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Boiler Room Lecture: Amelia Jones - Essentialism, Feminism, and Art


Tuesday 20 March, 6-7.30pm
ACCA I Australian Centre for Contemporary Art
111 Sturt Street, Southbank
Wheelchair Accessible
FREE /// Bookings required, click here to RSVP

Alex Martinis Roe

Monash University Museum of Art | MUMA in partnership with the Australian Centre for Contemporary Art I ACCA is pleased to present a special lecture by renowned American art historian, writer and curator Amelia Jones, which coincides with the final week of Unfinished Business: perspectives on art and feminism at ACCA. The lecture will be introduced by Charlotte Day, Director MUMA and convened by Professor Anne Marsh, University of Melbourne.

Amelia Jones

Amelia Jones is the Robert A. Day Professor of Art & Design and Vice-Dean of Critical Studies at the Roski School of Art and Design at the University of Southern California in Los Angeles. She is known for her work to dismantle the sexist, racist and homophobic structure of the art world, and seeks to elaborate a queer, anti-racist, feminist history and theory of modern and contemporary Euro-American visual arts. Amelia Jones will discuss her paper, Essentialism, Feminism, and Art, exploring the question of how we understand identity, particularly gender/sex identity, in relation to the visual arts.

Jone's current research addresses the confluence of queer, feminist and performance in the visual arts - including a forthcoming book entitled In Between Subjects: A Critical Genealogy of Queer Performance, and a retrospective on the work and career of Ron Athey, entitled Queer Communion: Ron Athey and the Extreme Body (2020 and following).

Recent publications explore the work of artists previously marginalised from art discourse and institutions including Otherwise: Imagining queer feminist art histories (Manchester, 2016); Seeing Differently: A History and Theory of Identification and the Visual Arts (Routledge, 2012); The Feminism and Visual Culture Reader (Routledge, new edition 2010); and Irrational Modernism: A Neurasthenic History of New York Dada (MIT, 2004); and numerous articles.

Jones was the curator of the landmark exhibition “Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History,” at UCLA’s Armand Hammer Museum of Art in 1996 and Material Traces: Time and the Gesture in Contemporary Art at Concordia University, Montreal in 2013. She has received many awards and grants throughout her career, including a Guggenheim Fellowship in 2000; the Distinguished Feminist Award from the College Art Association in 2015; the President’s Award for Art and Activism, Women’s Caucus for Art, 2018; and the Fulbright US Scholar Award to undertake research in Auckland, New Zealand in 2018. Previous to her work at USC, Jones served as professor of art history at the University of California, Riverside, University of Manchester and McGill University.

Anne Marsh

Professor Anne Marsh is Professorial Research Fellow at the Victorian College of the Arts, University of Melbourne. Her books include: The Culture of Photography in Public Space (Intellect, 2015, ed. with Melissa Miles and Daniel Palmer), Performance Ritual Document (Macmillan, 2014), LOOK: Contemporary Australian Photography, since 1980 (Macmillan, 2010), Pat Brassington: This is Not a Photograph (Quintus/University of Tasmania, 2006), The Darkroom: Photography and the Theatre of Desire (Macmillan, 2003) and Body and Self: Performance Art in Australian, 1969-1992 (Oxford University Press,1993, Kindle edition 2015). Anne has published widely in journals and magazines and has been Melbourne contributing editor for Eyeline Contemporary Visual Arts since 1997. In 2015 she curated Performance Presence/Video Time at the Australian Experimental Art Foundation, Adelaide. In 2017-18 she curated Doing Feminism/Sharing the World a three-month artist-in-residence program on collaborative and participatory art involving over twenty artists at the Norma Redpath House and Studio in Carlton (funded by the Australia Council for the Arts, Creative Victoria and the City of Melbourne). She has received generous support for her research from the Australian Research Council most recently for Women, Feminism and Art in Australia since 1970.

Amelia Jones’s visit to Australia has been organised in partnership with the UQ Art Museum, Brisbane.

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Image: Alex Martinis Roe, It was about opening the very notion that there was a particular perspective, 2015–17, three-channel video installation, HD video and 16mm film, 33:02 mins (total running time), installation view, Australian Centre for Contemporary Art, Melbourne. Courtesy the artist. Photograph: Andrew Curtis

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