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.
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VISITING PROFESSORSHIPS/ SCHOLAR POSITIONS: June 2015 ASIA ART ARCHIVE, HONG KONG. Visiting Scholar. See: http://www.artandeducation.net/announcement/2015-research-fellows- and-residencies/
2014-2016 MUSEUM OF FINE ARTS, HOUSTON, and GLASSEL SCHOOL OF ART, Core Residency Program, Visiting Professor.
April 2012 YORK UNIVERSITY, TORONTO, Department of Visual Arts Visiting Professor, Summer Institute.
June 2009 MAINE COLLEGE OF ART, Honorary Visiting Professor.
March 2008 TEXAS CHRISTIAN UNIVERSITY, FORT WORTH, Department of Art History, Green Chair for distinguished visiting professor.
April 2006 MUSEUM OF FINE ARTS, HOUSTON and GLASSEL SCHOOL OF ART, Core Residency Program, Seminar and artist crits.
March 2004 UNIVERSITY OF COLORADO, BOULDER, Distinguished Visiting Professor, Department of Art History.
February 2002 WASHINGTON UNIVERSITY, ST. LOUIS, visiting professor, Department of Art.
GRANTS, FELLOWSHIPS, and AWARDS: Distinguished Feminist Award, College Art Association, 2015.
Office of Sponsored Research, McGill University, $1500 CAD travel grant for Performance Studies International conference in Stanford, California, 2013.
Social Sciences and Humanities Research Council (Canadian government), Standard Research Grant 2010-2013, to pursue the project “Material Traces.” Total $108,000 CAD.
Arts Council Grant (British government), to fund exhibition “Hershmanlandia,” Whitworth Art Gallery, University of Manchester, 2007 (assisted in preparing grant application and in obtaining the exhibition from Henry Art Gallery, Seattle; total £40,000).
British Academy Conference Grant, to fund conference “Faith and Identity in Contemporary Visual Culture” (total £2000), November 2006.
Centre for Interdisciplinary Study in the Arts (CIDRA), to fund “Faith and Identity in Contemporary Visual Culture,” University of Manchester, November 2006 (total £2000).
Festival of Muslim Cultures, UK, to fund “Faith and Identity in Contemporary Visual Culture,” University of Manchester, 2006 (total £2000). Amelia Jones c.v. 2016 3
Arts Council Grant (British government), to fund performances and workshops by Vaginal Davis in conjunction with “Theorising Queer Visualities,” international conference co- organised with Dr. Laura Doan at University of Manchester, April 2005 (total £8900).
British Academy Conference Grant, to fund conference “Theorising Queer Visualities” (total £2000), April 2005.
University of Manchester/ School of Arts, Histories & Cultures and Art History & Visual Studies conference grants, 2004-5, to fund “Theorising Queer Visualities” (total £3000+).
Ford Foundation/ Center for Ideas and Society Grant, 2002-2003. For international conference co-organized with Professor Jennifer Doyle, Professor Molly McGarry, on “Intersectional Feminisms,” Spring 2003 (approximately $2000).
John Simon Guggenheim Memorial Foundation Fellowship, individual research grant (taken in Jan-Dec 2002; approx. $35,000).
National Endowment for the Humanities Fellowship for College Teachers and Independent Scholars (US government), individual research grant, 2000 (approx. $24,000).
California Arts Council, major art in schools grant to fund visiting artist for Community Magnet School, Los Angeles, 2000 (approx. $15,000).
Graham Foundation, Fall 1995, group fellowship to complete the Web project WomEnhouse.
American Council of Learned Societies, Postdoctoral Fellowship, September 1994-July 1995, individual fellowship to research and write book on body art.
University of California, Riverside, Distinguished Humanist Achievement Award, 1993-94, for outstanding scholarship in the humanities (for the book Postmodernism and the En- Gendering of Marcel Duchamp).
University of California Humanities Research Institute, conference grant, 1992-1994, for organization of conference “Photography and the Photographic,” UC Riverside.
University of California, Riverside, Center for Ideas and Society, conference grant, 1992- 1994, for organization of conference “Photography and the Photographic.”
University of California, Riverside, Affirmative Action Career Development Award, individual grant for research in Paris and New York in the spring term, 1993.
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EXHIBITIONS CURATED and PERFORMANCE EVENTS ORGANIZED: 2015-2016 Live Artists Live: Performance and the Archive, Visions & Voices, UNIVERSITY OF SOUTHERN CALIFORNIA, Curator and organizer of performances and event January 2016.
2012-2015 Trans-Montréal, PERFORMANCE STUDIES INTERNATIONAL (PSi), Director and Curator; responsible for original concept and planning for an event included in PSi’s 2015 annual conference, through a workshop held September 2015.
2013 Material Traces: Time and the Gesture in Contemporary Art, LEONARD AND ELLEN BINA ART GALLERY, CONCORDIA UNIVERSITY, Curator of exhibition February-April 2013. REVIEWED Marie-Ève Charron in Le Devoir, March 30, 2013: http://www.ledevoir.com/culture/arts- visuels/374562/corps-en-action-matieres-sous-tension; Reilley Bishop-Stall and Natalie Bussey in Passenger Art (April 5, 2013; http://passengerart.com/); Joseph Henry in Esse (2013) http://www.esse.ca/fr/Compte-rendu/78/Montr%C3%A9al2.
2004-2005 Theorising Queer Visualities conference and events, UNIVERSITY OF MANCHESTER, CORNERHOUSE ART GALLERY, WHITWORTH ART GALLERY, and CONTACT THEATRE. Co-Organiser of performances by Vaginal Davis and performative presentations by Ron Athey & Julianna Snapper. Co-Organiser of related events, including playing originating role in “Queer” exhibition.
1993 -1996 Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History, exhibition, UNIVERSITY OF CALIFORNIA, LOS ANGELES, UCLA/ Armand Hammer Museum of Art. Curator of the exhibition displaying and reevaluating Chicago's piece and other feminist art within historical and theoretical contexts (April-August 1996).
1995 -1996 Feminist Directions 1970/1996: Robin Mitchell, Mira Schor, Faith Wilding, Nancy Youdelman, JACK AND MARILYN SWEENEY ART GALLERY, University of California, Riverside. Co-Curator with Laura Meyer of exhibition (Spring 1996).
1992 -1994 Photography and the Photographic: Histories, Theories, Practices, CALIFORNIA MUSEUM OF PHOTOGRAPHY and UNIVERSITY ART GALLERY, University of California, Riverside. Curator of exhibition and organizer of conference (Fall 1994).
1991 -1992 The Politics of Difference: Artists Explore Issues of Identity, UNIVERSITY ART GALLERY, University of California, Riverside. Curator of the exhibition (1992). Amelia Jones c.v. 2016 5
EDITORIAL and ADVISORY POSITIONS: 2007 – present University of Manchester Press, Co-editor (with Marsha Meskimmon) of series “Rethinking Art’s Histories” (see: http://www.manchesteruniversitypress.co.uk/cgi-bin/indexer?series=4).
2015 – present Feminist Curators United (fCu), Steering Committee.
2014 – present Australian and New Zealand Journal of Art, Editorial Advisory Board.
2014 – present Artmargins (Lebanon) Editorial Board.
2013 – present TDR (The Drama Review), Contributing Editor.
2011 – present Journal of Curatorial Studies, Member of editorial board.
2010 – 2015 Encyclopedia of Aesthetics, Member of editorial board.
2013 – 2014 Honorary Committee Member, La Centrale/Galerie Powerhouse, Feminist Art and Culture, Montréal.
2012 – 2015 Performance Studies International, member of advisory board for PSi 2015.
2012 – 2015 Arts journal, member of Editorial Board (Basel, Switzerland).
2010 – 2013 Women & Performance, Member of editorial board.
2004 – 2009 Liverpool University Press, Member of Editorial Committee, “Value: Art: Politics” series.
2006 – 2007 Neuberger Museum of Art, Purchase College, Member of International Advisory Board for The Body Politic: Performance and Social Change exhibition.
2001 – 2005 SIGNS: A Journal of Women in Culture and Society. Associate Editor.
1995 –1998 FRAME-WORK art journal, Los Angeles Center for Photographic Studies. Co-Editor.
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CONFERENCES and PANELS ORGANIZED: LOS ANGELES TIMES FESTIVAL OF BOOKS, University of Southern California, 2016. Organized a panel on “Art as Activism” (with Nao Bustamante, Erin Silver, and Jennifer West as panelists).
UNIVERSITIES ART ASSOCIATION OF CANADA, Concordia University, Montréal, 2012. Co-organizer with Erin Silver of panel on “Is there a queer feminist art history?”
PERFORMANCE STUDIES INTERNATIONAL, Leeds, UK, 2012. Co-Organizer with Alpesh Patel of double panel on “Live Art in History and the Politics of Inclusion.”
UNIVERSITY OF MANCHESTER, WHITWORTH ART GALLERY, Co-Organizer with Hammad Nasar (Festival of Muslim Cultures, Britain), Alnoor Mitha (Director of SHISHA, a local South-Asian arts organization), Rajinder Dudrah (Drama department) of international conference “Faith and Identity in Contemporary Visual Culture,” including performances and an exhibition (November 2006).
UNIVERSITY OF MANCHESTER, Co-Organizer, with Prof. John Pickstone, of visiting lecture and seminar by Professor Barbara Stafford (2005); Co-Organizer, with Prof. Rajinder Dudrah, of visiting lecture by Professor Laura Marks (2006).
UNIVERSITY OF MANCHESTER, Co-Organiser with Laura Doan of international conference “Theorising Queer Visualities,” including performances and exhibition (see above; April 2005).
UNIVERSITY OF CALIFORNIA, RIVERSIDE, Co-Organizer with Jennifer Doyle and Molly McGarry of conference “Intersectional Feminisms” (April 2003).
COLLEGE ART ASSOCIATION, NEW YORK, Co-Organizer with Caroline Jones of panel “Bodies/Machines”; Annual Conference in New York (February 2000).
UNIVERSITY OF CALIFORNIA, RIVERSIDE, Sweeney Art Gallery, Organizer and Moderator of panel on Devora Neumark and Wende Bartley’s Iris (January 1999).
UNIVERSITY OF CALIFORNIA, RIVERSIDE, “Unnatural Acts” Conference. Organizer of panel on “Performance Art and the Unnatural Body” (April 1997).
COLLEGE ART ASSOCIATION, NEW YORK, Organizer of panel “Body Politics: Performativity and Postmodernism”; Annual Conference in New York (February 1997).
UNIVERSITY OF CALIFORNIA, LOS ANGELES, the UCLA/ Armand Hammer Museum of Art and Center for the Study of Women. Co-Organizer, with Donald Preziosi, of conference “Essentialism and Representation” (1994-May 1996).
UNIVERSITY OF CALIFORNIA, RIVERSIDE. Organizer of international conference, “Photography and the Photographic: Histories, Theories, Practices” (1992-1994).
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PUBLICATIONS – BOOKS (single authored): Seeing Differently: A History and Theory of Identification and the Visual Arts (New York & London: Routledge Press, 2012). NOMINATED for the Frank Jewett Mather Award, College Art Association, New York, 2012. REVIEWED by Derek Murray in Art Journal (Fall 2012); Soraya Murray, Third Text (Fall 2012); Barbara Oetti, Journal für Kunstgeschichte (Fall 2013); Mathias Danbolt, Nordic Journal of Feminist and Gender Research, 14 May 2014 (available online at: http://www.tandfonline.com/doi/full/10.1080/08038740.2014.899462#.U4yd85RdX9c).
Self/Image: Technology, Representation, and the Contemporary Subject (New York & London: Routledge Press, 2006). 258 pages. CHINESE TRANSLATION: Ziwo yu tuxiang [Self/Image]; series editor Fan Jingzhong; translator Fan Liu (NanJing, China: JiangSu Fine Arts Publishing House, 2013). CHAPTER 1, “The Body and/in Representation,” published in Visual Culture Reader, third edition, ed. Nick Mirzoeff (New York and London: Routledge, 2012). REVISED VERSION of chapter 4, “Cinematic Self Imaging and the Televisual Body,” with the title “Televisual Flesh: The Body, the Screen, the Subject,” published in Precarious Visualities: New Perspectives on Identification in Contemporary Art and Visual Culture, ed. Christine Ross, Johanne Lamoureux, and Oliver Asselin (Montréal: McGill- Queen’s University Press, 2008). REVISED VERSION of chapter 6, “The Televisual Architecture of the Dream Body,” published in It’s Time for Action (There’s No Option), ed. Heike Munder (Zurich: Migros Museum für Gegenwartskunst and JRP/Ringier, 2007). REVIEWED: Elena Duba, Afterimage (May-June, 2007), 38; Reference & Research Book News (February 2007); Tamara Trodd in Art History (2008); Jennie Klein in Contemporary Theatre Review (Summer 2009).
Irrational Modernism: A Neurasthenic History of New York Dada (Cambridge, MA: MIT Press, 2004). 334 pages. EXCERPT (“Combat Masculinity” section) TRANSLATED into Polish and REPRINTED in War and Peace, ed. Pawel Leszkowicz (Lublin, Poland: Labirynt City Gallery, forthcoming ). REVIEWED in Bookforum (USA); Art History (UK); ArtPapers (US); Sehepunkt (Germany
Body Art/Performing the Subject (Minneapolis: University of Minnesota Press, 1998). 352 pages. TRANSLATED [into Slovenian] as Body Art. Uprizarjanje Subjekta (Ljubjana, Slovenia: Koda Press and Maska Press, 2002). Amelia Jones c.v. 2016 8
EXCERPT of “The Ontology of Body Art” section TRANSLATED into Italian and REPRINTED in Performance Art: Strumenti [Tools], ed. Paolo Martore and Chaira Mu (Rome: Alberto Castelvecchi Editore, [forthcoming 2016]). EXCERPT (Chapter entitled “Rhetoric of the Pose: Hannah Wilke and the Radical Narcissism of Feminist Body Art”) TRANSLATED and REPRINTED as Retoryka pozy. Hannah Wilke i radykalny narcyzm feministycznej sztuki ciaÅa, in Display: Strategie Wystawiania, ed. Maria Hussakowska and Ewa Malgorzata Tatar (Krakow, Poland: Tatar Universitas, 2012). EXCERPT ("Postmodernism, Subjectivity, and Body Art: A Trajectory”) TRANSLATED and REPRINTED as “Postmodernismo, subjetividad y arte corporal: una trayectoria,” in Estudios Avanzados de Performance, ed. Diana Taylor and Marcela Fuentes (Carretera Pichaco-Ajusco, Mexico: Fondo de Cultura Económica, and New York: Instituto Hemisférico de Performance y Politica, 2011). EXCERPT REPRINTED and TRANSLATED into Turkish in [English title] Art/Gender: Art History and Feminism, ed. Ahu Antmen (Istanbul: Iletisim Publishers, 2008). EXCERPT REPRINTED in Art of the Twentieth Century: A Reader, ed. Jason Geiger and Paul Wood (New Haven: Yale University Press, 2003). EXCERPT REPRINTED in Visual Culture Reader, ed. Nicolas Mirzoeff, 2nd Edition (New York and London: Routledge, 2003). EXCERPT REPRINTED as “Yayoi Kusama” in Feminism – Art – Theory: An Anthology 1968-2000, ed. Hilary Robinson (Oxford, UK: Blackwell, first edition 2001; and second edition 2014). EXCERPT REPRINTED in New Observations no. 124 (New York; Winter 2000). EXCERPT REPRINTED as “Laura Aguilar,” Atzlan: A Journal of Chicano Studies 23, n. 2 (Los Angeles; Fall 1998). REVIEWED internationally, including Henry Sayre in Art Journal (Spring 1999), 112; Ann Daly in TDR (Summer 2000), 153.
Postmodernism and the En-Gendering of Marcel Duchamp (Cambridge, England and New York: Cambridge University Press, 1994). REVIEWED internationally, including David Joselit, Art in America (September 1994), 35. TRANSLATION into Albanian, 2014. TRANSLATION into Macedonian, 2013. TRANSLATION, excerpts, in www.lacan.ru, Russian journal, 2016.
PUBLICATIONS – EDITED BOOKS/ SURVEY ESSAYS: [Co-Editor, with Erin Silver, and Contributor.] Otherwise: Imagining Queer Feminist Art Histories (Manchester: Manchester University Press, 2016).
[Editor and Contributor]. Sexuality, Documents in Contemporary Art series (London: Whitechapel Gallery, 2014). REVIEWED in PopMatters, 3 December 2014 [available online at +http://www.popmatters.com/review/188100-sexuality-by-amelia-jones/].
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[Co-Editor, with Adrian Heathfield, and contributor]. Perform, Repeat, Record: Live Art in History (Bristol: Intellect Press, 2012). REVIEWED internationally, including by Lisa Newman in Artillery 6 n. 4 (Apr-May 2012); by Caroline Wake in Real Time n. 108 (Apr-May 2012); by Chris Gilligan in New Theatre Quarterly Review; review essay by Jennie Klein in PAJ: A Journal of Performance and Art 35, n. 2 (May 2013), 108-16; review essay by Pannill Camp in TDR: The Drama Review 58, n. 1 (Spring 2014), 167-69.
[Editor and contributor]. Feminism and Visual Culture Reader, SECOND EDITION with substantial revisions (London and New York: Routledge Press, 2009). 560 pages. Feminism and Visual Culture Reader, FIRST EDITION 2003, REVIEWED internationally, including Jessica Dallow, NWSA Journal (Spring 2007), 166; Queer Caucus for Art Newsletter; The Feminist Art Books Bulletin; n.paradoxa.com; Woman’s Art Journal (2005); Les Cahiers internationale de la sociologie 1 (2004), n. 116, p. 180-82. SECOND EDITION 2009, REVIEWED internationally, including Jessica Sjöholm Skrubbe, Konsthistorisk tidskrift/ Journal of Art History, December 2011 [available on-line at: http://www.tandfonline.com/loi/skon20]; Juan Vicente Aliaga, Exitbook 14 (2011).
[Editor and contributor]. Companion to Contemporary Art Since 1945, Blackwell “Companions to Art History” series (Oxford: Blackwell Press, 2006). 628 pages. REVIEWED in Reference & Research Book News (August, 2006). ASSIGNED as focus of semester long MFA course, CR812, at Maine College of Art, Spring Semester 2009: see http://sites.google.com/a/campus.meca.edu/mfa/cr811--a-companion- to-contemporary-art-since-1945]
“The Artist’s Body / The Negotiation of Social Space,” primary survey essay for The Artist’s Body, ed. Tracey Warr (London: Phaidon, 2000),16-47. REPRINTED in abridged version, 2011. Book REPRINTED in paperback, 2006. Book REPRINTED/TRANSLATED as Le Corps de l’artiste, tr. Denis-Armand Canal (Phaidon, 2005). Book REPRINTED/TRANSLATED into Korean (Phaidon, 2007). REVIEWED internationally, including: Parachute (July-September 2001), 145; Jon Garelick, Phoenix Online (December 5, 2006); Michael S. Gant, Metro Online (February 21, 2007); Barry Gewen, “State of the Art,” New York Times Book Review (December 11, 2005); available at: http://www.nytimes.com/2005/12/11/books/review/11gewen.html
[Co-editor, with Andrew Stephenson, and contributor]. Performing the Body/Performing the Text (London and New York: Routledge Press, 1999).
[Editor and contributor]. Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History (Los Angeles and Berkeley: University of California Press and Los Angeles: UCLA/Hammer Museum of Art, 1996). FOCUS of Devon P. Larsen, “Rethinking the Monumental: Feminist Space in the Sexual Politics Exhibition, 1996,” MA Thesis, University of South Florida, 2006.
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PUBLICATIONS – EDITED JOURNAL ISSUES AND SECTIONS: [Editor/author]. “Trans (and) Performance,” Special Issue of Performance Research; due out December 2016.
[Editor/ author]. Forum on “Performance, Live or Dead,” for Art Journal 70, n. 3 (Fall 2011; appeared January 2012).
[Co-Editor with Jennifer Doyle]. “New Feminist Theories of Visual Culture,” special issue of Signs: A Journal of Women in Culture and Society 31 n. 3 (Spring 2006).
[Editor/ author]. Forum on “The Body and Technology” for Art Journal (Spring 2001).
[Co-Editor, with Mario Ontiveros and Kris Kuramitsu, and co-author]. “In Between” issue of Framework (Los Angeles; 1998).
PUBLICATIONS – WEB PROJECT: [Co-Editor, co-author]. WomEnhouse. A Web project re-examining feminism and domesticity in the 1990s in homage to Womanhouse (the 1972 installation project by Judy Chicago, Miriam Schapiro, and the CalArts Feminist Art Program).
PUBLICATIONS – REFEREED JOURNAL and MAJOR MAGAZINE ARTICLES: “Feminist Subjects versus Feminist Effects: The Curating of Feminist Art (or Is It the Feminist Curating of Art?),” in On Curating 29 (forthcoming 2016; Zürich), special issue “Curating in Feminist Thought,” ed. Dorothee Richter.
“Individual Mythologist”: Vulnerability, Generosity, and Relationality in Ulay’s Self Imaging,” Stedelijk Studies issue #3 “The Place of Performance,” ed. Sophie Berrebi and Hendrik Folkerts (2016); available online at: http://www.stedelijkstudies.com/journal/individual- mythologist-jones/
“Material Traces: Performativity, Artistic ‘Work,’ and New Concepts of Agency,” TDR: The Drama Review 59, n. 4 (Winter 2015), 18-35.
“Le sexe et l’enseignement (de l’Histoire de l’art),” [“Sex and the (Art History) Academy”], Perspectives: actualité en histoire de l’art (la revue de l’Institut national d’histoire de l’art, Paris), special issue on “Art History in the United States,” ed. Anne Lafont vol. 2 (Paris, October 2015).
“‘The Artist is Present’: Artistic Re-enactments and the Impossibility of Presence,” TDR: The Amelia Jones c.v. 2016 11
Drama Review 55: 1 (Spring 2011), 16-45. REPRINT/POLISH TRANSLATION published in the book Remix (tentative title, in English) (Wydawnictwo Krytyki Politycznej - Political Critique Publishing House, forthcoming).
“Créer le trouble: les artistes feminists mettent en acte le sexe féminine,” [original English version: “Making Trouble: Feminist Artists Enact the Female Sex”], Gender Surprise issue of Tina 8 (Fall 2011). SPANISH TRANSLATION, “Generando problemas: las artistas feministas ponen en escena el sexo femenino,” published in Arte(s)—Feminismo(s) issue of Youkali.net 11, ed. Maite Aldaz Enrique (2011).
“Performing the Wounded Body: Pain, Affect, and the Radical Relationality of Meaning,” Parallax 15, n. 4 (Leeds; 2009), 45-67.
“This Life,” on Lynn Hershman Leeson, Frieze (London; September 2008), 162-175.
“Seeing Differently: The Subject of Viewing in Antonioni’s Blow Up (1966) versus Shezad Dawood’s Make It Big (2005),” Journal of Visual Culture (London) vol. 7, n. 2 (August 2008).
“Holy Body: Erotic Ethics in Ron Athey and Juliana Snapper’s Judas Cradle,” TDR (The Drama Review: The Journal of Performance Studies) 50.1, special 50th Anniversary Issue (New York: Spring 2006), 159-169.
“Rupture,” Maska 96-97 (Ljubljana, Slovenia: 2006). REPRINTED in A Performance Cosmology: Testimony from the Future, Evidence of the Past, ed. Judie Christie, Richard Gough, Daniel Watt (Aberystwyth: Centre for Performance Research and London: Routledge Press, 2006). REPRINTED/ REVISED in Parachute no. 123 (Montréal, 2006), 15-37.
“Live Art as Commodity,” Maska (Ljubljana, Slovenia: 2005), 72-88.
“Televisual Flesh: Activating Otherness in New Media Art,” Parachute, “Écrans numériques/ Digital Screens” issue 113 (Montreal; 2004), pages 71-81.
“Everybody Dies… Even the Gorgeous: Resurrecting the Work of Hannah Wilke,” Marks vol. 4.01 (Spring 2003);
“The ‘Eternal Return’: Self-Portrait Photography as a Technology of Embodiment,” Signs: Journal of Women in Culture and Society 27, n. 4 (Summer 2002), 947-978.
“Equivocal Masculinity: New York Dada in the Context of WWI,” Art History 25, n. 2 (London; April 2002), pp. 162-205.
“The ‘Post-Black’ Bomb,” Tema Celeste 90 (March-April 2002), 52-55.
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“Posing the Subject/Performing the Other as Self,” in Article Press, “Making a Scene” issue, ed. Henry Rogers and David Burroughs (London; 2000).
“Faith Wilding and the Enfleshing of Painting,” n.paradoxa n. 10 (http://www.ktpress.co.uk/nparadoxa-issue-details.asp?issueid=10); London; June 1999). REPRINTED/ TRANSLATED (into French) in Synesthésie no. 12
“‘Every man knows where and how beauty gives him pleasure’: Beauty Discourse and the Logic of Aesthetics,” X-Tra 2, n. 3 (Spring 1999).
“'Presence' in absentia: Experiencing Performance as Documentation,” Art Journal (New York; Winter 1997-98). REPRINTED in TRANSLATION (French) with introduction from 2012 noted below, “Angoisse temporelle: « Présence » in absentia Expérimenter la performance à travers sa documentation,” in Recréer/Scripter. Mémoires et transmissions des œuvres performatives et chorégraphiques contemporaines, ed. Anne Bénichou (Dijon, Les presses du réel, Coll. Nouvelles scènes, à paraître, 4e trimester, 2015). REPRINTED with new introduction as “Temporal Anxiety/ ‘Presence’ in Absentia: Experiencing Performance as Documentation,” in Archaeologies of Presence: Acting, Performing, Being, ed. Nick Kaye, Gabriella Giannachi, and Michael Shanks (New York and London: Routledge, 2012), 197-221. TRANSLATED by Jesper Lohmann and REPRINTED in Peripeti - Tidsskrift for dramaturgiske studier (Peripeti - Journal for Dramaturgical Research), no. 6 (Winter 2006). REPRINTED in Modern Art Culture: A Reader, ed. Francis Frascina (London: Routledge Press, 2008). EXCERPT REPRINTED in Jens Hoffmann, ed., The Studio—Documents of Contemporary Art (London: Whitechapel Gallery and Cambridge, Mass.: MIT Press, 2012), 78-80. TRANSLATED into Portuguese and REPRINTED in Performatus (Brazil), at: http://performatus.net/presenca-in-absentia/ in (August 2013).
“Margaret Morgan/Mr. Clean,” Art + Text (Sydney, Australia; August-October 1997).
“'Clothes Make the Man': The Male Artist as a Performative Function,” Oxford Art Journal 18, n. 2 (London; 1995).
“Lari Pittman's Queer Feminism,” Art + Text (Sydney, Australia; January 1995). REPRINTED in Stereo-Tip (Ljubljana: Mestna galerija, 1995).
“Dis/Playing the Phallus: Male Artists Perform Their Masculinities,” Art History 17, n. 4 (London; December 1994). REPRINTED/TRANSLATED in La rébellion du Deuxième Sexe – L'histoire de l'art au crible des théories féministes anglo-américaines (1970-2000), tr. and ed. Fabienne Dumont (Paris: Les Presses du réel, 2011). Amelia Jones c.v. 2016 13
“If Men Could Get Pregnant...: Bob Flanagan and Sheree Rose's Issues of Choice,” New Observations (New York) 100 (March/April 1994).
“The Return of the Feminist Body,” M/E/A/N/I/N/G (New York), n. 14 (November 1993).
“The ‘Presence’ and Calculated Absence of Women in the Arts,” Tema Celeste (Milan; Winter 1993). REPRINTED/ TRANSLATED as “Prítomnost a kalkulovaná absence,” Vytvarné Umení, The Magazine for Contemporary Art (Prague, Czech Republic), no. 1-2 (1995).
“Feminism, Incorporated: Reading ‘Postfeminism’ in an Anti-Feminist Age,” Afterimage (Rochester, NY), v. 20, n. 5 (December 1992). REPRINTED in Art and Feminism, ed. Helen Reckitt (London: Phaidon Press, 2001). REPRINTED/TRANSLATED in Passepartout n. 21 (Aarhus, Denmark; Spring 2003). REPRINTED in Feminism and Visual Culture Reader, ed. Amelia Jones (2003). REPRINTED/TRANSLATED (into Slovak) as “Feminizmus, inkorporavaná verzia. Interpretácia ‘postfeminizmu’ v dobe antifeminizmu,” in Profil contemporary art magazine n. 3 (2014); available in print and online at: www.profilart.sk.
“’She was bad news’: Male Paranoia and the Contemporary New Woman,” Camera Obscura: A Journal of Feminism and Film Theory, n. 25-26 (1991).
“Romancing the Father: On Victor Burgin's 'Family Romance',” Artscribe (London), n. 86 (March-April 1991).
“The Absence of Body/The Fantasy of Representation,” M/E/A/N/I/N/G, n. 9 (Summer 1991). TRANSLATED into Czech and REPRINTED in Invisible Woman: Essays on Feminism, History, and Visuality (Neviditelná zena: Antologie soucasného amerického myslení o feminismu. dejinách a vizualite) ed. Martina Pachmanová (Prague: Marie Chribkova, Publisher, 2002).
“’Postfeminism’ -- A Remasculinization of Culture?,” M/E/A/N/I/N/G, n. 7 (May 1990). REPRINTED as “El 'posfeminismo': ?Vuelta de la cultura a lo masculino?” (“Postfeminism” -- A Remasculinization of Culture?), 100%: Aracnologías, ed. Teresa Gómez and Africa Vidal, exhibition catalogue (Seville: Consejería de Cultura y Medio Ambiente, Junta de Andalucía, 1993). REPRINTED in M/E/A/N/I/N/G: An Anthology of Artists’ Writings, Theory, and Criticism (Durham, N.C.: Duke University Press, 2000). REPRINTED in Feminism – Art – Theory: An Anthology 1968-2000, ed. Hilary Robinson (Oxford, UK: Blackwell, 2001).
“Duchamp, Gender, and the ‘Radical Alternative to Modernism’,” New Observations, n. 74 (1990).
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PUBLICATIONS – ESSAYS in ANTHOLOGIES: “Essentialism, Feminism, and Art: Spaces where Woman ‘Oozes Away’,” Companion to Feminist Art and Theory, ed. Hilary Robinson and Maria Elena Buszek (Oxford: Blackwell, forthcoming 2016-17).
“Archive, Repertoire, and Embodied Histories in Nao Bustamante’s Performative Practice,” Artists in the Archive: Engagements with the Remainders of Art and Performance, ed. Joanna Linsley and Simon Jones (London and New York: Routledge Press, forthcoming 2016).
“Live Art as ‘Future History’: Performance and the Archive, a Case Study,” Facing Forward: Art & Theory from a Future Perspective, ed. Hendrik Folkerts, Christoph Lindner, Margriet Schavemaker (Amsterdam: Amsterdam University Press, 2015).
“How Ron Athey Makes Me Feel: The Political Potential of Upsetting Art,” Pleading in the Blood: The Art and Performances of Ron Athey, ed. Ron Athey and Dominic Johnson (Bristol, UK: Intellect Press, 2013).
“Unpredictable Temporalities: The Body and Performance in (Art) History,” Performing Archives/Archives of Performance, ed. Rune Gade and Gunhild Borggreen (Copenhagen: Museum Tusculanum Press, University of Copenhagen, 2013).
“An ‘Other’ History: Feminist Art in Britain Since 1970,” Contemporary Art in the United Kingdom, ed. Phoebe Adler (London: Black Dog Press, 2013).
“Lost Bodies: Los Angeles Performance Art in Art History,” Live Art in LA: Performance in Southern California, 1970-1983, ed. Peggy Phelan (New York and London: Routledge, 2012).
“Kinesthetic Empathy in Philosophical and Art History, Thoughts on How and What Art Means,” Prologue to Kinaesthetic Empathy in Creative and Cultural Practices, ed. Dee Reynolds and Matthew Reason (Bristol: Intellect Press, 2012).
“Screen Eroticisms: Exploring Female Desire in the Work of Carolee Schneemann and Pipilotti Rist,” Screen/Space: The Projected Image in Contemporary Art, ed. Tamara Trodd and Sam Lackey (Manchester: University of Manchester Press, 2011). PUBLISHED in a different version as: “Screen Eroticisms: Exploring Female Desire in Feminist Film and Video,” in Erika Suderburg and Ming Ma, ed., Resolutions 3: Video Praxis in Global Spaces (Minneapolis: University of Minnesota Press, 2012).
“Space, Body and the Self in the Work of Bruce Nauman,” The “Do-It-Yourself Artwork”: Spectator Participation in Contemporary Art, ed. Anna Dezeuze (Manchester: University of Manchester Press, 2010). EXTENSIVELY REVISED and EXPANDED as: “Kunsthandeln: Bruce Naumans Body Pressure und das Scharnier,” [Acting Art: Bruce Nauman’s Body Pressure and the Hinge], KunstHandeln [Art Actions], ed. Karin Gludovatz, Dorothea von Hantelmann, Michael Lüthy, Bernhard Schieder (Zurich/Berlin: Kunsthandeln, 2010).
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“The Return of Feminism(s) and the Visual Arts, 1970/2009,” Feminisms Is Still Our Name, ed. Malin Hedlin Hayden and Jessica Sjöholm Skrubbe (Newcastle upon Tyne: Cambridge Scholars Publishing, 2010), 11-56. REVISED and GREATLY EXPANDED version of “1970/2007: The Legacy of Feminist Art,” Gender Battle, ed. Juan Vicente Aliaga (Santiago de Compostela, Spain: Contemporary Art Centre of Galicia, 2007).
“Live Art in Art History: A Paradox?,” The Cambridge Guide to Performance Studies, ed. Tracy C. Davis (Cambridge: Cambridge University Press, 2008).
“‘Practicing Space’: The Artist as Urban Wanderer,” The Artist As…, ed. Matthias Michalka (Vienna: Museum of Modern Art, 2007).
“Corporeal Malediction: Franko B’s Body/Art and the Trace of Whiteness,” in Franko B., Blinded by Love, ed. Dominic Johnson (Milan: Galerie Pack, 2006).
“The Contemporary Artist as Commodity Fetish,” Art Becomes You! Parody, Pastiche and the Politics of Art. Materiality in a Post-Material Paradigm, ed. Henry Rogers and Aaron Williamson (Birmingham: Article Press, 2006), 132-150.
“Stelarc’s Technological ‘Transcendence’/ Stelarc’s Wet Body: The Insistent Return of the Flesh,” Stelarc: The Monograph, ed. Marquand Smith (Cambridge, Mass. and London: MIT Press, 2005).
“Performing the Other as Self: Cindy Sherman and Laura Aguilar Pose the Subject,” InterFaces: Visualizing and Performing Women’s Lives, ed. Julia Watson and Sidonie Smith (Ann Arbor: University of Michigan Press, 2003). REVISED and EXPANDED VERSION of essay in Article Press.
“Meaning, Identity, Embodiment: The Uses of Merleau-Ponty’s Phenomenology in Art History,” Art and Thought, ed. Dana Arnold and Margaret Iversen (Oxford, UK: Blackwell, 2003), 71-90.
“Body,” Critical Terms for Art History, revised edition, ed. Robert Nelson and Richard Shiff (Chicago: University of Chicago Press, 2003), 251-265.
“‘Every man knows where and how beauty gives him pleasure’: Beauty Discourse and the Logic of Aesthetics,” Aesthetics in a Multicultural Age, ed. Emory Elliot (Oxford: Oxford University Press, 2002), 215-239. REVISED and EXPANDED version of essay in X-Tra 2, n. 3 (Spring 1999). REPRINTED in Value, Art, Politics: Criticism, Meaning, and Interpretation after the End of Postmodernism, ed. Jonathan Harris(Liverpool: University of Liverpool Press, 2007). REPRINTED in The Art of Art History: A Critical Anthology, second edition; ed. Donald Preziosi (Oxford: Oxford University Press, forthcoming).
“Postmodernism and the Arts,” Encyclopedia of American Cultural and Intellectual History (New York: Charles Scribner’s Sons, 2001).
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“Paul McCarthy’s Inside Out Body and the Desublimation of Masculinity,” Paul McCarthy, ed. Dan Cameron and Lisa Phillips (New York: New Museum of Contemporary Art, 2000), 125-133. REPRINTED/TRANSLATED (into French) in Paul McCarthy (Nice, France: Villa Arson, 2002). REVISED and EXPANDED as “Paul McCarthy, männliche Body Art und die geschändeten Grenzen der Männlichkeit” (Paul McCarthy, Male Body Art, and the Violated Boundaries of Masculinity), Männlichkeit im Blick: Visuelle Inszenierungen in der Kunst seit der Frühen Neuzeit, ed. Mechthild Fend and Marianne Koss (Köln: Böhlau Verlag, 2004); in German. EXCERPT REPRINTED as “Soft Dick,” in The Gothic, ed. Gilda Williams (London: Whitechapel and Cambridge: MIT Press, 2007), 154-55.
“Acting Unnatural: Interpreting Body Art,” Decomposition: Post-Disciplinary Performance, ed. Philip Brett, Sue-Ellen Case, Susan Leigh Foster (Bloomington: Indiana University Press, 2000). REPRINTED/TRANSLATED in Journal of Performance Studies (Tokyo; 2002?).
“The 1970s ‘Situation’ and Recent Installation: Joseph Santarromana’s Intersubjective Engagements,” Space, Site, and Intervention: Situating Installation Art, ed. Erika Suderburg (Minneapolis: University of Minnesota Press, 2000).
“Introduction” (co-author with Andrew Stephenson), Performing the Body/Performing the Text, ed. Amelia Jones and Andrew Stephenson (London: Routledge Press, 1999).
“Art History/Art Criticism: Performing Meaning,” Performing the Body/Performing the Text, ed. Amelia Jones and Andrew Stephenson (London: Routledge Press, 1999).
“'Women' in Dada: Elsa, Rrose, and Charlie,” Women in Dada, ed. Naomi Sawelson-Gorse (Cambridge, MA and London: MIT Press, 1999), 142-173.
“Strategic Oblivion: 1970s Feminist Art in 1980s Art History,” Memory and Oblivion (Dordrecht, The Netherlands: Kluwer Academic Publishers, 1999).
“Interpreting Feminist Bodies: The Unframeability of Desire,” The Rhetoric of the Frame: Essays on the Boundaries of the Artwork, ed. Paul Duro (Cambridge, England and New York: Cambridge University Press, 1996).
“Postfeminism, Feminist Pleasures and Embodied Theories of Art,” New Feminist Criticism: Art/Identity/Action, ed. Cassandra Langer, Joanna Frueh, Arlene Raven (New York: Harper Collins, 1994). REPRINTED as “Feminist Pleasures and Embodied Theories of Art,” The Art of Art History: A Critical Anthology, first edition; ed. Donald Preziosi (Oxford: Oxford University Press, 1998). TRANSLATED/REPRINTED in La rébellion du Deuxième Sexe – L'histoire de l'art au crible des théories féministes anglo-américaines (1970-2000), tr. and ed. Fabienne Dumont (Paris: Les Presses du réel, forthcoming ).
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“Negotiating Difference(s) in Contemporary Art,” Theories of Contemporary Art, ed. Richard Hertz, 2nd Edition (Englewood Cliffs, NJ: Prentice-Hall, 1993).
“The Ambivalence of Male Masquerade: Marcel Duchamp as Rrose Sélavy,” The Body Imaged, ed. Kathleen Adler, Marcia Pointon (Cambridge, England and New York: Cambridge University Press, 1993).
“Antagonizing Modernism: Art Criticism's Hegemonic Postmodernism,” Beyond Walls and Wars: Art, Politics, and Multiculturalism, ed. Kim Levin (New York: Midmarch Arts Press, 1993).
PUBLICATIONS – ESSAYS in EXHIBITION CATALOGUES: “Please Respond: Senga Nengudi’s Art as “Human Relationship,” Senga Nengudi (Colorado Springs: University of Colorado, Colorado Springs Galleries of Contemporary Art, 2015).
“Thinking Feeling: Art and Queer Affect,” TEMPERAMENTAL, ed. Erin Silver (University of Toronto, 2015); available online at: http://www.utsc.utoronto.ca/~dmg/temperamental/.
“Life [in Progress] and the Master-Slave: Moving Beyond the Dialectic,” Janez Jansa, Life II [in Progress] (Ljubljana: Maska, 2014).
“To perform; performativity; performance… The Art and Politics of the Material Trace,” Per/Form, ed. Chantal Pontbriand (Madrid: CA2M, 2014). REPRINTED in Agnes Nedregård, Performance Works: The Big Toe, ed. BrankoBoero Imwinkelried (Paris: Dimanche Rouge, 2015), 46-64.
“Fille sauvage, âme sauvage, herbe sauvage: les fémininités féroces de Niki de Saint Phalle vers 1960-1966” (“Wild Maid, Wild Soul, A Wild Wild Weed: Niki de Saint Phalle’s Fierce Femininities, c. 1960-1966”), Niki de Saint Phalle 1930-2002, ed. Camille Morineau (Paris: Réunion des musées nationaux—Grand Palais, 2014). TRANSLATED as “Wild Maid, Wild Soul, A Wild Wild Weed: Las Feroces Feminidades de Niki de Saint Phalle, Hacia 1960-1966,” in Niki de Saint Phalle 1930-2002, Spanish edition (Bilbao: Guggenheim Bilbao, 2015), 156-163. TRANSLATED by Clara Zarza, longer version, as “Doncella salvaje, alma salvaje, un hierbajo salvaje, salvaje: las feminidades feroces de Niki de Saint Phalle, 1960-1966,” Efímera Revista 6, n. 7 (November 2015), available online at: http://www.efimerarevista.es/
“Alex Monteith’s Enlightened Body Machines,” Alex Monteith exhibition catalogue (Auckland, New Zealand, 2014).
“Chris Burden’s Bridges, Relationality, and the Conceptual Body,” in the catalogue Chris Burden: Extreme Measure (New York: New Museum of Contemporary Art, and Skira/Rizzoili, 2013). Amelia Jones c.v. 2016 18
REPRINTED in Der Mann in der Krise? Visualisierungen von Männlichkeit im 20. und 21. Jahrhundert (Man in Crisis? Visualizations of Masculinity in the 20th and 21st Centuries), ed. Änne Söll, Gerald Schröder (Vienna: Böhlau Verlag, 2015).
“Case Study on Heather Cassils,” Cuts, The Work of Heather Cassils (New York: Ronald Feldman Gallery, 2013). REPRINTED in Reading Contemporary Performance, ed. Meiling Cheng and Gabrielle Cody (forthcoming, 2015).
“Tracing the Body: Gesture and Materiality in the Work of Juliana Cerquiera-Leite,” translated into Portuguese for Juliana Cerquiera-Leite catalogue (São Paulo, Brazil: Casa Triângulo, 2013). REPRINTED in CasaTriângulo 25 Años, ed. Ricardo Trevisan (forthcoming, 2014).
“‘Wake up, the other is here—es más, the other is you’,” in the catalogue Guillermo Gómez- Peña: Homo fronterizus [1492-2020] (Las Palmas de Gran Canario, Spain: Centro Atlántico de Arte Moderno, 2012).
“Not: Rachel Lachowicz’s Red Not Blue,” Rachel Lachowicz (Los Angeles: Shoshana Wayne Gallery, 2012).
“Valérie Blass and the Reanimated (Whimsical) Uncanny,” Valérie Blass, ed. Lesley Johnstone (Montréal: Musée d’art contemporain, 2012).
“‘Traitor Prophets’: Asco’s Art as a Culture of the In-Between,” Asco: Elite of the Obscure, A Retrospective 1972-1987, ed. C. Ondine Chavoya and Rita Gonzalez (Ostfildern, Germany: Hatje Cantz Verlag and Los Angeles: Los Angeles County Museum of Art, 2011).
“The ‘Dispersed Body of Desire’ in Mary Kelly’s Practice: Amelia Jones in dialogue with Mary Kelly about the Body in Feminist Art,” Mary Kelly Retrospective (Manchester: Whitworth Art Gallery, 2011). REVISED and EXPANDED version of Amelia Jones interviews Mary Kelly, British Subjects: Identity and Self-Fashioning 1948-2000, ed. by Louise Yelin (Purchase, NY: Neuberger Museum, State University of New York at Purchase, 2010); available online at http://www.neuberger.org/superfile/events_flyer/FINALBritishSubjectsFinal.pdf.
“Mira Schor: Making Thought Material, Painting (the Act of) Painting,” Mira Schor (Los Angeles: CB1 Gallery, 2010).
“Notes on a (Impossible/Eternal) Return: A Foreword,” NOTES on a Return, ed. Sophia Hao (Newcastle: Laing Art Gallery, 2009).
“Performance: Time, Space and Cultural ‘Value’,” One Day Sculpture [New Zealand], ed. David Cross and Claire Doherty (Berlin: Kerber Verlag, 2009).
“‘Genital Panic,’ the Threat of Feminist Bodies, and Parafeminism,” Women Artists/ elles@centrepompidou (Paris: Centre Georges Pompidou, 2009). Amelia Jones c.v. 2016 19
“Naming Power and the Power of the Name: Janez Jansa Performs the Political in/for the Art World,” NAME Readymade (Ljubljana: Moderna galerija and Aksioma Press, 2008), 31-50. Available on-line at: http://www.aksioma.org/name_book/name_readymade.pdf.
“Time Traveler: Eleanor Antin as Mythographer of the Self,” Eleanor Antin: Historical Takes (San Diego: San Diego Museum of Art, 2008).
“Failed Knowledge and the ‘Respect for Otherness’ in Marilène Oliver’s Le Grand Jeu,” Marilène Oliver’s Le Grand Jeu (London: Beaux Arts London, 2007).
“The Unheimlich Home: Women’s Art and Domesticity in the Twenty First Century,” Domestic Departures (Fullerton: California State University, 2007).
“Women’s Art, Men’s Bodies: Desire in Motion,” Girl on Guy (Chicago: A+D Gallery, Columbia College, 2007).
“1970/2007: The Legacy of Feminist Art,” Gender Battle, ed. Juan Vicente Aliaga (Santiago de Compostela, Spain: Contemporary Art Centre of Galicia, 2007). REPRINTED (revised version) “1970/2007: The Return of Feminist Art,” in X-Tra 10.4 (Los Angeles: Spring 2008). REPRINTED (revised version) “Completing the Circle?: 1970/2008 and the Return of Feminist Art,” Exitbook (Madrid, 2008).
“Guillermo Gómez-Peña and the ‘Reversal of the Anthropological Gaze’,” Border Art Clásicos (1990-2005): An Anthology of Collaborative Video Works by Guillermo Gómez-Peña (Chicago: Video Data Bank, 2008); print catalogue accompanying 4-DVD set. REPRINTED in Guillermo Gómez-Peña (San Francisco Museum of Modern Art, 2011).
“Spineless: Joseph Havel and the Productive Embrace of Failure,” Joseph Havel (Houston: Museum of Fine Arts, 2006), 91-136.
“New York Dada: Beyond the Readymade,” The Dada Seminars (Washington, DC: National Gallery of Art, 2005), 151-171.
“Subversive Love,” Enthusiasm: Films of Love, Longing and Labour, ed. Neil Cummings and Marysia Lewandowska (London: Whitechapel Gallery, 2005), 36-54.
“Working the Flesh: A Meditation in Nine Movements,” Live Culture, ed. Adrian Heathfield (London: Tate Modern, 2004), 132-143.
“The Obscenity of Whiteness (Mirror, Mirror on the Wall, Who’s the Fairest One of All?),” Whiteness: A Wayward Construction ed. Tyler Stallings (Los Angeles: Fellows of Contemporary Art; and Laguna Beach: Laguna Beach Art museum, 2003), 87-118.
“Digital Dynamism: Susan Silton’s Aviate,” in Susan Silton/Aviate (Los Angeles, 2000).
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“‘How Technology Sees Through Us,’ or, Diana Thater’s The best animals are the flat animals - - the best space is the deep space and the Third Space,” in Diana Thater (Los Angeles: MAK Center, 1998).
“Tracing the Subject with Cindy Sherman,” Cindy Sherman: Retrospective, exhibition catalogue (Chicago: Museum of Contemporary Art and Los Angeles: Museum of Contemporary Art, 1997). REPRINTED/TRANSLATED as “Sur les traces du sujet avec Cindy Sherman,” in Cindy Sherman: Rétrospective (French edition; Paris: Les Éditions Thames & Hudson, 1998).
“Sexual Politics: Feminist Strategies, Feminist Conflicts, Feminist Histories,” and “The 'Sexual Politics' of The Dinner Party: A Critical Context,” Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History, ed. Amelia Jones (Los Angeles and Berkeley: University of California Press and Los Angeles: UCLA/Hammer Museum of Art, 1996). REPRINTED/ EXCERPTED as “The 'Sexual Politics' of The Dinner Party: A Critical Context,” Art and Its Histories: A Reader, ed. Steve Edwards (London: The Open University and Yale University Press, 1999). REPRINTED/EXCERPTED as “The ‘Sexual Politics’ of The Dinner Party,” in Norma Broude and Mary Garrard, ed., Reclaiming Female Agency: Feminist Art History after Postmodernism (Berkeley and LA: University of California Press, 2005). REPRINTED/ TRANSLATED (“The ‘Sexual Politics’ of The Dinner Party”) in La rébellion du Deuxième Sexe – L'histoire de l'art au crible des théories féministes anglo- américaines (1970-2000), tr. and ed. Fabienne Dumont (Paris: Les Presses du réel, forthcoming ).
“Eros, That's Life, or the Baroness's Penis,” Making Mischief: Dada Invades New York, ed. Beth Venn and Francis Naumann, exhibition catalogue (New York: Whitney Museum of American Art, 1996), 238-247.
“Intra-Venus and Hannah Wilke's Feminine Narcissism,” Intra-Venus/ Hannah Wilke, exhibition catalogue (New York: Ronald Feldman Gallery, 1995). REPRINTED/TRANSLATED in Gender: Beyond Memory, exhibition catalogue (Tokyo: Tokyo Metropolitan Museum of Photography, 1996).
“Herejías feministas: 'el arte coño y la representación del cuerpo de la mujer” (Feminist Heresies: 'Cunt Art' and the Female Body in Representation), Herejías / Heresies, ed. Jorge Luis Marzo, exhibition catalogue (Las Palmas de Gran Canaria, Canary Islands: Centro Atlántico de Arte Moderno, 1995).
“The Flesh of the World: Maureen Connor's Phenomenological Feminism,” Maureen Connor: Discreet Objects, exhibition catalogue (New York: Alternative Museum, 1994).
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WORK FEATURED (INTERVIEWS, MEDIA COVERAGE, MISCELLANEOUS): Jacqueline Bishop, “Renowned Feminist Art Historian Amelia Jones Believes that the Discipline of Art History Should be Restructured to Include New Narratives and Diverse Voices,” Huffington Post, January 21, 2016; available online at: http://www.huffingtonpost.com/jacqueline-bishop/renowned-feminist-art-his_b_9038984.html
Susana Vargas, “Marina Abramović, Beyoncé y el Neoliberalismo: una entravista con Amelia Jones” (Marina Abramović, Beyoncé and Neoliberalism: An Interview with Amelia Jones,” Vice Mexico (January 17, 2016), https://i-d.vice.com/es_mx/article/marina-abramovi-beyonc- y-el-neoliberalismo-una-entrevista-con-amelia-jones.
Anne Martens, “Amelia Jones: The Politics of Identity/ Art Historian as Social Activist,” Artillery (posted November 3, 2015); available online at: http://artillerymag.com/amelia- jones-and-the-politics-of-identity-millennial-style/
Interview with Kate Blackmore of the feminist collective Brown Council, Canvas radio show, FBi 94.5, Sydney, Australia, posted June 21, 2015; available online at: http://canvasonfbi.podbean.com/e/canvas-038-federal-arts-funding-update-the-australian- womens-art-movement-amelia-jones/
Cited in Gabriella Gastevich, “The Body, Painted and Performed: Feminist Artists Who #FreeTheNipple,” posted June 5, 2015 in Neon Tommy, available at https://medium.com/neon-tommy/the-body-painted-and-performed-feminist-artists-who- freethenipple-3f1c51f67700
Felicitas Thun-Hohenstein, “From the Document towards Material Traces,” interview with Amelia Jones, Performing the Sentence: Research and Teaching in Performative Fine Arts, ed. Felicitas Thun-Hohenstein and Carola Dertnig (Berlin: Sternberg Press, 2014).
Interview featured in “Osmi dan” arts broadcast, RTV4, Slovenia; 30 January 2014: http://ava.rtvslo.si/predvajaj/osmi-dan/ava2.174258899/ [15:35-20:35].
Petja Grafenaeur, “Tujka, ki na glas kritizira Marino Abramović,/ Amelia Jones,” article on Amelia Jones lecture at City of Women festival in Mladina, Ljubljana, Slovenia (October 30, 2013); available on-line at: http://www.mladina.si/.
Jela Krečič, “V čem je problem umetniške prezence?: Mesto žensk in Maskin seminar Amelia Jones” (“What’s the problem with artistic presence?: City of Women [Festival] and Masko Seminar of Amelia Jones,” an analytical article), Delo [Slovenia], (10 October 2013), p. 16.
Tales Frey, “Diálogos com Amelia Jones: Avaliações Sobre Identidade, Body Art e Documentação de Ações Performativas” (“Dialogue with Amelia Jones: A discussion about identity, body art and the documentation of performative actions”) Performatus on-line journal, uploaded July 2013, http://performatus.net/ameliajones/ (Brazil).
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“The Lessons of Sexual Politics: From the 1970s to Empire: An Interview with Amelia Jones,” by Angela Dimitrakaki, Politics in a Glass Case: Feminism, Exhibition Cultures and Curatorial Transgressions, ed. Angela Dimitrakaki and Lara Perry (Liverpool: Liverpool University Press, 2013), 93-103.
“Viable or Merely Possible?: A Dialogue on Feminism’s Radical Curatorial Project,” dialogue with Angela Dimitrakaki, published in Elke Krasny, ed. Frauen:Museum. Zwischen Sammlungsstategien und Sozialen Plattformen / Women's: Museum. From Collection Strategies to Social Platforms (Wien / Vienna Löcker Verlag / Löcker Publisher, 2013).
Interviewed for Seattle Art Museum audio guide for exhibition Elles@centrepompidou, 2012.
Short response essay to a work by Olivia Boudreau included in exhibition Interactions at the Leonard and Bina Ellen Gallery at Concordia University, Fall 2012.
Participation as “witness” with Paul Donald in Fiona MacDonald’s video work Re/Points of View Montreal, 2010; see: http://vimeopro.com/user13773107/repoints-of- view/video/127674479; password: nancyholt.
Interview with Émilie Notéris featured in Fétichisme postmoderne. Paris: La Musardine, 2010.
Caroline Bem and Rafico Ruiz, “Thoughts on Writing Histories of Art, Live and Otherwise; an interview with Amelia Jones,” Seachange Journal, McGill University, inaugural issue, April 2010; available on-line at: http://www.seachangejournal.ca/pdf/SEACHANGE%20Spring- Printemps%202010.pdf.
Amelia Jones interviews Mary Kelly, British Subjects: Identity and Self-Fashioning 1948-2000, ed. by Louise Yelin (Purchase, NY: Neuberger Museum, State University of New York at Purchase, 2010); available online at http://www.neuberger.org/superfile/events_flyer/FINALBritishSubjectsFinal.pdf.
Video-taped interview on the subject of the exhibition elles@centrepompidou (fall, 2009), available on-line at http://www.dailymotion.com/video/xeql4o_amelia-jones-elles- centrepompidon-u_creation.
Video of “Live Art in History” presentation included in Real Time/ Real Documents exhibition at Whitworth Art Gallery, University of Manchester, fall 2009.
Bob Dickinson, interviewed for “Body of Art,” BBC 4 Radio, 9 June 2009.
Rasmus Kjærboe, "Art History Remains - An Interview With Amelia Jones", in AFART. Visuel kultur, Kunsthistorie, Dans & Teatervidenskab, no. 24, November 2008 (Department of Arts and Cultural Studies, Copenhagen University).
“Letter from Amelia Jones to Carolee Schneemann, 10 June 1996,” published in Correspondence Course, An Epistolary History of Carolee Schneemann and Her Circle, ed, Kristine Stiles (Durham, NC: Duke University Press, 2009).
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“Lisa Yuskavage: Critiquing Prurient Sexuality, or Disingenuously Peddling a Soft-Porn Aesthetic,” interview with Cathryn Keller, Washington Post (Sunday, April 22, 2007), N06.
“History Makers: Amelia Jones talks to Connie Butler about the upcoming exhibition ‘WACK!, Art and the Feminist Revolution’,” in Frieze 105 (March 2007).
“Interview with Amelia Jones,” on Feminist Magazine show, KPFK Radio, Los Angeles (July 2006).
“Polemic” on What is Performance Studies? What is an International, ed. Branislava Kuburovic for Performance Studies International (PSi) website, http://www.psi- web.org/texts/what%20is%20text.htm, posted May 2006.
Exhibition text/object included in the show 20;Twenty: A Timeline of Cornerhouse Exhibitions (Cornerhouse, 2005); published in 20;Twenty: A Timeline of Cornerhouse Exhibitions (Manchester, UK: Cornerhouse, 2006), n.p.
Books on feminism and art featured in exhibition When Artists Say We, Artist’s Space, New York, March 8 – April 29, 2006.
“Interview with Amelia Jones, author of Companion to Contemporary Art Since 1945,” in Exitbook No. 17 (Madrid; 2006), 42-43.
Interviewed by Omar Berrada for Radio France show “RADIODADA,” broadcast October 8, 2005; show accessible at: http://www.radiofrance.fr/chaines/france-culture2/emissions/radio_libre/index.php.
Response to dialogue on “Feminist Activist Art” for special issue of National Women’s Studies Association Journal (Bloomington: Indiana State University, forthcoming).
“Performativity, Cultural-Politics, and the Embodiments of Knowledge: An Interview with Amelia Jones conducted by Jonathan Harris,” in Dead History, Live Art? Spectacle, Subjectivity, and Subversion in Visual Culture since the 1960s, ed. Jonathan Harris (Liverpool: Liverpool University Press and Tate Liverpool, 2007).
“The Fate of Performance: A Conversation between the Distinguished Art Theorist Amelia Jones and Adrian Heathfield,” Tate Modern, London, October, 2004.
Clips of public lecture on Pipilotti Rist featured on Programme entitled “Magazyn Publicystyki Kulturalnej REZONANS,” by Aleksandra Lapkiewicz, Channel 2 of the Polish Radio, 4 June at 5 p.m.
Video interview/discussion for Artclips video series, Mieke Bal, Amsterdam (2002-2003); clip available online at: http://www.miekebal.org/artworks/films/artclips/
Interview with Martina Pachmanová on the state of feminism in the visual arts, in Vernost V Pohbu: Hovory O Feminismu, Historii A Vizualite (Prague: Marie Chribkova, Publisher, 2001). Amelia Jones c.v. 2016 24
REPRINTED/PUBLISHED in original English as “Art’s Sexual Politics” in the special issue “Mobile Fidelities: Conversations on Feminism, History, and Visuality,” ed. Martina Pachmanová, in n.paradoxa, n. 19 (May 2006), http://www.ktpress.co.uk/pdf/nparadoxaissue19_Martina-Pachmanova_53-64.pdf
Video interview for “Making Sense of Modern Art” video and website, San Francisco Museum of Modern Art (2006).
Daniela Salvioni and Diana Fuller, “Interview with Amelia Jones,” Parallels and Intersections: A Remarkable History of Women Artists in California 1950-2000 (Berkeley and Los Angeles: University of California Press, 2002).
Amelia Jones’s Body Art/Performing the Subject featured in San Francisco Museum of Modern Art BookTalk series (January 30, 1999).
Work on body art featured in “Hot Type,” Chronicle of Higher Education (March 6, 1998).
Interview with Judy Chicago and Jude McGhee on “Beneath the Surface,” KPFK radio, Los Angeles (July 15, 1996).
Feature Profile in Candice Mack, “Amelia Jones Knows Her Art...,” Highlander (UC Riverside; June 4, 1996).
Panel contribution published in Suzanne Muchnic, ed., “Push-Pull of Feminist Art,” Los Angeles Times / Calendar (cover story; April 21, 1996).
Interview with Michael Cohen, “Amelia Jones/ Cityscape: Los Angeles,” Flashart 28, n. 181 (March-April 1995).
EDITORIALS and other POLITICAL PUBLICATIONS: Various editorials published in New York Times and Los Angeles Times (1995-2003).
Political cultural column published regularly at www.sickofthiscrap.com, 2003-4.
PUBLICATIONS – BOOK REVIEWS: The Revolution is Over,” a review of Art Since 1900, Rosalind Krauss, Hal Foster, Benjamin Buchloh, Yve Alain Bois (2005), in Art Bulletin 88, n 2 (2006), 376-379.
A review of Parveen Adams, The Emptiness of the Image: Psychoanalysis and Sexual Differences (Routledge, 1996), Katherine Hayles, How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics (Chicago, 1999), Kaja Silverman The Threshold of the Visible World (New York and London: Routledge, 1996), in Signs: Journal of Women in Culture and Society 27, n. 2 (Winter 2002), 565-568.
A review of Gill Perry, ed. Gender and Art (New Haven and London: Yale University Press in association with the Open University, 1999) and Paul Wood, ed. The Challenge of the Avant- Amelia Jones c.v. 2016 25
Garde (New Haven and London: Yale University Press in association with the Open University, 1999), in CAA Reviews (
A review of Sara Schneider, Vital Mummies: Performance Design for the Show-Window Mannequin (1995), Adrian Piper, Out of Order, Out of Sight, vols. 1 and 2 (1996), and Mary Kelly, Imaging Desire (1996), in Signs: Journal of Women in Culture and Society (Fall 1999).
A review of Jerrold Siegel, The Private Worlds of Marcel Duchamp: Desire, Liberation, and the Self in Modern Culture (1995); and Calvin Tomkins, Duchamp: A Biography (1996), in Journal of Modern History (Chicago; December 1998).
“Power and Feminist Art (History)”: A review of Norma Broude and Mary Garrard, eds., The Power of Feminist Art: The American Movement of the 1970s, History and Impact (1994), in Art History (London), 18, n. 3 (September 1995).
“Artful Rewritings and Interpretive Repressions in New Feminist Art Histories”: A review of Whitney Chadwick, Women, Art, and Society (1990); and Janet Wolff, Feminine Sentences: Essays on Women and Culture (1990), in Art History (London), 15, n. 2 (June 1992).
“Modernist Logic in Feminist Histories of Art”: A review of Griselda Pollock, Vision and Difference: Femininity, Feminism and the Histories of Art (1988); Laura Mulvey, Visual and Other Pleasures (1989); Kate Linker, Love for Sale: The Words and Pictures of Barbara Kruger (1990); and Abigail Solomon-Godeau, Photography at the Dock: Essays on Photographic History, Institutions, and Practices (1991), in Camera Obscura: A Journal of Feminism and Film Theory 27 (1991/92).
PUBLICATIONS – SHORT ESSAYS and TEXTS: “Bodying Forth: Margaret Lazzari’s Painted Worlds,” Margaret Lazzari: Moving in Color (Mount San Antonio College Art Gallery, 2015).
“On Sexism in the Art World,” ArtNews, special issue on “Women in the Art World,” edited by Maura Reilly (June 2015), 69-70; also available online at: http://www.artnews.com/2015/05/26/on-sexism-in-the-art-world/
“Retouching Bruises: Performativity and Vulnerability in Ulay’s Early Work,” for MOTInternational EXHIBITION CATALOGUE (London and Brussels: MOTinternational, 2015). REPRINT in Stedelijk Studies #3 (2016, Amsterdam); available online at: http://www.stedelijkstudies.com/journal/retouching-bruises-jones/
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“On Martha Wilson’s reenactment of the 1973 Selfportrait,”for Self Timer Stories, exhibition catalogue for a show curated by Felicitas Thun-Hohenstein (Salzburg, Austrian Cultural Forum/Verlag Anton Pustet, 2015).
“Habits are hard to break: The habitus and performance” in special section: “The Voice of Death, Rupturing the Habitus,” co-authored with Marin Blažević, in collaboration with soprano Vlatka Oršanić, Performance Research (2014).
[Untitled article], for “Notes from the Field: Materiality,” Art Bulletin 95, n. 1 (March 2013), 17-18.
“Time Passing Upside Down: Julie Rrap’s 360 degree self-portrait,” Art and Australia (2012).
“The World Hurts,” M/E/A/N/I/N/G special 25th anniversary issue (Fall 2011), available on-line at: http://writing.upenn.edu/epc/meaning/05/meaning-online-5.html#jones; and in PDF form: http://www.stedelijkstudies.com/beheer/wp-content/uploads/2015/12/Stedelijk- Studies_Retouching-Bruises_PDF.pdf
“A Wet Scarlet Message from the Core of the Body: Judy Chicago’s Red Flag,” Kiss Kiss Bang Bang: 45 Years of Art and Feminism (Bilbao, Spain: Fine Arts Museum of Bilbao, 2007).
“Can the Future Be Documented? A Manifesto,” Rett Kopi: Dokumenterer Fremtiden (Oslo; 2007), 194.
“Decorporealization,” in Sensorium: Embodied Experience, Technology, and Contemporary Art, ed. Caroline Jones (Cambridge, Mass.: MIT List Visual Art Center and MIT Press, 2006); exh. cat.
“Culture Collecting: Re-Making Euro-American Culture,” But where are you really from? (London/Manchester: Green Cardamom and Muslim Arts Festival, Britain, 2005), exh. cat.
“The Undecidability of Difference: The Work of Rachel Garfield,” Rachel Garfield (St. Albans, UK: University of Hertfordshire Galleries, 2005), exh. cat.
“Roberta Breitmore Lives On,” The Art and Films of Lynn Hershman Leeson, ed. Meredith Tromble (Berkeley and Los Angeles: University of California Press, 2005).
“Baroness Elsa von Freytag-Loringhoven,” Dictionary of Artist’s Models (London: Fitzroy Dearborn Publishers, forthcoming).
Contribution to “Feminism & Art: Nine Views,” Artforum (October 2003).
“Spinning Susan Silton,” SITE Santa Fe brochure (2003) exh. cat.
“In the Context of Contemporary Art, What is Your Vision of a Yet Unknown Art?,” Anthology of Art, ed. Joachim Gerz (Braunschweig, Germany and Rennes, France; Spring 2002), http://www.anthology-of-art.net.
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“What is your most memorable experience of a feminist art exhibition?,” n.paradoxa, ed. Katy Deepwell (London; Fall 2000), http://web.ukonline.co.uk/n.paradoxa/index.htm.
“Survey on Feminist Pedagogy,” Documents n. 17 (New York, Winter/Spring 2000).
“People, Places, Things: Intersubject- and Interobject-ivity in Dorit Cypis’s Angel of Histories,” in Dorit Cypis: Angel of Histories (Riverside: University of California, Riverside, Sweeney Art Gallery, 2000).
On feminism and art, Art Journal, special section edited by Mira Schor, “Contemporary Feminism: Art Practice, Theory, and Activism-- An Intergenerational Perspective” (New York; Winter 1999-2000).
“An Appreciation,” The Body Inscribed: Challenging Tradition, ex. cat., curated by Sandra Chesterman and Carole Shepheard (Auckland, New Zealand: George Fraser Gallery, University of Auckland, 1999).
“Duchamp and the En-Gendering of the Artistic Subject,” “Feminist Performance,” Encyclopedia of Aesthetics (New York: Oxford University Press, 1998/new edition 2013).
“Maksymluk, Meskimmon, and Me,” a response to Marsha Meskimmon, in Make: A Magazine of Women’s Art 80 (London; June-August 1998).
“The Gap as a Conceptual Place of Useful Activity,” Framework (Los Angeles), issue on “In Between,” ed. Amelia Jones, Kris Kuramitsu, Mario Ontiveros (Spring 1998).
“Judy Chicago,” Dictionary of Women Artists (London: Fitzroy Dearborn, 1997).
“Rachel Rosenthal,” Rachel Rosenthal, ed. Moira Roth (Baltimore: Johns Hopkins University Press, 1997). REPRINT of Artforum review.
“Susan Silton's Mutations of Self/Image: The Portrait,” in gallery pamphlet for Susan Silton exhibition (Santa Monica: Craig Krull Gallery, 1995).
“Love and Mourning: Who am I since you are no longer?,” Framework 7, n. 2 (Los Angeles; 1995).
“RROSE/MARCEL -- The Artist En-Gendered: An 'Essay' in Questions,” Altered Egos, Santa Monica Museum of Art (exhibition catalogue, 1994).
“Suspended Flow,” A Carafe, That is a Blind Glass, Occidental College, Weingart Gallery, Los Angeles (exhibition pamphlet, 1993).
Essay on Lawrence Gipe, Paintings from the Century of Progress Museum, Blum Helman Gallery, New York (exhibition pamphlet, 1992).
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The Politics of Difference: Artists Explore Issues of Identity, exhibition brochure (Riverside: University Art Gallery, University of California, 1992).
“The Contingency of the Non-representational: Liz Larner's Objects,” Visions (Los Angeles), v. 3, n. 2 (Spring 1989).
“Jill Giegerich: Allegories of Re-presentation,” Visions, v. 3, n. 1 (Winter 1988).
Architect biographies and extended catalogue entries on modern houses of Los Angeles' Case Study House project, in Blueprints for Modern Living: History and Legacy of the Case Study Houses, Elizabeth Smith (Los Angeles: Museum of Contemporary Art, 1989).
“An Interview with Julius Shulman,” “Films by Ray and Charles Eames,” “World Premiere of Tribute to Eames Couple,” The Contemporary (Museum of Contemporary Art, Los Angeles; October 3, 1989 - February 18, 1990).
PUBLICATIONS – SHORT ART REVIEWS : 1987-1995 regular reviews published in Artforum (New York), Art issues (Los Angeles), Artscribe (London), Art International (Paris; Los Angeles correspondent), Artweek (Oakland), L.A. Weekly (Los Angeles), Flashart (Milan), Provincetown Arts (Provincetown). REPRINT of review of Rachel Rosenthal’s Zones, from Artforum (April 1994), in Rachel Rosenthal, ed. Moira Roth (Baltimore: Johns Hopkins Press, 1997).
SELECTED PUBLIC LECTURES (since Spring 2003): March 2016: “‘Individual Mythologist’: Vulnerability, Generosity, and Relationality in Ulay’s Self Imaging,” Leslie Lohman Museum of Gay & Lesbian Art, New York.
March 2016: “Does Performance Queer Aesthetics?: The Modernists’ Fear of Durationality, Contingency, and Relationality,” panel on “Aesthetics of Performance,” Questioning Aesthetics Symposium, Rhode Island School of Design, Providence.
March 2016: “Intimate Relations: What Makes Performance Queer? What Makes Queer Performative?” Department of Art, University of Buffalo.
February 2016: “Seeing Differently, Again: (Some thoughts on) Rethinking “Post-identity,” “Identity Politics as Counterhegemonic Practice” panel, College Art Association, Washington, D.C.
October 2015: “Judy Chicago’s ‘Will to Power’ and the Invention of Feminist Art as a Curatorial Practice in 1970s Los Angeles,” Feminist Perspectives in Art Productions and Theories of Art public seminar series, organized by Xabier Arakistain and Lourdes Méndez, Centro Cultural Alhóndiga and Azkuna Zentroa, Bilbao, Spain.
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June 2015: “Material Traces: Contemporary Art, ‘Dematerialization,’ and the Animating Force of Labor,” Keynote lecture for Animism and Material Vitality in Art and Performance conference, Auckland University of Technology.
June 2015: “Intimate Relations: What Makes Performance Queer? What Makes Queer Performative?” Asia Art Archive, Hong Kong. Keynote lecture.
June 2015: “Material Traces: Performativity, Artistic ‘Work,’ and New Concepts of Agency,” Power Institute, The University of Sydney. Keynote lecture.
March 2015: “Law and the Flesh: Ron Athey’s Ruptured Body, or, How (and Why) Uncontainable SEXUALITIES Provoke Legislative Reaction,” Keynote lecture for The Culture Wars: Then and Now symposium, University of Minneapolis.
March 2015: “Queering Performance and Performing Queer: The ‘Inappropriate’ Performances of Nao Bustamante,” Keynote lecture for Hysterical Bodies: Disabling Normative Behavoir in Contemporary Art conference, UC San Diego Department of Visual Arts, 8th Annual Phd Symposium.
January 2015: “‘Autodidact, self-thought, auto-portrait, self-portrait’: Performativity and Vulnerability in Ulay’s Early Work,” keynote lecture, Stedelijk Gallery, Amsterdam.
November 2014: “The Sound of Art,” Sound, Vision, Action conference, McGill University.
October 2014: “Activating the Feminist Body and the Curating of Feminist Art,” University of Houston.
October 2014: “Wild Maid, Wild Soul, A Wild Wild Weed: Niki de Saint Phalle’s Fierce Femininities, c. 1960-1966,” Museum of Fine Arts, Houston.
August 2014: “Wild Maid, Wild Soul, A Wild Wild Weed: Niki de Saint Phalle’s Fierce Femininities, c. 1960-1966,” Graduate Lecture Series, Roski School of Art & Design, USC.
June 2014: “Mike Kelley and “the aesthetics of [repressed] sexuality,” The Improper: Mike Kelley’s Dissent, panel, Museum of Contemporary Art, Los Angeles.
May 2014: To perform; performativity; performance… The Art and Politics of the Material Trace,” Per-Form: How to do things with[out] words, CA2M (Centro de Arte Dos de Mayo), Madrid.
March 2014: “To perform; performativity; performance… The Art and Politics of the Material Trace,” invited lecture, Art, Art History and Visual Studies Department, Duke University, Durham, NC.
February 2014: “To perform; performativity; performance… The Art and Politics of the Material Trace,” keynote lecture for FOOT (Festival of Original Theatre), University of Toronto.
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February 2014: “Material Traces: Contemporary Art, ‘Dematerialization,’ and the Negotiation of Immaterial Labor,” Dean’s lecture for OCAD (Ontario College of Art and Design), Toronto.
December 2013: “Performance and ‘Relationality’ in the 1970s: Chris Burden and the Conceptual Body,” Musée de Beaux Arts, Montréal.
November 2013: “Performance and "Relationality" in the 1970s: Chris Burden and the Conceptual Body,” Shirley Thompson Lecture, Carlton University, Ottawa, and University of Ottawa.
November 2013: “Yearning for Presence: The Live Body in (Art) History,” lecture for Modernist Forum, Department of Art History, Yale University, New Haven.
October 2013: “Dehabituating the Academic Body,” Le Laboratoire du geste, Université de Paris IV (Sorbonne).
October 2013: “Ironic Self Performance as an ‘Avant-Garde’ Artistic Strategy: The Histrionic Performances of Nao Bustamante,” Keynote lecture for “Des avant-gardes mauvais genre: contre-discours féminin et modernité esthétique” (The Avant-Gardes’ Bad Gender: Feminine counter discourse and aesthetic modernism), Université de Paris VII (Diderot).
October 2013: “Yearning for Presence: The Live Body in (Art) History,” City of Women Festival, Ljubljana, Slovenia.
September 2013: “Performance and ‘Relationality’ in the 1970s: Chris Burden and the Conceptual Body,” Keynote lecture for ceremony opening new arts building, Reed College, Portland, Oregon.
June 2013: “Nao Bustamante’s Sad Humor,” Amateur: The Work of Nao Bustamante, Performance Studies International, Stanford University.
June 2013: Performance debut, “An Art Historian Performing an Artist Performing Art History,” in The Implicit Body in Performance: Rupturing Habit in the Live Act, Performance Studies International, Stanford University.
May 2013: “Yearning for Presence: The Live Body in History,” Documenter, recréer conference, Université de Québec à Montréal (UQAM).
March 2013: “Queering Performance/Performing Queer,” Department of Performance Studies, Tisch School, New York University.
March 2013: “Queering Performance and Performing Queer: The Histrionic Performances of Nao Bustamante,” Department of Art and Art History, Florida International University, Miami.
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February 2013: “Where is the Rage? Where is the History?: Art Criticism and the Marketplace in 2013,” Art Criticism: Taking a Pulse panel, College Art Association, New York.
February 2013: “‘A history about which there is nothing feminine at all’: elles@centrepompidou as a Non-Feminine Exhibition of Art by Women,” Feminism Meets the Big Exhibition panel, College Art Association, New York.
February 2013: “The ‘Presence’ of the Body in Live Art,” Presence—A Workshop, Cabaret Voltaire, Zurich.
January 2013: “Performance and Feminist Art in the Public Realm: A Critique of “Relational Aesthetics,” for How to Identify with Difference? Doing Art in the Public Realm, Kunstraum Niederöserreich, Vienna.
December 2012: “Redoing the Self,” Keynote lecture for Redux conference, University of Bristol, UK.
November 2012: “Queering Performance: The ‘Inappropriate’ Performances of Nao Busamante,” Keynote lecture for “(In)appropriated Bodies,” Graduate Student Symposium, Department of History of Art and Visual Studies, Cornell University, Ithaca, New York.
October 2012: “Curating Feminist Art: On the exhibition Elles!,” Seattle Art Museum.
October 2012: “Queering Performance and Performing Queer: The Histrionic Performances of Nao Bustamante,” Department of Art History, University of British Columbia, Vancouver.
September 2012: “Queering Performance and Performing Queer: The Histrionic Performances of Nao Bustamante,” Friends of Art History, McMaster University, Hamilton, Ontario.
April 2012: “Affect and Art: Ron Athey Makes Me Feel,” Department of Visual Arts, York University, Toronto.
April 2012: “Queer Feminist Durationality: The Trace of the Subject in Contemporary Art,” keynote lecture, Department of Art History, University of Colorado, Boulder.
April 2012: “Activating the Feminist Body and the Curating of Feminist Art,” Museum and Curatorial Studies, University of California Santa Cruz, California.
March 2012: “Asco: Why is the Art World Finally Interested?,” keynote lecture, ASCO conference, Williams College, Massachusetts.
February 2012: “Ron Athey’s Upsetting Art… Generosity that Turns Suffering into Potential Action, Through Feeling,” keynote lecture for Regarding Re- conference, Stanford University, Palo Alto, California.
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January 2012: “Live Art as Always Already ‘Future History’: The Archive and Performance, a Case Study,” keynote lecture for Facing Forward: Art and Theory from a Future Perspective series, Stedelijk Museum, Amsterdam.
December 2011: “The Body as Archive/ The Archive as Body: Live Art in Los Angeles 1970-75, A Case Study,” History, Theory, and Criticism Forum, MIT University, Boston.
September 2011: “Art as Material Trace: Durationality and Meaning in Contemporary Art,” presentation for State of Emergency: Objects as Agency, circa 1970, Solomon R. Guggenheim Museum, New York.
September 2011: “The Body as Archive/ The Archive as Body: Intimacy in the study of Live Art,” Keynote for a symposium on Intimacy and Art, Loop Gallery, Toronto.
April 2011: “Seeing Differently: Relationality, Precarity, and Identification in Contemporary Art,” Art History and Communication Studies Annual Conference, McGill University.
April 2011: “Queer Feminist Durationality: Feminist Artists and the Enactment of Sex as a Radical Practice,” Keynote for The Body and Self Visual Arts Graduate Student Conference, University of California, San Diego.
March 2011: “Activating the Feminist Body and the Curating of Feminist Art,” Department of Art History, Université de Montréal.
February 2011: “Thoughts on Identity and Art,” Salon for School of Art, University of Arizona, Tucson.
February 2011: “The Body as Archive/ The Archive as Body: Live Art in Los Angeles 1970-75, A Case Study,” keynote lecture for School of Art, University of Arizona, Tucson.
January 2011: “Seeing Differently: Thoughts on ‘Post-Identity’ Discourse,” Institute for Gender, Sexuality, and Feminist Studies, McGill University, Montréal.
December 2010: “Performance and Art as a Politics of the In Between: The Work of Los Angeles Artist Collective Asco,” Intervenants culturels internationaux program, Université de Québec à Montréal.
November 2010: “The Body as Archive/The Archive as Body,” Keynote Lecture for This Sentence is Now Being Performed: Research and Teaching in Performance Art, Academy of Fine Arts, Vienna.
November 2010: “Activating the Feminist Body and the Curating of Feminist Art,” Keynote lecture, for Gender Check: Gender Narratives and Exhibition Practices, MUMOK (Museum Moderner Kunst Stiftung Ludwig), Vienna.
July 2010: “Performance as Improvisation: Aesthetics, Live Art, and the Problem of History,” lecture for Artspace, Sydney.
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July 2010: "‘Traitor Prophets’: Asco's Art as a Politics of the In Between: on the radical performance collective Asco, based in LA in the 1970s,” Art Department lecture series, Monash University, Melbourne.
July, 2010: “‘The Artist is Present’: Artistic Re-enactments and the Impossibility of Presence lecture for Department of Art, Auckland Institute of Technology, Auckland.
July 2010: “‘The Artist is Present’: Artistic Re-enactments and the Impossibility of Presence,” University of Victoria, Wellington.
April 2010: “Performance as Resistance?,” keynote lecture for RESISTANCES: counter-conduct, inter-disruptions, and compromising acts conference, Concordia University, Montréal.
March 2010: “Space, Body and Language in the Work of Bruce Nauman,” lecture for Musée d’art contemporaine, Montréal.
March 2010: “Performance as Improvisation,” Improvisation and Social Aesthetics conference, McGill University, Montréal.
July 2009: “Re-enacting the Live: Thoughts on Marina Abramović 's Seven Easy Pieces,” Marina Abramović Presents symposium, Whitworth Art Gallery, University of Manchester.
June 2009: “Visualizing Live Art: The Slovenian JJJ Project and the Durationality of Meaning,” Maine College of Art, Portland.
June 2009: “Space, Body and Language in the Work of Bruce Nauman,” lecture for Art into Action/ Action into Art conference, Free University of Berlin.
May 2009: “Live Art in (Art) History,” keynote lecture for Performed, Wysing Arts Contemporary, Cambridge, UK.
May 2009: “Visualizing Live Art: The Slovenian JJJ Project and the Durationality of Meaning,” University of Poznan, Poland.
May 2009: “Queer and the Limits of Feminism,” keynote lecture for Queer Up North Festival and University of Manchester Sexuality Summer School.
April 2009: “Screen Eroticisms,” University of Southern Florida.
April 2009: “Screen Eroticisms,” Keynote for “Transnational Feminisms” event, University of Wisconsin, Madison.
April 2009: “Space, Body and Language in the Work of Bruce Nauman,” Department of Visual Arts, University of Chicago.
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April 2009: “Performing the Wounded Body,” Theatre and Drama PhD, the Department of Performance Studies, and the Graduate School's Critical Studies in Theatre and Performance Cluster, Northwestern University, Chicago.
April 2009: “Visualizing Live Art: The Slovenian JJJ Project and the Durationality of Meaning,” School of Museum of Fine Arts, Boston.
October 2008: “Live Art in Art History,” Performance Studies Symposium, Warwick University.
September 2008: “Screen Eroticisms: Technology, the Body and Explorations of Female Desire in the Work of Carolee Schneemann and Pipilotti Rist,” Institute of Aesthetic Studies, University of Aarhus, Denmark.
May 2008: “Live Art in History: Remembering the Ephemeral Body,” keynote lecture for Let’s Do It Again!, symposium in conjunction with Not Quite How I Remember It exhibition at Powerplant, Toronto.
Available online at: http://www.thepowerplant.org/SwitchOn/Video-Room.aspx
April 2008: “Screen Eroticisms,” Visiting Artists and Scholars Lecture Series, San Francisco Art Institute.
March 2008: “Screen Eroticisms,” Tuesday lecture series, Museum of Modern Art, Fort Worth.
March 2008: “Return of Feminist Art,” Department of Art History, Texas Christian University.
February 2008: “1970/2007: The Legacy of Feminist Art,” keynote lecture for Feminisms, Historiography, and Curatorial Practices, Moderna Museet, Stockholm.
January 2008: “Seeing Differently,” Department of Art History, University of Cork, Ireland.
November 2007: “Virtually Becoming: Lynn Hershman and/as Roberta Breitmore and Beyond” for the Lynn Hershman Leeson: Autonomous Agents/ Second Life Symposium, Whitworth Art Gallery, University of Manchester.
November 2007: “Aesthetics, Art History, and Identity,” Harn Eminent Scholar lecture, Department of Art History, University of Florida, Gainesville.
October 2007: “Rupture,” Performance Studies Department, Queen Mary University, London.
October 2007: “Aesthetics, Art History, and Identity,” Frank Davis Lecture Series, Courtauld Institute, London.
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September 2007, “1970/2007: The Legacy of Feminist Art,” Gender Values and the Impact of Feminism in the 1970s conference, Contemporary Art Centre of Galicia, Santiago de Compostela, Spain.
June 2007: “1970/2007: Why/Does Feminism Still Matter in the Visual Arts?,” Keynote lecture, Taking a Hard Look: Gender and Visual Culture conference, University of Pretoria, South Africa.
May 2007: “Cities Performed, Imagined, Experienced,” Urbis: Museum of the City, Manchester.
April 2007: “Networked Screen Body: Diaspora, Photography, and Cinema in Contemporary Art Practice,” Keynote lecture, Screen/Space conference, Edinburgh.
March 2007: “Space, Body and Language in the Work of Bruce Nauman,” California State University Fullerton.
March 2007: “Performing the Wounded Body: A New Theory of Political Agency in the Visual Arts,” De Montfort University, Leicester.
February 2007: “Performing the Wounded Body: A New Theory of Political Agency in the Visual Arts,” Goldsmiths College, University of London.
December 2006: “The Body as Medium/ The Body as Hinge: Space, Body and Language in the Work of Bruce Nauman,” Artspace, Sydney.
December 2006: “Performing the Wounded Body: A New Theory of Political Agency in the Visual Arts,” Keynote lecture for Art Association of Australia and New Zealand, Melbourne, Annual Conference on Reinventing the Medium.
November 2006: “Performing the Wounded Body: A New Theory of Political Agency in the Visual Arts,” Keynote Lecture, Nordic Network for Avant-Garde Studies, Trømso, Norway, Centre-Periphery: Avant-Garde and the Other conference.
September 2006: “Hinge: Space, Body and Language in the Work of Bruce Nauman,” National Galleries of Scotland, Edinburgh, The Body conference.
September 2006: “Rupture: Erotic Ethics and the Wounded Body,” Department of Art History, Edinburgh University.
July 2006: “Hinge: Space, Body and Language in the Work of Bruce Nauman,” Tate Liverpool.
April 2006: “Rethinking Identity and Visual Culture,” Katherine Brown Distinguished Lecture in Art History, Rice University.
April 2006: “Identity and the Visual,” invited Plenary Lecture, Museum of Fine Arts, Houston.
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April 2006: “The Identity of Art (History),” Association of Art Historians, University of Leeds, Annual Conference, Art History’s Aftermaths panel, Donald Preziosi, Chair.
March 2006: “Whiteness as Race, Queer as (not only) White,” Lancaster University, Out of Place: Interrogating Silences in Queerness/Raciality conference.
March 2006: “Identity and the Visual: New Critical Models in Visual Arts Discourse,” lecture in the “Institute for Art History” series, Department of History of Art, University of Glasgow.
October 2005: “Identity and the Visual: New Critical Models in Visual Arts Discourse,” Department of Art History, University of Southern Denmark, Odense.
October 2005: “Re-Presenting the Live Body,” honorary lecturer for “The Body in the Library” series, University of Copenhagen.
September 2005: “Identity and the Visual: New Critical Models in Visual Arts Discourse,” Keynote lecture, Annual Meeting of International Association of Art Critics (AICA), Ljlubljana, Slovenia. [paper delivered by conference organizers]
May 2005: “Performance and Documentation,” J. Paul Getty Museum, Los Angeles. Performance Workshop.
May 2005: “Theorising Identity and the Visual,” Whitechapel Art Gallery, London, Big Ideas lecture series.
April 2005: “The Ontology of Performance,” Solomon R. Guggenheim Museum of Art, New York, Representing Performance conference.
March 2005: “The Televisual Architecture of the Dream Body: Pipilotti Rist as Parafeminist,” University of Colorado, Boulder, Department of Art and Art History.
March 2005: “The Televisual Architecture of the Dream Body: Pipilotti Rist as Parafeminist,” University College, London, Department of Art History.
March 2005: “Postmodernism and Identity: Seeing Differently,” Birkbeck College, London, Department of Art History.
February 2005: “The Televisual Architecture of the Dream Body: Pipilotti Rist as Parafeminist,” Performing Gender series, University of Lancaster, England.
November 2004: “Whiteness as the Absence of Color: Rethinking Fredric Jameson’s Postmodernism,” Whiteness symposium, University of Virginia Art Museum.
November 2004: “The Televisual Architecture of the Dream Body: Pipilotti Rist as Parafeminist,” New Research lecture series, University of Virginia.
November 2004: “The Televisual Architecture of the Dream Body: Pipilotti Rist as Parafeminist,” Hanes Visiting Critic Lecture, University of North Carolina, Chapel Hill. Amelia Jones c.v. 2016 37
October 2004: “Beyond Jameson's “Hyperspace”: Artistic Performances in Urban Space and the Alternative Postmodern Subject,” Sidney Jones Memorial Lecture, University of Liverpool.
September 2004: “Postfeminism or Parafeminism? Pipilotti Rist and the Televisual Architecture of the Dream Body,” Plenary lecture, Postfeminism conference, University of Northampton.
June 2004: “The Televisual Architecture of the Dream Body: Pipilotti Rist as Parafeminist,” Museum of Modern Art, Warsaw.
May 2004: “Materializing Performance,” Art Becomes You: Parody, Pastiche, and the Politics of Art: Materiality in a Post-Material Paradigm conference, UCE, Birmingham.
April 2004: “(Post)Urban Navigations: Performance, New Media Art, and the Metropolitan Subject,” Association of Art Historians Annual Conference, Nottingham.
March 2004: “Self-Image: Peripheral Identities and Self Representation,” Identities Peripherals conference, Center of Documentátion and Advanced Studies of Contemporary Art, University of Murcia, Spain.
January 2004: “Performance, New Media, and Post-Urban Flanerie: Rethinking the Subject(s) of Postmodernism,” Goldsmiths College, University of London.
December 2003: “Irrational Modernism: Rethinking New York Dada, Rethinking the Historical Avant-Garde,” Surrealism Centre, University of Manchester.
November 2003: “Performance Documents and the Instrumentalized Subject,” Tate Liverpool.
September 2003: “The Terror of the Mundane,” Institute of Contemporary Art, London.
1994: “The Duchampian Phallus,” with responses from Robert Morris and Catherine Liu. Walker Art Center, Minneapolis. Available online at the Walker Art Center archives.
SELECTED PANELS, GALLERY TALKS, WORKSHOPS, SEMINARS (since 2003): February 2016: Respondant for “Outrageous Intersectionalities” panel, The Feminist Art Project conference, Washington, D.C.
December 2015: Participation in “Mesas de Dialogos,” with Maria Amelia Viteri and Susana Vargas Cervantes, on the topic “Performance and the Queer and Feminist Body in Contemporary Art,” Museo Jumex, Mexico City.
August 2015: “Subject to Change” panel, with Hamza Walker, Andrea Fraser, Vanessa Place, moderated by Esther Kim Varet, Various Small Fires (gallery), Los Angeles. Available Amelia Jones c.v. 2016 38
online at: http://www.vsf.la/vsf-panel-discussion-subject-to-change-with-andrea-fraser- amelia-jones-vanessa-place-hamza-walker/
June 2015: Lunch seminar on “male and pale” dominance in curatorial world and Workshop on “Material Traces” project, Asia Art Archive, Hong Kong.
June 2015: Lunch seminar with Graduate Students, University of Sydney/ Sydney College of the Arts, Sydney (Australia).
May 2015: “Masterclass” on Amelia Jones, “To Perform; Performativity; Performance… And the Politics of the Material Trace” article, and work on “presence” in live art; at Artspace, Sydney (Australia).
February 2015: Presented “micro-lecture” on “limits” at Overstimulated conference and performance at Human Resources Los Angeles.
February 2015: Ran public discussion panel with Martin O’Brien and Sheree Rose on Dust to Dust, their live performance at ONE Gay and Lesbian Archive, USC.
January 2015: Dialogue on “Sexuality and Art” with Ron Athey, Whitechapel Gallery, London.
November 2014: “Historicizing the Ephemeral,” seminar on doing research with ephemeral that acts or materials; Department of Art History, USC.
June 2014: “The Last Bastion: Queer and Feminist Curating,” dialogue with Jonathan Katz, West Hollywood City Council.
February 2014: Panel on “Public Education and the Promise of the Humanities,” for College Art Association (CAA) Annual Meeting, Chicago. [participation via Skype]
February 2014: Workshop on “Presence” in performance for OCAD (Ontario College of Art and Design), Toronto.
October 2013: Workshop on “Presence” for School of Dramatic Arts, Zagreb.
May 2013: Lynn Hershman Agent Ruby panel discussion, San Francisco Museum of Art (virtual appearance via Google+).
February 2013: Workshop on “Presence,” Institut für Geschichte und Theorie der Architektur, Zürich.
February-April 2013: Curator’s talks and panel related to exhibition Material Traces: Time and the Gesture in Contemporary Art, Leonard and Ellen Bina Gallery, Concordia University, Montréal.
November 2012: “Is there a queer feminist art history?,” panel co-organized with Erin Silver, Universities Art Association of Canada, Montréal. Amelia Jones c.v. 2016 39
October 2012: Participated on a panel with Carolee Schneemann, Musée des Beaux Arts, Montréal.
June 2012: “Live Art and Performance in History and the Politics of Inclusion,” Co-organized panel with Prof. Alpesh Patel, Performance Studies International, Leeds, UK.
October 2012: Run seminar in Department of Art History, University of British Columbia, Vancouver.
April 2012: “Seeing Differently: The Trace of the Subject in Contemporary Art,” Visual and Media Cultures Colloquia, University of California Santa Cruz, California.
February 2012: Presentation of work on live art, and of the book Perform Repeat Record: Live Art in History, workshop on Performance, Stanford University, Palo Alto, California.
September 2011: Discussion panel for “States of Emergency: Objects as Agency, circa 1970,” Solomon R. Guggenheim Museum, New York.
January 2011: “Seeing Differently,” paper and discussion of work in progress for Institute for Gender, Sexuality, and Feminist Studies, McGill University, Montréal.
July 2010: “Live Art, Durationality, and the Meaning of the Encounter” seminar at Auckland University of Technology, Auckland.
July 2010: “Performing ‘Presence’” seminar, University of Victoria, Wellington.
June 2010: “Bataille and Queer Performance,” University of Manchester.
June 2010: Dialogue with Janet Cardiff and George Bures Miller, Luminato Festival and Performance Studies International, Toronto.
June 2010: moderator for panel on Public/Private Performance, Performance Studies International, Toronto.
January 2009: “Live Art in History: Thinking Across Art History and Performance Studies,” Multidisciplinary Approaches to Visual Studies seminar, University of Manchester.
October 2008: Public dialogue with photographer Manuel Vason for “Made Up” event, A Foundation, Liverpool Biennial.
October 2008: Participated on panel on Interdisciplinarity, Centre for Interdisciplinary Study in the Arts, University of Manchester.
August 2008: Organized and moderated “Visualizing Live Art” panel, Performance Studies International, Copenhagen.
Amelia Jones c.v. 2016 40
April 2008: Seminar on the State of Feminist Art and Art History at California College of Arts, San Francisco.
March 2008: Painting seminar; Art historiography/theory seminar at Texas Christian University, Fort Worth.
February 2008: “Performance, Performativity, and the Document,” seminar for University of Stockholm.
November 2007: “Live Art in History,” presentation for New Performance Paradigms International Network Symposium, Salford University, Manchester.
November 2007: Contributed to public panel on “Body Politic,” Neuberger Museum, State University of New York, Purchase.
November 2007: Dialogue with Carolee Schneemann, Performance Studies International, New York University.
September 2007: Discussion with Lynn Hershman after screening of Strange Culture, Cornerhouse Art Gallery and Cinema, Manchester.
July 2007: Participant on panel on Visual Culture, “Beyond Text: Synaesthetic and Sensory Practices in Anthropology,” sponsored by the 10th Royal Anthropological Film Festival, University of Manchester.
March 2007: “Is Feminism Still Relevant?: Race and Globalisation in the Twenty-First Century,” Museum of Contemporary Art and U. of Southern California, Los Angeles.
May 2006: Tate Triennial panel with Marc Camille Chaimowicz, Tate Britain, London.
January 2005: Respondant, “Beyond Identity: New Directions in Visual Art and Culture – Rachel Garfield,” Victoria and Albert Museum, London.
December 2004: Respondant, “Beyond Identity: New Directions in Visual Art and Culture – Sutapa Biswas,” Victoria and Albert Museum, London.
February 2004: “Gender Beyond ‘Sexual Difference’,” discussion of Amelia Jones’s new work for Sexuality Studies Center, University of Manchester.
November 2003: Chair for panel, Collections, Cultures, Change conf., Manchester Museum.
October 2002 and May 2003: Participation in workshop on Dada, Center for Advanced Studies in the Visual Arts, National Gallery of Art, Washington, D.C.
March 2003: Participation in Fleshworks panel with Matthew Goulish, Oran Catts, Ron Athey at “Live Culture: Performance and the Contemporary,” Tate Modern, London. Available online: http://www.tate.org.uk/context-comment/video/live-culture-performance-and- contemporary-part-7 Amelia Jones c.v. 2016 41
UNIVERSITY ADMINISTRATION AND COMMITTEE WORK University of Southern California COMMITTEES, ADMINISTRATION/ Roski School Dean’s Cabinet, Executive Committee, 2014-present. Curriculum Committee, 2014-present. Lecture Committee Co-Director, 2014-present. Member, Faculty Council, 2015-present. Chair, senior artist search, 2014-15; successful hire 2015. Chair, critical studies searches, 2015 (one-year appointment), successful hire 2015; 2015-16.
COMMITTEES, ADMINISTRATION, USC-wide Initiator and organizer, Hybrid Performance Initiative, 2015-present. Member, Graduate Deans’ Council, 2015-present. Visions & Voices, Faculty Committee, 2015-present. Visual Studies Research Institute, Advisory Board, 2014-present. Meiling Cheng Promotion Committee, 2015; Macarena Gomez Barris Promotion Committee, 2016. Contemporary Art Seminar Series, Department of Art History, Advisory Planning Board, 2014- 2015.
SUPERVISION; EXAMINING COMMITTEES (Ph.D., M.A., B.A.; Postdoc) MA Art & Curatorial Studies students with finishing date (as primary supervisor): Selene Preciado 2015, Daniela Lieja Quintanar 2015, Ben Echeverria 2016, Tierney Hamilton 2016, Nateene Diu 2016. PhD students (committee): Stephanie Sparling Williams, American Studies & Ethnicity; Karlynne Ejercito, American Studies & Ethnicity.
McGill University COMMITTEES, ADMINISTRATION Graduate Program Director, Art History & Communication Studies, 2013-2014. Graduate Program Director, Art History, 2010-2013. Member, Statutory Committee (adjudicate Promotions to Full Professor), September 1, 2011- August 31, 2014. Graduate Admissions Committee, Art History & Communication Studies, 2010-2013. Organizer of Art History & Communication Studies Annual Faculty Symposium, 2012. Member, Race and Ethnic Relations Committee, 2012-2014.
SEARCH COMMITTEES Specialist in early modern art history, Art History & Communication Studies, 2010; successful hire 2011. External on search committee for Drama and Theatre of the Americas, Department of English, 2011; successful hire 2011.
SUPERVISION; EXAMINING COMMITTEES (Ph.D., M.A., B.A.; Postdoc) within McGill PhD students (ongoing): Sara Kowalski, entered fall 2010; Abigail Shapiro, entered fall 2011; Tawny Andersen, entered fall 2012; Saelan Twerdy, entered fall 2012; Lotfi Gouigah, entered fall 2013. Amelia Jones c.v. 2016 42
PhD students (completed): Tammer El-Sheikh (2013), Erin Silver (2013); Elizabeth Maynard (2014). MA students (ongoing): Jenna Horner. MA students (completed): Asieh Harati; Megan Toye; Lauren Diez d’Aux; François Hudon; Daniella Sanader; Jess Dorrance. PhD internal examiner: Sylvie Simonds 2011-2013; Susana Vargas Cervantes 2011-13; PhD defense committee: Jessica Santone 2011 PhD comprehensive exam committee: Olivier Vallerand, Architecture 2011-2014; Sophie Garcia 2013 PhD visiting scholar mentor: Clara Zarza, Spain, Winter 2012; Vitor Grunvald, Brazil, Winter 2013 Pro Dean (Dean’s Representative) for PhD examination in Department of Anatomy and Cell Biology, 2011; for PhD examination in Architecture, 2012.
EXTERNAL ACADEMIC COMMITTEES/ EXAMINING outside McGill External examiner and member of dissertation committee, Arndís Bergsdóttir, University of Iceland, 2013ff; External Assessor for MA/MPhil report, University of Mauritius, 2011. External Examiner Alex Martinis Roe, theory / practice PhD, Monash University, Melbourne 2010; Dominique Pepin, MFA, Université de Québec à Montréal, 2011; Jason Crawford, PhD in Humanities, Concordia University, 2011; Clélia Barbut, Phd committee, l’Histoire de l’art, Université de Montréal, 2013ff. Outside Evaluator of tenure, promotion, and hiring files, Stanford University; University of Texas at Austin; University of California, Los Angeles; University of California, Irvine; University of California, San Diego; University of California, Santa Barbara; University of California, Santa Cruz; Washington University, St. Louis; Scripps College; University of Southern California; University of Prince Edward Island; University of Illinois, Chicago; University of Georgia; Middlesex University; University of Edinburgh; University of California, Riverside; University of Minnesota; Brown University.
University of Manchester COMMITTEES, ADMINISTRATION Graduate Program Director (“Postgraduate Director”) of Art History & Visual Studies, 2009- 2010. Head/ Subject Leader, Art History & Visual Studies, September 2004-September 2006. Founding Member and coordinator, Performance, Screen, Visual Cultures MA, 2006-2010. Member, Cultural Assets Academic Advisory Board, 2007-2010. Member, Race Relations / Black Minority Ethnic Issues Group, 2005-2010. Member, Advisory Committee, Research Centre in the Visual Cultures of the French Speaking World, 2007-2010. Member, Policy Committee, School of Arts, Histories, and Cultures, 2004-2006. Member, Resources Committee, School of Arts, Histories, and Cultures, 2004-2006. Member, External Relations Committee, School of Arts, Histories, and Cultures, 2004-2006. Staff Research Coordinator, January 2004-September 2004. Member, Promotions Committee; and Postgraduate and Research Committee, 2003-4. Member, Cultural Theory Institute, 2003-2010. Member, Alchemy Advisory Group, Manchester Museum, University of Manchester, 2003-4. Amelia Jones c.v. 2016 43
Member, Faculty Research Committee, 2003-4. Head, Shortlisting and Member, Interview Committee, position in Nonwestern art history and visual studies, 2006-7 (successful hire Dr. Julia Hegewald, 2007). Head, Shortlisting and Member, Interview Committee, Professor in 18th-20th-century Euro- American visual arts, 2006 (successful hire of Professor Carol Mavor, 2007). Member, Shortlisting and Interview (Search) Committee, Chair in Performance, Screen, and Visual Cultures, School of Arts, Histories and Cultures, 2005 (successful hire, Prof. Janet Wolff, 2006). Member, Shortlisting and Interview (Search) Committee for Director of Whitworth Art Gallery, 2005-6 (successful hire, Dr. Maria Balshaw, 2006).
Ph.D., M.A., B.A. SUPERVISION Ph.D. Supervisor, Sarah Bonner/ completed 2010; Katie Brandon/ completed 2009; Ananda Breed (Drama)/ completed 2009; Jane Chin Davidson/ completed 2006; Angela Harutyunyan/ completed 2009; Suzy Mangion; Alpesh Patel/ completed 2009; Christine Stoddard/ completed 2010. Ph.D. Co-Supervisor: Louis Bailey (with Laura Doan, English)/ completed 2008. Ph.D. Research Panel (Dissertation Committee) Member, Joe McGonagle (French), completed 2005; Christopher Bamford (Art History & Visual Studies); Beth Lauritis (Art History, UCLA/ completed 2009). MPhil Supervisor: Kevin Dalton-Johnson/ completed 2006. M.A. Supervisor to 20+ successful MA students 2003-6. Undergraduate Dissertation Supervisor for approximately 4-8 students annually. Personal Tutor for 10+ undergraduates per year. Internal Examiner for Ph.D. VIVA, V. Whitfield, 2003. External Examiner for Ph.D. VIVA, Goldsmith’s College, 2005. External Examiner for Ph.D. VIVA, Roehampton University, 2006. External Examiner for Ph.D. thesis, University of Melbourne, 2006. External Examiner for Ph.D. VIVA, Courtauld Institute, 2007. Internal Examiner for Ph.D. VIVA, C. Moussavi-Aghdam, 2008. Internal Examiner for Ph.D. VIVA, R. Duclos, 2008.
EXTERNAL ACADEMIC COMMITTEES External reviewer, Art History undergraduate programs, University of Edinburgh, 2007. Member, Advisory Committee, AHRB Research Centre for Studies of Surrealism and its Legacies, U. Manchester, Exeter University, and Tate Gallery. External Member, Interview Committee for senior hire in “Art and Its Locations,” University of Ulster, Belfast; January, 2004. External Member, Interview Committee for Chair in film, University of Lancaster, Spring 2004. Outside Evaluator for Chair in Art History, University of Bristol, May 2005.
University of California, Riverside ACADEMIC COMMITTEES and ADVISING: System Wide Invited participant, research group on “Gesture as Inscription: Movement, Art, and Writing,” UC Humanities Research Institute, 2003; declined full participation (due to Guggenheim Grant conflict). Amelia Jones c.v. 2016 44
University of California Humanities Research Institute, Irvine, cross-campus workshop on Visual Culture, 1994.
University Wide Advisory Committee, Center for Ideas and Society, 1999-2003. Advisory Committee, Sweeney Art Gallery, 1997-2003. Technology/Visuality/Performance Studies Program Planning Committee, Spring 1996-2003. Film and Visual Culture Program, 1991-2003. Women's Studies Program, 1991-1993; Adjunct Faculty, 1991-2003. Mentor for Junior Faculty Women, Women's Faculty Association, 1995-1997. Faculty Adviser, Freshman Colloquium on Graffiti Art, 1995-1996. Committee on Physical Resources Planning, 1994-1996.
History of Art Department Chair, Search Committee for New Media Historian and Theorist, 2002-3. Curriculum Revision, Primary Author, 2000-present. Graduate Admissions Committee, 1991-1992; 1995-1999. Graduate Program Director, 1995 -1998; author of departmental Graduate Guidelines, Language Requirement Guidelines, recruiting project, and recruiting poster. Search Committee for Renaissance Art Historian, 1997-98. Undergraduate Advisor, Fall 1992; Fall 1993-Spring 1994. Undergraduate Curriculum Committee, 1991-1993. Search Committee for Architectural Historian, 1991-92.
Graduate Student Mentoring Supervised 35 MA students to completion. Co-supervised or served as PhD committee member for Damon Willick (PhD, UCLA); Laura Meyer (PhD, UCLA); Beth Lauritis (PhD, UCLA) [all former MA students from UCR].
PROFESSIONAL and POLITICAL ACTIVITIES (see also editorial above): Member, U.S. Latina/o Art Forum, 2015ff. Member, College Art Association, New York, 1987-present. Member, Performance Studies International, c. 2010-present. Member, Association of Art Historians, London, 1995-2012. Member, Universities Art Association of Canada, 2010ff. Member, Board of Directors, Los Angeles Center for Photographic Studies, 1994-1996. Member, National Council of University Professors, UK 2003-2009. Member, International Association of Art Critics, 1996-2001.
Evaluator of grant application Partner University Fund, FACE Foundation, New York, 2012. Evaluator of manuscripts for Columbia University Press; University of Minnesota Press; Art Bulletin; Blackwell Press; Duke University Press; Oxford University Press; Westview Press; Routledge Press; Harcourt Brace; Men and Masculinities; Hypatia; Art History; University of California Press; Vanderbilt University; MIT Press; Lawrence King Publishing; University of Toronto Press; Millennium (a journal of international relations, London); Seagull Press; Men & Masculinities. Amelia Jones c.v. 2016 45
Evaluator of grant proposals, American Council of Learned Societies; J. Paul Getty Institute for the Arts and Humanities; John Simon Guggenheim Foundation; Fonds pour la Formation de Chercheurs et l’Aide à la Recherche (Québec); Social Sciences and Humanities Research Council of Canada (Ottawa); AHRB grants, 2003-4; Leverhulme Trust Fellowships, 2003-4; Canada Council for the Arts, Killam Foundation. Evaluator of MacArthur Fellowship nominee. Nominator for artists’ grants given by Anonymous Was a Woman Foundation (proposed the winning nominee, 2001); CalArts Alpert Award, Herb Alpert Foundation. Member, Cultural Affairs Department of Los Angeles, COLA Grant Committee, 2002. Member, Frank Jewett Mather Award Committee (for art criticism), College Art Association (1998-2001). Chair 1998-1999. Co-chair, Los Angeles Center for Photographic Studies, Education/Publications Committee (1995-1997).