Amelia Jones is the Robert A. Day Professor in Art and Design and Vice-Dean
of Critical Studies. 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 and she is organizing two major international performance events for
2015-16 school year, ‘Trans-Montréal’ (at
McGill University) and ‘Live Art Live’(at
USC), 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 addressing the work of artists previously marginalized from art discourse and institutions (including Ulay, Senga Nengudi,
Faith Wilding, and Martha Wilson).
