Susan Hiller Biography

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Susan Hiller With a multimedia practice extending over 40 years, Susan Hiller was one of the most influential artists of her generation. Since first making innovative use of audio and visual technology in the early 1980s, her groundbreaking installations, multi-screen videos and audio works have achieved international recognition. Each of Hiller’s works is based on specific cultural artefacts from our society, which are used as basic materials. Many pieces explore the liminality of certain phenomena including the practice of automatic writing (Sisters of Menon, 1972/79), near death experiences (Channels, 2013) and collective experiences of unconscious, subconscious and paranormal activity (Belshazzar’s Feast, 1983-4; Psi Girls, 1999; Witness, 2000). Hiller’s powerful and resonant films range from theJ Street Project (2002-05), a chillingly extensive search for every street sign in Germany bearing the word Juden (Jew), to The Last Silent Movie (2007), which also documents disappearance and absence, although this time through speech recordings of dying or extinct languages. Her psychologically charged and thematically varied practice amounts to an impassioned plea for the joys and mysteries associated with irrationality. Susan Hiller (1940-2019) was born in Tallahasse, Florida, and was based mainly in London since the early 1960s. After studying film and photography at The Cooper Union and archaeology and linguistics at Hunter College in New York, Hiller went on to a National Science Foundation fellowship in anthropology at Tulane University in New Orleans. Her career has been recognised by survey exhibitions at The Polygon, Vancouver, Canada (2018); Officine Grande Riparazioni, Turin, Italy (2018); Pérez Art Museum Miami, Miami, FL, USA (2017); Samstag Foundation, Copenhagen, Denmark (2014); Musée d’Art Moderne et Contemporain, Toulouse, France (2014); Tate Britain, London, UK (2011); Moderna Museet, Stockholm, Sweden (2007); Castello di Rivoli, Turin, Italy (2006); Museu Serralves, Porto, Portugal (2004); ICA, Philadelphia, PA, USA (1998); and ICA, London, UK (1986). Hiller’s work features in numerous international private and public collections including the Centre Pompidou, Paris, France; Ludwig Museum, Cologne, Germany; Museum of Modern Art, New York, NY, USA; Tate Gallery, London, UK and the Centro de Arte Contemporanea Inhotim, Brumadinho, Brazil. .

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KATHARINE CONLEY August 2020
KATHARINE CONLEY August 2020 Modern Languages & Literatures 21 Sussex Court William and Mary Williamsburg, VA 23188 PO Box 8795 (757) 645-3876 Williamsburg, VA 23187-8795 (603) 443-2462 (cell) [email protected] ACADEMIC AND ADMINISTRATIVE POSITIONS Professor of French and Francophone Studies, William and Mary, 7/12- Dean of the Faculty of Arts and Sciences, William and Mary 7/12-6/20 Edward Tuck Professor of French and Comparative Literature, Dartmouth, 7/10-6/12 Professor of French, Dartmouth College, 7/04-6/12, Emerita 7/12- Associate Professor of French, Dartmouth College, 7/98 - 6/04 Assistant Professor of French, Dartmouth College, 7/92 - 6/98 EDUCATION Virginia Women’s Senior Leadership Seminar 2015-16 Harvard Institute for Management and Leadership in Education, June 2014 PhD French, University of Pennsylvania, May 1992 Honorary MA, Dartmouth College, 2007 MA French, University of Pennsylvania, 1990; MA French, University of Colorado, 1988 BA cum laude, Harvard-Radcliffe University, 1979 (major: honors English) AWARDS, FELLOWSHIPS, AND INSTITUTES (since 1992) Phi Beta Kappa, Dartmouth College, June 2009 Jacobus Family Fellowship, Dartmouth College, 2004-2005 Senior Faculty Fellowship, Dartmouth College, Winter-Spring 2005 J. Kenneth Huntington Memorial Award, Dartmouth College, June 2004 Whiting Foundation Travel Grant: Summer 1996 Humanities Institute on Cultural Memory and the Present, Spring 1996 Junior Faculty Fellowship, Dartmouth College, Winter-Spring 1996 School of Criticism and Theory, June-July 1995 Burke Research Initiation Grant, Dartmouth College: 1992-1995 PUBLICATIONS AND PAPERS Books and Edited Volumes: Author: Surrealist Ghostliness. Lincoln: University of Nebraska Press, 2013. Katharine Conley / 2 Author: Robert Desnos, Surrealism, and the Marvelous in Everyday Life.
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Wrapped Objects [Installation], AVA Gallery, UEL, London 52
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Introduction
Introduction Th e terrains of artistic practice and of art history are structured in and struc- turing of gendered power relations.1 Nearly 30 years aft er the publication of Griselda Pollock ’ s groundbreaking feminist art-historical polemic Vision and Diff erence in 1988, there remains a signifi cant lack of close analysis of the roles played by women artists in the histories and practices that characterise surrealism and modernism. A survey of the fl agship contemporary journal Modernism/Modernity reveals quickly the scarcity of articles focusing specifi cally on identifying, exploring, and theorising the intersections – the overlaps and touching points, interpenetra- tions and connections – between the two historical, theoretical, and aesthetic categories, an area of intellectual history which consequently exists as a con- tested fi eld. Th e critically neglected presence of women artists working within this con- tested fi eld further complicates matters. Constantly ‘rediscovered’, re-installed, or re-placed within each new generation ’ s reconceptualisations of modern- ism and surrealism, the woman artist occupies a permanently impermanent position, haunting the discourse at its margins, sometimes clear and visible, sometimes shaded out, occluded by reaction and repression. Th e work of the woman artist in modernism and surrealism comes (like that of the woman Dadaist, as Amelia Jones has argued) to resist the ‘normalizing’ and com- modifying narratives of art-historical recuperation. 2 ‘Intersections’ suggests both crossings and overlaps, and the concept of intersectionality or an accom- modating awareness of the inseparability of oppressive systems in their impact on socially constituted identities – ‘the distinct and frequently confl icting dynamics that shaped the lived experience of subjects in these social locations’, as Leslie McCall puts it.
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