Amelia Jones, C.V. - McGill University

39 Pages·2014·0.35 MB·English

by  Amelia Jones

AMELIA G. JONES
Professor and Grierson Chair in Visual Culture
Department of Art History and Communication Studies
McGill University
853 Sherbrooke Street West, Arts Building, room W285
Montreal, Quebec H3A 2T6 CANADA
email: [email protected], [email protected]

EDUCATION:
UNIVERSITY OF CALIFORNIA, LOS ANGELES. Ph.D., Art History, June 1991. Specialty
in modernism, contemporary art, film, and feminist theory; minor in critical theory.
Dissertation: “The Fashion(ing) of Duchamp: Authorship, Gender, Postmodernism.”

UNIVERSITY OF PENNSYLVANIA, Philadelphia. M.A., Art History, 1987. Specialty in
modern & contemporary art; history of photography. Thesis: “Man Ray's Photographic Nudes.”

HARVARD UNIVERSITY, Cambridge. A.B., Magna Cum Laude in Art History, 1983.
Honors thesis on American Impressionism.

EMPLOYMENT:
2014 (August)- UNIVERSITY OF SOUTHERN CALIFORNIA, Roski School of Art and
Design, Los Angeles. Professor and Robert A. Day Chair in Fine Arts.
Vice Dean of Critical Studies.

2010-2014 McGILL UNIVERSITY, Art History & Communication Studies (AHCS)
Department. Professor and Grierson Chair in Visual Culture.
2010-2014 Graduate Program Director for Art History (2010-13) and for AHCS (2013ff).

2003-2010 UNIVERSITY OF MANCHESTER, Art History & Visual Studies.
Professor and Pilkington Chair.
2004-2006 Subject Head (Department Chair).
2007-2009 Postgraduate Coordinator (Graduate Program Director).

1991-2003 UNIVERSITY OF CALIFORNIA, RIVERSIDE, Department of
Art History. 1999ff: Professor of Twentieth-Century Art and Theory.
1993-2003 Graduate Program Director for Art History.

1990-1991 ART CENTER COLLEGE OF DESIGN, Pasadena. Instructor and
Adviser. Designed and taught two graduate seminars: Contemporary Art;
Feminism and Visual Practice.

VISITING PROFESSORSHIPS:
Fall 2014-Spring 2016 MUSEUM OF FINE ARTS, HOUSTON, Core Residency Program,
Visiting Professor.
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April 2012 YORK UNIVERSITY, TORONTO, Department of Visual Arts
Visiting Professor, Summer Institute.

June 2009 MAINE COLLEGE OF ART, Honorary Visiting Professor.

March 2008 TEXAS CHRISTIAN UNIVERSITY, FORT WORTH, Department
of Art History, Green Chair for distinguished visiting professor.

April 2006 MUSEUM OF FINE ARTS, HOUSTON and GLASSEL SCHOOL
OF ART, Core Residency Program, Seminar and artist crits.

March 2004 UNIVERSITY OF COLORADO, BOULDER, Distinguished
Visiting Professor, Department of Art History.

February 2002 WASHINGTON UNIVERSITY, ST. LOUIS, visiting professor,
Department of Art.

GRANTS, FELLOWSHIPS, and AWARDS:
Tourisme Montréal, $7500 CAD + $6000 CAD in-kind accommodations funds; grant for
Trans-Montréal, PSi 2015 event.

Office of Sponsored Research, McGill University, $1500 CAD travel grant for Performance
Studies International conference in Stanford, California, 2013.

Social Sciences and Humanities Research Council (Canadian government), Standard Research
Grant 2010-2013, to pursue the project “Material Traces.” Total $108,000 CAD.

Arts Council Grant (British government), to fund exhibition “Hershmanlandia,” Whitworth Art
Gallery, University of Manchester, 2007 (assisted in preparing grant application and in
obtaining the exhibition from Henry Art Gallery, Seattle; total £40,000).

British Academy Conference Grant, to fund conference “Faith and Identity in Contemporary
Visual Culture” (total £2000), November 2006.

Centre for Interdisciplinary Study in the Arts (CIDRA), to fund “Faith and Identity in
Contemporary Visual Culture,” University of Manchester, November 2006 (total £2000).

Festival of Muslim Cultures, UK, to fund “Faith and Identity in Contemporary Visual Culture,”
University of Manchester, 2006 (total £2000).

Arts Council Grant (British government), to fund performances and workshops by Vaginal
Davis in conjunction with “Theorising Queer Visualities,” international conference co-
organised with Dr. Laura Doan at University of Manchester, April 2005 (total £8900).

British Academy Conference Grant, to fund conference “Theorising Queer Visualities” (total
£2000), April 2005.
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University of Manchester/ School of Arts, Histories & Cultures and Art History & Visual
Studies conference grants, 2004-5, to fund “Theorising Queer Visualities” (total £3000+).

Ford Foundation/ Center for Ideas and Society Grant, 2002-2003. For international
conference co-organized with Professor Jennifer Doyle, Professor Molly McGarry, on
“Intersectional Feminisms,” Spring 2003 (approximately $2000).

John Simon Guggenheim Memorial Foundation Fellowship, individual research grant (taken
in Jan-Dec 2002; approx. $35,000).

National Endowment for the Humanities Fellowship for College Teachers and Independent
Scholars (US government), individual research grant, 2000 (approx. $24,000).

California Arts Council, major art in schools grant to fund visiting artist for Community
Magnet School, Los Angeles, 2000 (approx. $15,000).

International Association of Art Critics, U.S. Division, 1995-96 best exhibition catalogue,
place, for Sexual Politics: Judy Chicago’s Dinner Party in Feminist Art History.

Graham Foundation, Fall 1995, group fellowship to complete the Web project WomEnhouse.

American Council of Learned Societies, Postdoctoral Fellowship, September 1994-July 1995,
individual fellowship to research and write book on body art.

University of California, Riverside, Distinguished Humanist Achievement Award, 1993-94,
for outstanding scholarship in the humanities (for the book Postmodernism and the En-
Gendering of Marcel Duchamp).

University of California Humanities Research Institute, conference grant, 1992-1994, for
organization of conference “Photography and the Photographic,” UC Riverside.

University of California, Riverside, Center for Ideas and Society, conference grant, 1992-
1994, for organization of conference “Photography and the Photographic.”

University of California, Riverside, Affirmative Action Career Development Award,
individual grant for research in Paris and New York in the spring term, 1993.

EXHIBITIONS CURATED and PERFORMANCE EVENTS ORGANIZED:
2012-ongoing PERFORMANCE STUDIES INTERNATIONAL (PSi), Co-Director and
Curator 2012-14; Consulting Curator 2014-15; responsible for original concept
and planning for an event included in PSi’s 2015 annual conference, through a
conference/festival entitled Trans-Montréal, September 2015.
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2013 LEONARD AND ELLEN BINA ART GALLERY, CONCORDIA
UNIVERSITY, Curator of exhibition “Material Traces: Time and the Gesture
in Contemporary Art,” February-April 2013.
REVIEWED by Marie-Ève Charron in Le Devoir, March 30, 2013:
http://www.ledevoir.com/culture/arts-visuels/374562/corps-en-action-matieres-sous-tension;
by Reilley Bishop-Stall and Natalie Bussey in Passenger Art (April 5, 2013;
http://passengerart.com/); by Joseph Henry in Esse (2013) http://www.esse.ca/fr/Compte-
rendu/78/Montr%C3%A9al2.

2004-2005 UNIVERSITY OF MANCHESTER, CORNERHOUSE ART GALLERY,
WHITWORTH ART GALLERY, and CONTACT THEATRE, as part of
“Theorising Queer Visualities” conference and events. Co-Organiser of
performances by Vaginal Davis and performative presentations by Ron Athey
& Julianna Snapper. Co-Organiser of related events, including playing
originating role in “Queer” exhibition.

1993 -1996 UNIVERSITY OF CALIFORNIA, LOS ANGELES, UCLA/ Armand
Hammer Museum of Art. Curator of the exhibition “Sexual Politics: Judy
Chicago's Dinner Party in Feminist Art History,” displaying and reevaluating
Chicago's piece and other feminist art within historical and theoretical
contexts (April-August 1996).

1995 -1996 JACK AND MARILYN SWEENEY ART GALLERY, University of
California, Riverside. Co-Curator, with Laura Meyer, of exhibition
“Feminist Directions 1970/1996: Robin Mitchell, Mira Schor, Faith Wilding,
Nancy Youdelman” (Spring 1996).

1992 -1994 CALIFORNIA MUSEUM OF PHOTOGRAPHY and UNIVERSITY
ART GALLERY, University of California, Riverside. Curator of
exhibition “Photography and the Photographic: Histories, Theories,
Practices,” to run concurrently with conference (Fall 1994).

1991 -1992 UNIVERSITY ART GALLERY, University of California, Riverside.
Curator of the exhibition “The Politics of Difference: Artists Explore Issues
of Identity” (1992).

EDITORIAL and ADVISORY POSITIONS:
2014 – present Artmargins (Lebanon) Editorial Board.

2013 – present Honorary Committee Member, La Centrale/Galerie Powerhouse, Feminist
Art and Culture, Montréal.

2013 – present TDR (The Drama Review), Contributing Editor.

2012 – present Performance Studies International, member of advisory board for PSi 2015.

2012 – present Arts journal, member of Editorial Board (Basel, Switzerland).
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2007 – present University of Manchester Press, Co-editor (with Marsha Meskimmon) of
series “Rethinking Art’s Histories” (see:
http://www.manchesteruniversitypress.co.uk/cgi-bin/indexer?series=4).

2011 – present Journal of Curatorial Studies, Member of editorial board.

2010 – present Encyclopedia of Aesthetics, Member of editorial board.

2010 – 2013 Women & Performance, Member of editorial board.

2004 – 2009 Liverpool University Press, Member of Editorial Committee, “Value: Art:
Politics” series.

2006 – 2007 Neuberger Museum of Art, Purchase College, Member of International
Advisory Board for The Body Politic: Performance and Social Change
exhibition.

2001 – 2005 SIGNS: A Journal of Women in Culture and Society. Associate Editor.

1995 –1998 FRAME-WORK art journal, Los Angeles Center for Photographic
Studies. Co-Editor.

CONFERENCES and PANELS ORGANIZED:
UNIVERSITIES ART ASSOCIATION OF CANADA, Concordia University, Montréal,
2012. Co-organizer with Erin Silver of panel on “Is there a queer feminist art history?”

PERFORMANCE STUDIES INTERNATIONAL, Leeds, UK, 2012. Co-Organizer with
Alpesh Patel of double panel on “Live Art in History and the Politics of Inclusion.”

UNIVERSITY OF MANCHESTER, WHITWORTH ART GALLERY, Co-Organizer with
Hammad Nasar (Festival of Muslim Cultures, Britain), Alnoor Mitha (Director of SHISHA,
a local South-Asian arts organization), Rajinder Dudrah (Drama department) of international
conference “Faith and Identity in Contemporary Visual Culture,” including performances
and an exhibition (November 2006).

UNIVERSITY OF MANCHESTER, Co-Organizer, with John Pickstone of Centre for the
History of Science, Technology and Medicine, of visiting lecture and seminar by Professor
Barbara Stafford; co-sponsored by Surrealism Centre and Cultural Theory Institute.

UNIVERSITY OF MANCHESTER, Co-Organizer, with Rajinder Dudrah, of visiting lecture
by Professor Laura Marks; co-sponsored by Art History & Visual Studies and Centre for
Interdisciplinary Research in the Visual Arts (March 2006).

UNIVERSITY OF MANCHESTER, Co-Organiser with Laura Doan of international
conference “Theorising Queer Visualities,” including performances and exhibition (see
above; April 2005).
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UNIVERSITY OF CALIFORNIA, RIVERSIDE, Co-Organizer with Jennifer Doyle and
Molly McGarry of conference “Intersectional Feminisms” (April 2003).

COLLEGE ART ASSOCIATION, NEW YORK, Co-Organizer with Caroline Jones of panel
“Bodies/Machines”; Annual Conference in New York (February 2000).

UNIVERSITY OF CALIFORNIA, RIVERSIDE, Sweeney Art Gallery, Organizer and
Moderator of panel on Devora Neumark and Wende Bartley’s Iris (January 1999).

UNIVERSITY OF CALIFORNIA, RIVERSIDE, “Unnatural Acts” Conference. Organizer
of panel on “Performance Art and the Unnatural Body” (April 1997).

COLLEGE ART ASSOCIATION, NEW YORK, Organizer of panel “Body Politics:
Performativity and Postmodernism”; Annual Conference in New York (February 1997).

UNIVERSITY OF CALIFORNIA, LOS ANGELES, the UCLA/ Armand Hammer
Museum of Art and Center for the Study of Women. Co-Organizer, with Donald
Preziosi, of conference “Essentialism and Representation” (1994-May 1996).

UNIVERSITY OF CALIFORNIA, RIVERSIDE. Organizer of international conference,
“Photography and the Photographic: Histories, Theories, Practices” (1992-1994).

PUBLICATIONS – BOOKS:
Seeing Differently: A History and Theory of Identification and the Visual Arts (New York
& London: Routledge Press, 2012).
NOMINATED for the Frank Jewett Mather Award, College Art Association, New York, 2012.
REVIEWED by Derek Murray in Art Journal (fall 2012); Soraya Murray, Third Text (Fall
2012); Barbara Oetti, Journal für Kunstgeschichte (Fall 2013); Mathias Danbolt, Nordic
Journal of Feminist and Gender Research, 14 May 2014 (available online at:
http://www.tandfonline.com/doi/full/10.1080/08038740.2014.899462#.U4yd85RdX9c).

Self/Image: Technology, Representation, and the Contemporary Subject (New York &
London: Routledge Press, 2006). 258 pages.
CHINESE TRANSLATION: Ziwo yu tuxiang [Self/Image]; series editor Fan Jingzhong;
translator Fan Liu (NanJing, China: JiangSu Fine Arts Publishing House, 2013).
CHAPTER 1, “The Body and/in Representation,” published in Visual Culture Reader, third
edition, ed. Nick Mirzoeff (New York and London: Routledge, 2012).
REVISED VERSION of chapter 4, “Cinematic Self Imaging and the Televisual Body,” with the
title “Televisual Flesh: The Body, the Screen, the Subject,” published in Precarious
Visualities: New Perspectives on Identification in Contemporary Art and Visual
Culture, ed. Christine Ross, Johanne Lamoureux, and Oliver Asselin (Montréal: McGill-
Queen’s University Press, 2008).
REVISED VERSION of chapter 6, “The Televisual Architecture of the Dream Body,” published
in It’s Time for Action (There’s No Option), ed. Heike Munder (Zurich: Migros Museum
für Gegenwartskunst and JRP/Ringier, 2007).
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REVIEWED: Elena Duba, Afterimage (May-June, 2007), 38; Reference & Research Book News
(February 2007); Tamara Trodd in Art History (2008); Jennie Klein in Contemporary
Theatre Review (Summer 2009).

Irrational Modernism: A Neurasthenic History of New York Dada (Cambridge, MA: MIT
Press, 2004). 334 pages.
REVIEWED in Bookforum (USA); Art History (UK); ArtPapers (US); Sehepunkt (Germany
<www.sehepunkte.de>); Irene Gammel, Literary Review (US; Winter 2005), 166; Exitbook
(Spain); The Journal of Military History 69.9 (April 2005); Chronicle of Higher Education
(US); Variant (Glasgow); Mira Schor, review in Art Journal (Summer 2006); Prudence
Peiffer, Library Journal (April 1, 2004), 90; “New York Bookshelf,” New York Times Book
Review (2 May 2004); Andrea Dahlberg, review in Leonardo Online (June 13, 2008;
http://www.leonardo.info/reviews/dec2004/irrational_dahlberg.html).

Body Art/Performing the Subject (Minneapolis: University of Minnesota Press, 1998). 352
pages.
TRANSLATED [into Slovenian] as Body Art. Uprizarjanje Subjekta (Ljubjana, Slovenia:
Koda Press and Maska Press, 2002).
EXCERPT (Chapter entitled “Rhetoric of the Pose: Hannah Wilke and the Radical Narcissism of
Feminist Body Art”) TRANSLATED and REPRINTED as Retoryka pozy. Hannah
Wilke i radykalny narcyzm feministycznej sztuki ciaÅa, in Display: Strategie
Wystawiania, ed. Maria Hussakowska and Ewa Malgorzata Tatar (Krakow, Poland: Tatar
Universitas, 2012).
EXCERPT ("Postmodernism, Subjectivity, and Body Art: A Trajectory”) TRANSLATED and
REPRINTED as “Postmodernismo, subjetividad y arte corporal: una trayectoria,” in
Estudios Avanzados de Performance, ed. Diana Taylor and Marcela Fuentes (Carretera
Pichaco-Ajusco, Mexico: Fondo de Cultura Económica, and New York: Instituto
Hemisférico de Performance y Politica, 2011).
EXCERPT REPRINTED and TRANSLATED into Turkish in [English title] Art/Gender: Art
History and Feminism, ed. Ahu Antmen (Istanbul: Iletisim Publishers, 2008).
EXCERPT REPRINTED in Art of the Twentieth Century: A Reader, ed. Jason Geiger and
Paul Wood (New Haven: Yale University Press, 2003).
EXCERPT REPRINTED in Visual Culture Reader, ed. Nicolas Mirzoeff, 2nd Edition (New
York and London: Routledge, 2003).
EXCERPT REPRINTED as “Yayoi Kusama” in Feminism – Art – Theory: An Anthology
1968-2000, ed. Hilary Robinson (Oxford, UK: Blackwell, first edition 2001; and second
edition 2014).
EXCERPT REPRINTED in New Observations no. 124 (New York; Winter 2000).
EXCERPT REPRINTED as “Laura Aguilar,” Atzlan: A Journal of Chicano Studies 23, n. 2
(Los Angeles; Fall 1998).
REVIEWED internationally, including Henry Sayre in Art Journal (Spring 1999), 112; Ann
Daly in TDR (Summer 2000), 153.

Postmodernism and the En-Gendering of Marcel Duchamp (Cambridge, England and New
York: Cambridge University Press, 1994).
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REVIEWED internationally, including David Joselit, Art in America (September 1994), 35.
TRANSLATION into Albanian and Macedonian, 2011.

PUBLICATIONS – EDITED BOOKS/ SURVEY ESSAYS:
[Co-Editor, with Erin Silver, and Contributor.] Sexual Differences and Otherwise: Imagining
Queer Feminist Art Histories. Under contract with Manchester University Press.

[Editor and Contributor]. Sexuality, Documents in Contemporary Art series (London:
Whitechapel Gallery, forthcoming [2014]).

[Co-Editor, with Adrian Heathfield, and contributor]. Perform, Repeat, Record: Live Art in
History (Bristol: Intellect Press, 2012).
REVIEWED internationally, including by Lisa Newman in Artillery 6 n. 4 (Apr-May 2012); by
Caroline Wake in Real Time n. 108 (Apr-May 2012);by Chris Gilligan in New Theatre
Quarterly Review; review essay by Jennie Klein in PAJ: A Journal of Performance and
Art 35, n. 2 (May 2013), 108-16; review essay by Pannill Camp in TDR: The Drama
Review 58, n. 1 (Spring 2014), 167-69.

[Editor and contributor]. Feminism and Visual Culture Reader, SECOND EDITION with
substantial revisions (London and New York: Routledge Press, 2009). 560 pages.
FIRST EDITION 2003, REVIEWED internationally, including Jessica Dallow, NWSA Journal
(Spring 2007), 166; Queer Caucus for Art Newsletter; The Feminist Art Books Bulletin;
n.paradoxa.com; Woman’s Art Journal (2005); Les Cahiers internationale de la sociologie 1
(2004), n. 116, p. 180-82.
SECOND EDITION 2009, REVIEWED internationally, including Jessica Sjöholm Skrubbe,
Konsthistorisk tidskrift/ Journal of Art History, December 2011 [available on-line at:
http://www.tandfonline.com/loi/skon20]; Juan Vicente Aliaga, Exitbook 14 (2011).

[Editor and contributor]. Companion to Contemporary Art Since 1945, Blackwell
“Companions to Art History” series (Oxford: Blackwell Press, 2006). 628 pages.
REVIEWED in Reference & Research Book News (August, 2006).
ASSIGNED as focus of semester long MFA course, CR812, at Maine College of Art, Spring
Semester 2009: see http://sites.google.com/a/campus.meca.edu/mfa/cr811--a-companion-
to-contemporary-art-since-1945]

“The Artist’s Body / The Negotiation of Social Space,” primary survey essay for The Artist’s
Body, ed. Tracey Warr (London: Phaidon, 2000),16-47.
REPRINTED in abridged version, 2011.
Book REPRINTED in paperback, 2006.
Book REPRINTED/TRANSLATED as Le Corps de l’artiste, tr. Denis-Armand Canal
(Phaidon, 2005).
Book REPRINTED/TRANSLATED into Korean (Phaidon, 2007).
REVIEWED internationally, including: Parachute (July-September 2001), 145; Jon Garelick,
Phoenix Online (December 5, 2006); Michael S. Gant, Metro Online (February 21, 2007);
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Barry Gewen, “State of the Art,” New York Times Book Review (December 11, 2005);
available at: http://www.nytimes.com/2005/12/11/books/review/11gewen.html

[Co-editor, with Andrew Stephenson, and contributor]. Performing the Body/Performing the
Text (London and New York: Routledge Press, 1999).

[Editor and contributor]. Sexual Politics: Judy Chicago's Dinner Party in Feminist Art
History (Los Angeles and Berkeley: University of California Press and Los Angeles:
UCLA/Hammer Museum of Art, 1996).

PUBLICATIONS – EDITED JOURNAL ISSUES AND SECTIONS:
[Editor/ author]. Forum on “Performance, Live or Dead,” for Art Journal 70, n. 3 (Fall 2011;
appeared January 2012).

[Co-Editor with Jennifer Doyle]. “New Feminist Theories of Visual Culture,” special issue of
Signs: A Journal of Women in Culture and Society 31 n. 3 (Spring 2006).

[Editor/ author]. Forum on “The Body and Technology” for Art Journal (Spring 2001).

[Co-Editor, with Mario Ontiveros and Kris Kuramitsu, and co-author]. “In Between” issue of
Framework (Los Angeles; 1998).

PUBLICATIONS – WEB PROJECT:
[Co-Editor, co-author]. WomEnhouse. A Web project re-examining feminism and domesticity
in the 1990s in homage to Womanhouse (the 1972 installation project by Judy Chicago,
Miriam Schapiro, and the CalArts Feminist Art Program).
<http://www.cmp.ucr.edu/education/programs/digitalstudio/studio_projects/webworks/wome
nhouse/default.html>
Among other awards, WomEnhouse was voted feminist website of the week in March 2001 by
www.artwomen.org.

PUBLICATIONS – JOURNAL/MAGAZINE ARTICLES:
“Material Traces: Contemporary Art, “Dematerialization,” and the Negotiation of Immaterial
Labor,” submitted on request to ArtMargins (MIT Press) Spring 2014.

“‘The Artist is Present’: Artistic Re-enactments and the Impossibility of Presence,” TDR: The
Drama Review 55: 1 (Spring 2011), 16-45.
REPRINT/POLISH TRANSLATION published in the book Remix (tentative title, in English)
(Wydawnictwo Krytyki Politycznej - Political Critique Publishing House, forthcoming).
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“Créer le trouble: les artistes feminists mettent en acte le sexe féminine,” [original English
version: “Making Trouble: Feminist Artists Enact the Female Sex”], Gender Surprise issue of
Tina 8 (Fall 2011).
SPANISH TRANSLATION, “Generando problemas: las artistas feministas ponen en escena el
sexo femenino,” published in Arte(s)—Feminismo(s) issue of Youkali.net 11, ed. Maite
Aldaz Enrique (2011).

“Performing the Wounded Body: Pain, Affect, and the Radical Relationality of Meaning,”
Parallax 15, n. 4 (Leeds; 2009), 45-67.

“This Life,” on Lynn Hershman Leeson, Frieze (London; September 2008), 162-175.

“Seeing Differently: The Subject of Viewing in Antonioni’s Blow Up (1966) versus Shezad
Dawood’s Make It Big (2005),” Journal of Visual Culture (London) vol. 7, n. 2 (August
2008).

“Holy Body: Erotic Ethics in Ron Athey and Juliana Snapper’s Judas Cradle,” TDR (The
Drama Review: The Journal of Performance Studies) 50.1, special 50th Anniversary Issue
(New York: Spring 2006), 159-169.

“Rupture,” Maska 96-97 (Ljubljana, Slovenia: 2006).
REPRINTED in A Performance Cosmology: Testimony from the Future, Evidence of the
Past, ed. Judie Christie, Richard Gough, Daniel Watt (Aberystwyth: Centre for Performance
Research and London: Routledge Press, 2006).
REPRINTED/ REVISED in Parachute no. 123 (Montréal, 2006), 15-37.

“Live Art as Commodity,” Maska (Ljubljana, Slovenia: 2005), 72-88.

“Televisual Flesh: Activating Otherness in New Media Art,” Parachute, “Écrans numériques/
Digital Screens” issue 113 (Montreal; 2004), pages 71-81.

“Everybody Dies… Even the Gorgeous: Resurrecting the Work of Hannah Wilke,” Marks vol.
4.01 (Spring 2003); <http://markszine.com/401/ajind.htm>
REPRINTED in Body Modification, exhibition catalogue (Santa Cruz, California: UCSC, 2005).
REPRINTED in Trans (on-line; forthcoming, 2006).

“The ‘Eternal Return’: Self-Portrait Photography as a Technology of Embodiment,” Signs:
Journal of Women in Culture and Society 27, n. 4 (Summer 2002), 947-978.

“Equivocal Masculinity: New York Dada in the Context of WWI,” Art History 25, n. 2
(London; April 2002), pp. 162-205.

“The ‘Post-Black’ Bomb,” Tema Celeste 90 (March-April 2002), 52-55.

“Posing the Subject/Performing the Other as Self,” in Article Press, “Making a Scene” issue, ed.
Henry Rogers and David Burroughs (London; 2000).