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EMA- -LIN KEMBRA PFAHLER FOCUS � Stand H8 Frieze London Regent‘s Park 02 - 06 October 2019 Kembra Pfahler (b. 1961, Hermosa Beach, CA, USA. Lives and works in New York) is a visual and performance artist, filmmaker, punk-rock musician, actor and model. Formative in the LA punk scene in the 1970s, Pfahler is known for her leading role in New York’s Lower East Side underground scene in the 1980s and ‘90s. Her arrival in New York City at age eighteen – where she enrolled in the School of Visual Arts to study under the tutelage of artists Mary Heilmann and Lorraine O’Grady – alongside the devastating effects of the AIDS epidemic that swept the city and took the lives of many of her closest friends, marked a turning point for Pfahler, thereupon veering into more extreme artistic territory. Pfahler developed the philosophy of availabism, defined by ‘making the best use of whatever is available at any given time’. Quotidian objects, including bowling balls, eggs and turkey basters, crucifixes and anal beads, appear as theatrical props in performative actions that use irreverence, humour and bold sexuality to dismantle existing paradigms of femininity. Pfahler’s collaborations with artists such as Richard Kern, Matthew Barney, Bruce LaBruce, Anohni, Ron Athey, Vaginal Creme Davis, Jack Smith and more generally the Cinema of Transgression, to name a few, continue to shape the way performance art of the 1980s and 1990s is framed today. Resisting an active role in the commercial art world, Pfahler was convinced by legendary art dealer Colin De Land to stage her first solo exhibition at his gallery, American Fine Arts, Co. in 2002. Soon after, solo exhibitions at Deitch Projects and her inclusion in the 2008 Whitney Biennial followed. Today, Kembra Pfahler continues to perform and lectures at Columbia University and Bard School of the Arts in New York. Kembra Pfahler (b. 1961 in Hermosa Beach, California) lives and works in New York City. Recent exhibitions and performances include SHE WHO SAW BEAUTIFUL THINGS, The Kitchen (New York, NY, USA, 2019); Sex Cells, Lethal Amounts (Los Angeles, US, 2019). Major solo exhibitions include Capital Improvements, Emalin (London, UK, 2016); Fuck Island, Participant Inc. (New York, NY, USA, 2012); File Under ‘V’, Rove Gallery (London, UK, 2005); Availabism and Anti-naturalism: A Feminine Experiment, American Fine Arts Company (New York, NY, USA, 2002); and Riddle of the Sphinx, Deitch Projects (New York, NY, USA 2002). Selected group exhibitions include Future Feminism, The Hole (New York, NY, USA, 2014); New York Minute, Garage Center for Contemporary Art (Moscow, RU, 2011) traveling to MACRO Museum (Rome, IT, 2011); Dead Flowers, Vox Populi (Philadelphia, PA, USA, 2010); and Whitney Biennial, Whitney Museum of American Art (New York, NY, USA, 2008)..

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3rd Venice International Performance Art Week, 2016 Ouch – Pain and Performance A screening programme curated by Live Art Development Agency, London “I see pain as an inevitable byproduct of interesting performance.” Dominic Johnson According to Wikipedia ‘pain’ is an “unpleasant feeling often caused by intense or damaging stimuli…(it) motivates the individual to withdraw from damaging situations and to avoid similar experiences in the future.” But for many artists and audiences the opposite is just as true, and pain within the context of performance is a challenging, exhilarating and profound experience. Ouch is a collection of documentation and artists’ films looking at pain and performance. The works are not necessarily performances about pain, but in some way involve or invoke pain in their making or reading or experience - both the pain artists cause themselves within the course of their work, whether intentional or not, and the experiences of audiences as they are invited to inflict pain on artists or are subjected to pain and discomfort themselves. The selected works feature eminent and ground breaking artists from around the world whose practices address provocative issues including the lived experiences of illness, the aging female body, cosmetic surgery, addiction, embodied public protest, animalistic impulses, blood letting, staged fights, acts of self harm and flagellation, and what can happen when you invite audiences to be complicit in performance actions. Ouch featured artists: Marina Abramovic, Ron Athey, Marcel.Li Antunez Roca, Franko B, Wafaa Bilal, Rocio Boliver, Cassils, Bob Flanagan, Regina Jose Galindo, jamie lewis hadley, Nicola Hunter & Ernst Fischer, Oleg Kulik, Martin O’Brien, Kira O’Reilly, ORLAN, Petr Pavlensky.
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FAÇADE: ZONE A: Religion/Family
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! ∀#∃∃! ! % &#∋() ! ∗+,−(! . / 0 ! 1 22 !30!!2&∃#∀2 0 0 1 0 0 ∋ ) 0 1 3 0 3 ! 4 0 4 0 0 4 0 1 56 3 7! 4 0 00 ! 1 0 0 03 3 ! 4 4 4 8 0 0 9 : 4 7 1 1 0 7 7 4 3 0 2 ! 22 ,3!30 !! 8 0 1, ;30!! Art Journal The mission of Art Journal, founded in %)'%, is to provide a forum for In This Issue Vol. !", no. # scholarship and visual exploration in the visual arts; to be a unique voice in the Fall $"%% ﬁ eld as a peer-reviewed, professionally mediated forum for the arts; to operate ! Katy Siegel in the spaces between commercial publishing, academic presses, and artist Title TKTK Editor in Chief Katy Siegel presses; to be pedagogically useful by making links between theoretical issues Editor Designate Lane Relyea and their use in teaching at the college and university levels; to explore rela- Reviews Editor Howard Singerman tionships among diverse forms of art practice and production, as well as among Senior Editor Joe Hannan art making, art history, visual studies, theory, and criticism; to give voice and Centennial Essay Editorial Assistant Mara Hoberman publication opportunity to artists, art historians, and other writers in the arts; Digital Fellow Katherine Behar to be responsive to issues of the moment in the arts, both nationally and glob- " Krista Thompson Designer Katy Homans ally; to focus on topics related to twentieth- and twenty-ﬁ rst-century concerns; A Sidelong Glance: The Practice of African Diaspora Art History in the United States Production Nerissa Vales to promote dialogue and debate.
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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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