Amelia Jones

Amelia Jones
Born (1961-07-14) July 14, 1961
Durham, North Carolina, United States
Residence Los Angeles, California
Nationality United States
Alma mater University of California, Los Angeles
Known for Art History and Art Theory
Awards Guggenheim Fellowship (2000)[1]

Amelia Jones (born July 14, 1961) is an American art historian and art theorist, art critic, author, professor and curator. Her work specializes in feminist art, body art, performance art, video art, identity politics and Dadaism. Early in her career she was associated as a feminist scholar, later she broadened her focus on other social activist topics including race, class and identity politics.[2][3]

Early life and education

Amelia Jones, the daughter of Virginia Sweetnam Jones and Edward E. Jones, a Princeton Psychology professor.[4] She studied art history at Harvard University and later her M.A. at University of Pennsylvania and she received her Ph.D. from UCLA in 1991. Her dissertation was later turned into a published book, Postmodernism and the Engendering of Marcel Duchamp (1994).[2]

Career

Jones has taught art history at University of California, Riverside, she was formerly the Pilkington Chair of the art history department at the University of Manchester where she taught for 6 1/2 years, then the Grierson Chair in Visual Culture at McGill University in Montreal for 4 1/2 years. She has also worked as a visiting professor at Maine College of Art, Texas Christian University, University of Colorado, Boulder, and Washington University, St. Louis.

She is currently the Robert A. Day Professor in Art and Design at the Roski School of Art and Design at the University of Southern California (USC), where she is also Vice-Dean of Critical Studies, and in addition is affiliated faculty in the Department of American Studies and Ethnicity in the USC Dornsife College of Letters, Arts and Sciences.[5][6]

With Martha Meskimmon, she co-edits the series Rethinking Art's Histories from Manchester University Press.[7] 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).[6]

Amelia Jones curated the 1996 exhibition, Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History, at the Hammer Museum.[8] In 1991, she curated The Politics of Difference: Artists Explore Issues of Identity at the UCR/Chandler Art Museum.

In 2013, she curated the exhibition Material Traces: Time and the Gesture in Contemporary Art at the Leonard and Bina Ellen Gallery at Concordia University in Montreal.[9]

Bibliography

The following is a selection of works written or edited by Amelia Jones:

  • Postmodernism and the En-Gendering of Marcel Duchamp. New York: Cambridge University Press, 1994.
  • Sexual Politics: Judy Chicago's 'Dinner Party' in Feminist Art History. Berkeley: University of California Press, 1996.
  • Body Art/Performing the Subject. Minneapolis: Minnesota University Press, 1998.
  • Warr, Tracey and Amelia Jones (eds.). The Artist's Body. London: Phaidon, 2000.
  • The Feminism and Visual Culture Reader. New York: Routledge, 2003.
  • Irrational Modernism: A Neurasthenic History of New York Dada. Cambridge, Massachusetts: MIT Press, 2004.[10]
  • Self/Image: Technology, Representation, and the Contemporary Subject. New York: Routledge, 2006.
  • “The Artist is Present”: Artistic Re-enactments and the Impossibility of Presence. TDR, Vol. 55, No. 1 (Spring 2011), p. 16-45. Posted Online February 16, 2011.[11]
  • Heathfield, Adrian and Amelia Jones (eds.). Perform, Repeat, Record: Live Art in History. Chicago: University of Chicago Press, 2012.
  • Seeing Differently: A History and Theory of Identification and the Visual Arts. New York: Routledge, 2012.
  • "Sexuality" London: Whitechapel Gallery, 2014.
  • Silver, Erin and Amelia Jones (eds.). Otherwise: Imagining queer feminist art histories. Manchester: Manchester University Press, 2015.

References

  1. ↑ "Archived copy". Archived from the original on 2014-02-03. Retrieved 2014-02-01. , John Simon Guggenheim Memorial Foundation.
  2. 1 2 "Amelia Jones: The Politics of Identity". Artillery Magazine. 2015-11-03. Retrieved 2017-11-13.
  3. ↑ Bishop, Jacqueline (2016-01-21). "Renowned Feminist Art Historian Amelia Jones Believes that the Discipline of Art History Should be Restructured to Embrace New Narratives and Diverse Voices". Huffington Post. Retrieved 2017-11-13.
  4. ↑ "Dr. Edward E. Jones, Social Psychologist, 66". The New York Times. 1993-08-04. ISSN 0362-4331. Retrieved 2017-11-13.
  5. ↑ de Leve, Samantha (2015-01-28). "USC Roski professor to be honored for advancing the equality of women in the arts". USC News. Retrieved 2017-11-13.
  6. 1 2 http://dornsife.usc.edu/ase/ase-affiliatedfaculty-amelia-jones/
  7. ↑ , Rethinking Art's Histories at University of Manchester Press
  8. ↑ PREZIOSI, DONALD (1996-05-13). "'Sexual Politics' an Important Show". Los Angeles Times. ISSN 0458-3035. Retrieved 2017-11-13.
  9. ↑ "Archived copy". Archived from the original on 2015-09-28. Retrieved 2015-09-27. , "Material Traces: Time and the Gesture in Contemporary Art" at Leonard and Bina Ellen Gallery, Montreal.
  10. ↑ "Irrational Modernism". MIT Press. Retrieved 2017-11-13.
  11. ↑ , TDR at MIT Press Journals
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