Jabre Lecture Series in Art History and Curating
Date: November 2, 2016
Feminist Subjects VS Feminist Effects: The Curating of
Feminist Art (or is it the Feminist Curating of Art?)
by Amelia Jones
Location: AUB Art Galleries
This paper takes off from a brief history of the curating of feminist art in the North American and European contexts. The aim is to think about the exhibition, and the feminist show in particular, as a junction between practice and theoretical thought, a place of intersection between art making, the writing of art history, and the positing of critical interventions in institutions. The paper then ends by comparing curating based on the identity of the artist as feminist (or a woman) versus curating including works that have feminist effects.
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 at University of Southern California. A curator and theorist and historian of art and performance, 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 (2016). Her exhibition Material Traces: Time and the Gesture in Contemporary Art took place in 2013 in Montreal, as did the event Trans-Montréal (Performance Studies International, 2015) and Live Artists Live (USC, 2016), both of which included performances and lectures. Forthcoming in late 2016 is her edited special issue of Performance Research entitled On Trans/Performance.
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