Leslie Lohman Queer Art Lecture Series in partnership with Hallwalls and the Queer Studies Research Workshop presents Amelia Jones:

9 March at 7pm at Hallwalls (341 Delaware at Tupper) and it’s free and open to all.

“Intimate Relations: What Makes Performance Queer? What Makes Queer Performative?” Jones traces the interrelated history of the terms “queer” and “performative,” and how the terms have informed our thinking about queer, performance, and 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. 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.

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.