University at Buffalo
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Visual Studies

Amelia Jones on March 9th – “Intimate Relations: What Makes Performance Queer? What Makes Queer Performative?”

March 1, 2016  by: Natalie Fleming

Part 2.2
Image: Rocio Boliver with Thibault Delferière, The Sea Anemone and the Hermit Crab, 2015, from ‘Overstimulated’ event, organized by Dominic Johnson and Jennifer Doyle, Human Resources, Los Angeles. Courtesy of Amelia Jones.

Leslie Lohman Queer Art Lecture Series in partnership with Hallwalls and the Queer Studies Research Workshop presents Amelia Jones, March 9th at 7pm at Hallwalls Contemporary Arts Center. This event is free and open to the public.

“Intimate Relations: What Makes Performance Queer? What Makes Queer Performative?” is a talk based on the the book project Intimate Relations, where Jones traces the interrelated history of the terms “queer” and “performative,” and the terms have informed our thinking about queer and about performance and about queer performance since the 1950s. In examining their mutual implication, Jones explores a number of works that represent at least one mode of “queer performance.”  Examples include those by artists Asco, Ron Athey, Rocio Bolivar, Zackary Drucker, Rafa Esparza, William Pope.L, and Vaginal Davis.

Amelia Jones is the Robert A. Day Professor in Art and Design and Vice Dean of Critical Studies at the Roski School of Art and Design, University of Southern California. Trained in art history, film theory, and performance studies, and widely read in philosophy and identity theory, Jones is known for her work elaborating a queer, anti-racist, feminist history and theory of modern and contemporary Euro-American visual arts, including performance, film, video, and installation. Her current research addresses the confluence of “queer,” “feminist,” and “performance” in the visual arts, and recent publications explore the ideological implications of claims of presence in performance and visual art discourse (in TDR), the usefulness of new materialist theory to the study of performative art practices (also in TDR), and numerous articles addressing the work of artists previously marginalized from art discourse and institutions, including Ulay, Senga Nengudi, Faith Wilding, and Martha Wilson.

Jones is the author of numerous books, including Seeing Differently: A History and Theory of Identification and the Visual Arts (2012), Self/Image: Technology, Representation, and the Contemporary Subject (2006), Irrational Modernism: A Neurasthenic History of New York Dada (2004), and Body Art/Performing the Subject (1998), and the editor or co-editor of anthologies including The Feminism and Visual Culture Reader (new edition 2010), Sexuality (2014) in the Whitechapel Documents series, and, with Adrian Heathfield, Perform Repeat Record: Live Art in History (2012). Jones has also curated such landmark exhibitions as “Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History,” held at UCLA’s Armand Hammer Museum of Art in 1996. Her exhibition Material Traces: Time and the Gesture in Contemporary Art took place in 2013 in Montreal.

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