AMELIA JONES, Robert A. Day Professor of Art & Design, Vice Dean of Critical Studies, USC. “Queer Communion: Ron Athey and the Radical Performance Subcultures of Los Angeles." 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. A curator and performance programmer, her recent publications include "Perform Repeat Record: Live Art in History" (2012), co-edited with Adrian Heathfield, a single authored book "Seeing Differently: A History and Theory of Identification and the Visual Arts" (2012), the edited volume "Sexuality" (2014), and, co-edited with Erin Silver, "Otherwise: Imagining Queer Feminist Art Histories"(forthcoming). Her exhibition "Material Traces: Time and the Gesture in Contemporary Art" took place in 2013 in Montreal. She organized a major international performance event for Performance Studies International 2015 called "Trans-Montréal" at McGill University, and "Live Artists Live" at USC in January 2016, both pivoting around issues of performance and cultural / historical translation and transfer. Other 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 and catalogue essays addressing the work of artists previously marginalized from art discourse and institutions, including Ulay, Senga Nengudi, Faith Wilding and Martha Wilson.
Friday, January 19 at 12:15pm to 1:15pm
Murphy Recital Hall
1955 Ignatian Circle, Loyola Marymount University, Los Angeles, CA 90045, USA