Aliza Shvarts Cv
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
FELIX GONZALEZ-TORRES and KEN OKIISHI: the Evolution and Representation of Experience
University of Vermont ScholarWorks @ UVM UVM College of Arts and Sciences College Honors Theses Undergraduate Theses 2017 FELIX GONZALEZ-TORRES and KEN OKIISHI: The Evolution and Representation of Experience Ashlin Artemesia Ballif The University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/castheses Recommended Citation Ballif, Ashlin Artemesia, "FELIX GONZALEZ-TORRES and KEN OKIISHI: The Evolution and Representation of Experience" (2017). UVM College of Arts and Sciences College Honors Theses. 44. https://scholarworks.uvm.edu/castheses/44 This Undergraduate Thesis is brought to you for free and open access by the Undergraduate Theses at ScholarWorks @ UVM. It has been accepted for inclusion in UVM College of Arts and Sciences College Honors Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. Ashlin Ballif Honors Thesis FELIX GONZALEZ-TORRES and KEN OKIISHI: The Evolution and Representation of Experience CONTENTS Introduction (Pg. 2-4) Part I: Gonzalez-Torres and Tangibility (Pg.5-15) Part II: Okiishi and Technology (Pg.16-24) Conclusion (Pg.25-28) Bibliography (Pg. 29-30) Images (Pg. 31-32) Introduction The two artists Ken Okiishi and Felix Gonzalez-Torres--though separated by a generation--both use physical objects to signify the loss of human presence, connection or connections. Both instill meaning into familiar physical objects such as candy, clocks, or television screens, and both are able to provoke feelings associated with the kinds of presence objects can represent – without that actual presence. Gonzalez-Torres worked during a time when digital technology was not yet an existent medium, while Okiishi worked during a time in which the technological world and its social effects are central to his work and message. -
Page 1 of 26 Event Transcript – September 8, 2020 Performance-In-Place: Hotline
Event Transcript – September 8, 2020 Performance-in-Place: Hotline - Conversation between Aliza Shvarts and Sara Reisman Sara Reisman: So we get started? Aliza Shvarts: Yeah. Sara Reisman: Okay. Welcome everyone to tonight's program, Performance-in-Place: Hotline, a conversation with Aliza Shvarts. Call 866.696.0940 for Hotline. A quick introduction for those who are joining for the first time. My name is Sara Reisman. I'm the Executive and Artistic Director of the Shelley & Donald Rubin Foundation. In May of this year, we launched a virtual series, Performance-in-Place, which features new and newly reworked performances by artists, choreographers and writers including Latasha N. Nevada Diggs, Alice Sheppard, Eileen Myles, Maria Hupfield, Baseera Khan, and others. Every three weeks on Tuesdays, we host a performance by one of these artists, which will then be shared on our website and via social media channels for further distribution. Upcoming Performance-in-Place events include Disappearing Acts @ 50 by Latasha N. Nevada Diggs on Tuesday, September 22nd from 6:00 to 7:00 PM Eastern Standard Time and Waste of a Nation by Baseera Khan on Tuesday, October 27th, from 6:00 to 7:30 PM Eastern Standard Time. In other news, we'll open our upcoming exhibition, To Cast Too Bold a Shadow, a thematic exhibition that examines culturally entrenched forms of misogyny as a means to understand the dynamics between sexism, gender, and feminism. This exhibition celebrating the 100th anniversary of women's suffrage features artists who have positioned their practices as acts of resistance in the face of oppressive societal conditions. -
The Role of Artivism in Exposing the Sexist-Ableist Nexus in Campus Rape Culture
Acts of Public Survival: The Role of Artivism in Exposing the Sexist-Ableist Nexus in Campus Rape Culture Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Tess Elizabeth Cumpstone, MA Graduate Program in Women’s, Gender, and Sexuality Studies The Ohio State University 2018 Thesis Committee: Dr. Guisela Latorre, Advisor Dr. Margaret Price Copyright by Tess Elizabeth Cumpstone 2018 2 Abstract “Acts of Public Survival” analyzes how community-based, anti-rape art projects on college campuses challenge the sexist-ableist rhetorical maneuvers that pathologize survivors and position them as outliers requiring special treatment. This violent rhetoric is evident in messages that have been circulated by prominent public figures, as well as entrenched in the policies and administrative responses addressing sexual violence on college campuses. The impact of such rhetoric is the perpetuation and affirmation of the sub-humanization of survivors of sexual trauma. In this thesis, I put disability studies scholarship in conversation with feminist theories on sexual violence and public art in order to highlight the interconnected history of sexism-ableism in the U.S. and the function of anti-rape art projects as artivist practices on college campuses. Specifically, I will be considering Duke University’s Breaking Out Campaign, the University of Chicago’s Clothesline Project, and Emma Sulkowicz’s Mattress Performance (undertaken at Columbia University). I use grounded theory and discourse analysis to interpret digital articles written in reaction to the art projects and to track three common trends in sexist-ableist campus community responses: the narrative of special treatment, the narrative of pathology, and the narrative of willful ignorance. -
UNITED STATES DISTRICT COURT SOUTHERN DISTRICT of NEW YORK PAUL NUNGESSER, Plaintiff, No. 15-Cv-3216 (GHW) Oral Argument Reques
Case 1:15-cv-03216-GHW Document 29 Filed 08/28/15 Page 1 of 32 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK PAUL NUNGESSER, No. 15-cv-3216 (GHW) Plaintiff, Oral Argument Requested v. COLUMBIA UNIVERSITY, TRUSTEES OF COLUMBIA UNIVERSITY, LEE C. BOLLINGER, individually and as agent of Columbia University, and JON KESSLER, individually and as agent of Columbia University, Defendants. MEMORANDUM OF LAW IN SUPPORT OF DEFENDANTS’ MOTION TO DISMISS THE AMENDED & SUPPLEMENTED COMPLAINT PAUL, WEISS, RIFKIND, WHARTON & GARRISON LLP 1285 Avenue of the Americas New York, New York 10019-6064 (212) 373-3000 Attorneys for Columbia University, Trustees of Columbia University, Lee C. Bollinger, and Jon Kessler Case 1:15-cv-03216-GHW Document 29 Filed 08/28/15 Page 2 of 32 TABLE OF CONTENTS Page PRELIMINARY STATEMENT .....................................................................................................1 STATEMENT OF FACTS ..............................................................................................................3 ARGUMENT ...................................................................................................................................6 I. Plaintiff Fails to State a Title IX Claim ...............................................................................6 A. The Conduct Alleged Was Not Sexual Harassment ............................................... 8 B. Plaintiff Was Not Barred from Access to Educational Opportunities .................... 9 C. Title IX Does Not Require that Columbia -
ON PAIN in PERFORMANCE ART by Jareh Das
BEARING WITNESS: ON PAIN IN PERFORMANCE ART by Jareh Das Thesis submitted in fulfilment of the requirements for the degree of PhD Department of Geography Royal Holloway, University of London, 2016 1 Declaration of Authorship I, Jareh Das hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19th December 2016 2 Acknowledgments This thesis is the result of the generosity of the artists, Ron Athey, Martin O’Brien and Ulay. They, who all continue to create genre-bending and deeply moving works that allow for multiple readings of the body as it continues to evolve alongside all sort of cultural, technological, social, and political shifts. I have numerous friends, family (Das and Krys), colleagues and acQuaintances to thank all at different stages but here, I will mention a few who have been instrumental to this process – Deniz Unal, Joanna Reynolds, Adia Sowho, Emmanuel Balogun, Cleo Joseph, Amanprit Sandhu, Irina Stark, Denise Kwan, Kirsty Buchanan, Samantha Astic, Samantha Sweeting, Ali McGlip, Nina Valjarevic, Sara Naim, Grace Morgan Pardo, Ana Francisca Amaral, Anna Maria Pinaka, Kim Cowans, Rebecca Bligh, Sebastian Kozak and Sabrina Grimwood. They helped me through the most difficult parts of this thesis, and some were instrumental in the editing of this text. (Jo, Emmanuel, Anna Maria, Grace, Deniz, Kirsty and Ali) and even encouraged my initial application (Sabrina and Rebecca). I must add that without the supervision and support of Professor Harriet Hawkins, this thesis would not have been completed. -
Aliza Shvarts. Cite/Site. 2020. Installation View, Art in General, 2020. Photograph by Dario Lasagni
Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/octo_a_00428/1927417/octo_a_00428.pdf by guest on 27 September 2021 Aliza Shvarts. Cite/Site. 2020. Installation view, Art in General, 2020. Photograph by Dario Lasagni. A Conversation with Aliza Shvarts* Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/octo_a_00428/1927417/octo_a_00428.pdf by guest on 27 September 2021 EMILY APTER This conversation took place following the opening of Purported, an exhibition of work by Aliza Shvarts at Art in General in 2020, curated by Laurel Ptak as part of the organiza- tion’s New Commissions program. The exhibition was Shvarts’s first New York solo show and surveyed over ten years of her practice. Shvarts’s work uses performance, video, text, and installation to examine reproduction, from processes of biological and social maintenance to visual and discursive generation. She first came to widespread attention when her Untitled [Senior Thesis] (2008), consisting of a yearlong performance of self-induced miscarriages, was declared a “fiction” by Yale University and censored from public exhibition. That contro- versial work, which was on view for the first time in New York at Art in General, continues to frame the areas of inquiry Shvarts explores: how the body means and matters and how the subject consents and dissents. Recently, her work has focused on testimony, specifically on how the capacity to speak (and be heard) is gendered, raced, and classed. Purported was open to the public for approximately two weeks before closing due to the COVID-19 pandemic.1 Emily Apter: In Sara Ahmed’s Living a Feminist Life we find the assertion that “the repetition is the scene of a feminist instruction.”2 Ahmed is referring specifi- cally to her reliance on a “citational policy” that pays homage to feminist memory and affirms an alternative genealogy for theory. -
Towards a New Reading of Trauma
TRACING THE SCARS: TOWARDS A NEW READING OF TRAUMA ______________________________________________________________________ A Dissertation Submitted to the Temple University Graduate Board ______________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ______________________________________________________________________ by Susan Cherie Beam May 2020 Examining Committee Members: Dr. Suzanne Gauch, Advisory Chair, English Dr. Sue-Im Lee, English Dr. Carissa Harris, English Dr. Beverly E. Schneller, External Member, Belmont University i ABSTRACT In our contemporary cultural setting, the notion of “trauma” has been extended far beyond a clinical diagnosis and cultural trope into a signifier denoting a subjective reaction to experiences ranging from small grievances to large-scale tragedies. In a world where stories featuring traumatic subject matter have become part of our daily reading, is how we read, understand, and teach trauma still effective? This dissertation explores the ahistorical, subjective experience of trauma as represented in a selection of contemporary global literature, pushing back against canonical trauma literary theory posed by scholars such as Cathy Caruth and instead, suggests a new mode of reading traumatic representation. I argue that, by exploring both the wounded mind and the wounded body, with attention to the influence of the traumatic context and close-reading the nuance of the figurative language of representation, we have -
Bodies Burning at the Edges
BODIES BURNING AT THE EDGES I dreamed of bodies burning at the edges When I awoke my belly was cold as an abandoned stove The streets were cleared, trees bent The air so still, as though just inhaled When I noticed it was spring. — Yvonne Rainer, 1977 ALIZA SHVARTS ON SABOTAGE I wonder if we can think about the question of sabotage as a question of time. The figure of the saboteur operates in a temporality outside the time of the cohesive rational actor, the universal subject of enlightenment, the one man with his one voice, his one (patrilineal) name, and his one vote. To sabotage something is to act out of time with it, to trouble the linear narrative of progress, to stymy cause and effect. To sabotage something—or oneself—is to engage the multiplicity that operates outside of the presumption of continuity that enables the honest relations of consent, contracts, etc., which are inexorably bound up in a capitalist logic of exchange in which to be accountable is to be subject to account. In a lecture called “The Touring Machine,” Fred Moten says that the history of blackness is a history of the tenuous and unstable distinction between subjecthood and objecthood (overwritten by co- emergent formulations of the enlightened rational subject, whose very possibility depended on the existence of those non-subjects or human commodities produced and reproduced through colonialism and enslavement). This history thus opens up the possibility to consent to non-consent, that is, to consent to being more than a single continuous subject that is the implied subject of consent. -
Gallery Korea 2013
CALL FOR ARTISTS 2013GALLERY KOREA This catalogue is made for the exhibitions presented by Gallery Korea of the Korean Cultural Service New York Limited edition, January 2014 Published by Korean Cultural Service New York 460 Park Avenue 6th Floor, New York, NY 10022 Tel : +1 212 759 9550 Fax : +1 212 688 8640 [email protected] www.koreanculture.org Copyright © 2014 by Korean Cultural Service New York All rights reserved. No part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recovering, or by any information storage and retrieval system, without permission in writing from the publisher. Director : Woo Sung Lee (New York) Curator : Hee Sung Cho (New York) Designed by Eunyoung Kang Edited by Juhea Kim CONTENTS Message From The Director Message From Preface 2013 TAKE OLD ROAD NEW WAY 2.20 - 3.29.2013 Seongmin Ahn, Judy Glasser, Jeanne Heifetz, Jung S Kim Eun Jung Rhee, Kyung Hwa Shon and Shyun Song POLLINATION: OVERLAPPINGS GALLERY KOREA OF THE KOREAN CULTURAL SERVICE NEW YORK IN TIME AND IN PLACE POLLINATION Overlappings in Time and in Place 09.11 - 10.25.2013 Jae Yong Chun, Kira Nam Greene, Roman M. Hrab, Kyung Jeon, Sun Doo Kim, Young Tai Kim, Hein Koh, Gyu Chae La, Jongil Ma, Lee Puckett, George Raggett, Juju U and Elizabeth Winton NATURE’S TEMPO: SIGNS, LINES AND SHAPES NATURE’S TEMPO signs, lines and shapes 11.13 - 12.18.2013 Elly Cho, Yoko Fukushima, Yiji Hong, Jin Hong Kim, Inmi Lee, Jei Ryung Lee and Annalisa Vobis Korean Cultural Service Korean New York First and foremost, I would like to express my most sincere congratulations to the participating artists of Call for Artists 2013. -
Museums, Feminism, and Social Impact Audrey M
State University of New York College at Buffalo - Buffalo State College Digital Commons at Buffalo State Museum Studies Theses History and Social Studies Education 5-2019 Museums, Feminism, and Social Impact Audrey M. Clark State University of New York College at Buffalo - Buffalo State College, [email protected] Advisor Nancy Weekly, Burchfield Penney Art Center Collections Head First Reader Cynthia A. Conides, Ph.D., Associate Professor and Coordinator of the Museum Studies Program Department Chair Andrew D. Nicholls, Ph.D., Chair and Professor of History To learn more about the History and Social Studies Education Department and its educational programs, research, and resources, go to https://history.buffalostate.edu/. Recommended Citation Clark, Audrey M., "Museums, Feminism, and Social Impact" (2019). Museum Studies Theses. 21. https://digitalcommons.buffalostate.edu/museumstudies_theses/21 Follow this and additional works at: https://digitalcommons.buffalostate.edu/museumstudies_theses Part of the Feminist, Gender, and Sexuality Studies Commons, Museum Studies Commons, and the Women's History Commons I Abstract This paper aims to explore the history of women within the context of the museum institution; a history that has often encouraged collaboration and empowerment of marginalized groups. It will interpret the history of women and museums and the impact on the institution by surveying existing literature on feminism and museums and the biographies of a few notable female curators. As this paper hopes to encourage global thinking, museums from outside the western sphere will be included and emphasized. Specifically, it will look at organizations in the Middle East and that exist in only a digital format. This will lead to an analysis of today’s feminist principles applied specifically to the museum and its link with online platforms. -
Interdiction Is the State Or Condition of Being Prohibited, Forbidden from Existing. It Is a Word That Aliza Shvarts Uses To
Interdiction is the state or in Performance Studies at New condition of being prohibited, York University, which explores forbidden from existing. It is doom as a prophetic and juridical a word that Aliza Shvarts uses force whose full scope is enacted to define her work as an artist, over extremely long periods. punctuating questions of legibility, representation, collaboration, and Shvarts is currently preparing consent as they appear in social a solo exhibition at Artspace in and artistic entanglements. New Haven, CT, on the tenth Shvarts’s project Non- anniversary of her senior thesis Consensual Collaborations project at Yale University, which (2012 – ongoing) approaches was banned and disavowed by the notion of consent through a the school’s administration. queer and feminist framework, This experience functions as an pressing at its seams to ALIZA SHVARTS epistemological undercurrent in demonstrate its inability to Shvarts’ work: How does one accommodate nuanced responses make work as an artist if one’s and relational frameworks. work is unable to be encountered, Drawing on experiences that its legibility intercepted, its were not initially conceived as attention to reproduction part of an artistic project, Shvarts effectively aborted? claims the mantle of performance retroactively — questioning the In this interview, Andrew authorial prerogatives and the Kachel discusses Shvarts’s Non- presentational mechanisms to Consensual Collaborations in which performance is largely the context of her dissertation, beholden. The extended her past and future work in New temporality of this work echoes Haven, and the contexts of queer Shvarts’s in-progress dissertation theory and performance studies. Interview Andrew Kachel Portrait Benedict Brink 256 257 AK I find this sort of self-destructive but also analytical and frustrating to me about queer academia which is perfectly were notably anti-queer, people like Ernst Bloch, these “bad the Non-Consensual Collaborations. -
AMELIA G. JONES Robert A
Last updated 4-15-16 AMELIA G. JONES Robert A. Day Professor of Art & Design Vice Dean of Critical Studies Roski School of Art and Design University of Southern California 850 West 37th Street, Watt Hall 117B Los Angeles, CA 90089 USA m: 213-393-0545 [email protected], [email protected] EDUCATION: UNIVERSITY OF CALIFORNIA, LOS ANGELES. Ph.D., Art History, June 1991. Specialty in modernism, contemporary art, film, and feminist theory; minor in critical theory. Dissertation: “The Fashion(ing) of Duchamp: Authorship, Gender, Postmodernism.” UNIVERSITY OF PENNSYLVANIA, Philadelphia. M.A., Art History, 1987. Specialty in modern & contemporary art; history of photography. Thesis: “Man Ray's Photographic Nudes.” HARVARD UNIVERSITY, Cambridge. A.B., Magna Cum Laude in Art History, 1983. Honors thesis on American Impressionism. EMPLOYMENT: 2014-present UNIVERSITY OF SOUTHERN CALIFORNIA, Roski School of Art and Design, Los Angeles. Robert A. Day Professor of Art & Design and Vice Dean of Critical Studies. 2010-2014 McGILL UNIVERSITY, Art History & Communication Studies (AHCS) Department. Professor and Grierson Chair in Visual Culture. 2010-2014 Graduate Program Director for Art History (2010-13) and for AHCS (2013ff). 2003-2010 UNIVERSITY OF MANCHESTER, Art History & Visual Studies. Professor and Pilkington Chair. 2004-2006 Subject Head (Department Chair). 2007-2009 Postgraduate Coordinator (Graduate Program Director). 1991-2003 UNIVERSITY OF CALIFORNIA, RIVERSIDE, Department of Art History. 1999ff: Professor of Twentieth-Century Art and Theory. 1993-2003 Graduate Program Director for Art History. 1990-1991 ART CENTER COLLEGE OF DESIGN, Pasadena. Instructor and Adviser. Designed and taught two graduate seminars: Contemporary Art; Feminism and Visual Practice.