxes reflected the work of a huge range of UK and international artists and represent a diversity of themes including issues of identity politics in performance, the explicit body in performance, large scale performance, sound and music in performance, activism and performance, ritual and magic, large scale performance, strange theatre, life long performances, participatory performance, critical writing, non Western performance, do it yourself, trash performance, and many more. Each Study Box contained between four and eight items and could be used for a quick browse or for a day-long study. “Completely brilliant.” (Andy Field, Forest Fringe) “The openness and democracy of the Study Café is essential in a festival where questions of access are so present. It illustrates the need to offer the work of artists up for wider consumption rather than limited to the tight circle of those in the know. Proximity cuts both ways, and as a group of performance makers, it falls to artists, writers and enthusiasts to collapse these referential gaps between audiences. As funding shrinks and organisations falter, the ability to bring those without any history of performance in, to speak to issues outside of the intellectual concerns of Live Art becomes essential for the survival of the form and any community around it.
    [Show full text]
  • ON PAIN in PERFORMANCE ART by Jareh Das
    BEARING WITNESS: ON PAIN IN PERFORMANCE ART by Jareh Das Thesis submitted in fulfilment of the requirements for the degree of PhD Department of Geography Royal Holloway, University of London, 2016 1 Declaration of Authorship I, Jareh Das hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19th December 2016 2 Acknowledgments This thesis is the result of the generosity of the artists, Ron Athey, Martin O’Brien and Ulay. They, who all continue to create genre-bending and deeply moving works that allow for multiple readings of the body as it continues to evolve alongside all sort of cultural, technological, social, and political shifts. I have numerous friends, family (Das and Krys), colleagues and acQuaintances to thank all at different stages but here, I will mention a few who have been instrumental to this process – Deniz Unal, Joanna Reynolds, Adia Sowho, Emmanuel Balogun, Cleo Joseph, Amanprit Sandhu, Irina Stark, Denise Kwan, Kirsty Buchanan, Samantha Astic, Samantha Sweeting, Ali McGlip, Nina Valjarevic, Sara Naim, Grace Morgan Pardo, Ana Francisca Amaral, Anna Maria Pinaka, Kim Cowans, Rebecca Bligh, Sebastian Kozak and Sabrina Grimwood. They helped me through the most difficult parts of this thesis, and some were instrumental in the editing of this text. (Jo, Emmanuel, Anna Maria, Grace, Deniz, Kirsty and Ali) and even encouraged my initial application (Sabrina and Rebecca). I must add that without the supervision and support of Professor Harriet Hawkins, this thesis would not have been completed.
    [Show full text]
  • Oral History Interview with Ron Athey
    Oral history interview with Ron Athey Funded by the Keith Haring Foundation. Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 1 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Ron Athey AAA.athey16 Collection Overview Repository: Archives of American Art Title: Oral history interview with Ron Athey Identifier: AAA.athey16 Date: 2016 June 17-18 Creator: Athey, Ron (Interviewee) Fialho, Alex, 1989- (Interviewer) Extent: 2 Items (Sound recording: 2 sound files (4 hr., 40 min.); digital, wav) 68 Pages (Transcript) Language: English . Digital Digital Content: Oral history interview
    [Show full text]
  • How We Talk About the Work Is the Work: Performing Critical Writing
    King’s Research Portal DOI: 10.1080/13528165.2018.1464751 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Schmidt, T. (2018). How We Talk About The Work Is The Work: Performing Critical Writing. PERFORMANCE RESEARCH , 23(2), 37-43. https://doi.org/10.1080/13528165.2018.1464751 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.
    [Show full text]
  • A Case Study of the Ephemeral Artworks and Archives of Allan Kaprow, Eva Hesse, and Richard Tuttle
    Archiving Experience: A Case Study of the Ephemeral Artworks and Archives of Allan Kaprow, Eva Hesse, and Richard Tuttle Item Type text; Electronic Thesis Authors Soltys, Hannah Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 09:00:03 Link to Item http://hdl.handle.net/10150/626142 ARCHIVING EXPERIENCE: A CASE STUDY OF THE EPHEMERAL ARTWORKS AND ARCHIVES OF ALLAN KAPROW, EVA HESSE, AND RICHARD TUTTLE by Hannah Soltys ____________________________ Copyright © Hannah Soltys 2017 A Thesis Submitted to the Faculty of the DEPARTMENT OF ART HISTORY In Partial Fulfillment of the Requirements For the Degree of MASTER OF ART In the Graduate College THE UNIVERSITY OF ARIZONA 2017 STATEMENT BY AUTHOR The thesis titled , Archiving Experience: A Case Study of the Ephemeral Artworks and Archives of Allan Kaprow, Eva Hesse, and Richard Tuttle , has been submitted in partial fulfillment of requirements for a master’s degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Hannah Soltys APPROVAL BY THESIS DIRECTOR This Thesis has been approved on the date down below: _________________________________ Defense Date Dr.
    [Show full text]
  • AMELIA G. JONES Robert A
    Last updated 4-15-16 AMELIA G. JONES Robert A. Day Professor of Art & Design Vice Dean of Critical Studies Roski School of Art and Design University of Southern California 850 West 37th Street, Watt Hall 117B Los Angeles, CA 90089 USA m: 213-393-0545 [email protected], [email protected] EDUCATION: UNIVERSITY OF CALIFORNIA, LOS ANGELES. Ph.D., Art History, June 1991. Specialty in modernism, contemporary art, film, and feminist theory; minor in critical theory. Dissertation: “The Fashion(ing) of Duchamp: Authorship, Gender, Postmodernism.” UNIVERSITY OF PENNSYLVANIA, Philadelphia. M.A., Art History, 1987. Specialty in modern & contemporary art; history of photography. Thesis: “Man Ray's Photographic Nudes.” HARVARD UNIVERSITY, Cambridge. A.B., Magna Cum Laude in Art History, 1983. Honors thesis on American Impressionism. EMPLOYMENT: 2014-present UNIVERSITY OF SOUTHERN CALIFORNIA, Roski School of Art and Design, Los Angeles. Robert A. Day Professor of Art & Design and Vice Dean of Critical Studies. 2010-2014 McGILL UNIVERSITY, Art History & Communication Studies (AHCS) Department. Professor and Grierson Chair in Visual Culture. 2010-2014 Graduate Program Director for Art History (2010-13) and for AHCS (2013ff). 2003-2010 UNIVERSITY OF MANCHESTER, Art History & Visual Studies. Professor and Pilkington Chair. 2004-2006 Subject Head (Department Chair). 2007-2009 Postgraduate Coordinator (Graduate Program Director). 1991-2003 UNIVERSITY OF CALIFORNIA, RIVERSIDE, Department of Art History. 1999ff: Professor of Twentieth-Century Art and Theory. 1993-2003 Graduate Program Director for Art History. 1990-1991 ART CENTER COLLEGE OF DESIGN, Pasadena. Instructor and Adviser. Designed and taught two graduate seminars: Contemporary Art; Feminism and Visual Practice.
    [Show full text]