Amelia Jones is the Robert A. Day Professor at the Roski School of Art and Design at University of Southern California. During her visit to Sydney, she will be presenting a lunchtime seminar for students and other interested attendees on curating queer performance and archives. 



In this lunchtime seminar, Amelia Jones invites students to consider the complexities of curatorial practice in relation to coalitionally driven art movements and the archives that document queer and feminist (and other coalitional) communities. Curatorial practice is understood broadly to include organizing art exhibitions, performance programming, creating special issues of journals on specific topics, and even managing archives as well as online organizing of images and information (as in “curating” an instagram account). Participants are invited to submit their own questions and ideas for discussion for Jones to respond to, as they relate to identity politics, archival practices, and how to historicize art and activism.



Participants are encouraged to register to receive the following readings:

1) Amelia Jones, “Feminist Subjects versus Feminist Effects: The Curating of Feminist Art (or Is It the Feminist Curating of Art?),” in On Curating 29 (2016; Zürich), special issue “Curating in Feminist Thought,” ed. Dorothee Richter, Elke Krasny, Lara Perry;

2) Carolee Schneemann, “Foreword: Live Art Performance Art Body Art,” Critical Live Art: Contemporary Histories of Performance in the UK, ed. Dominic Johnson (London and New York: Routledge, 2013), 1-4.

Suggested additional reading :

3) Amelia Jones, “Archive, Repertoire, and Embodied Histories in Nao Bustamante’s Performative Practice,” Artists in the Archive: Engagements with the Remainders of Art and Performance, ed. Joanna Linsley and Simon Jones (London and New York: Routledge Press, forthcoming 2018).

4) Amelia Jones, ed., special issue “On Trans/Performance,” Performance Research 21 n. 5 (2016), skim contents.]



Amelia Jones is a curator and a theorist and historian of art and performance. Her recent publications include Seeing Differently: A History and Theory of Identification and the Visual Arts (2012), Perform Repeat Record: Live Art in History (2012), co-edited with Adrian Heathfield, the edited volume Sexuality (2014), and, co-edited with Erin Silver,Otherwise: Imagining Queer Feminist Art Histories (2016). Her exhibition Material Traces: Time and the Gesture in Contemporary Art took place in 2013 in Montreal. She programmed the events Trans-Montréal (2015) and Live Artists Live (at USC in 2016). She edited “On Trans/Performance,” a special issue of Performance Research (October 2016).


12.00-2:00 pm
Monday 19 March, 2018
Schaeffer Seminar Room (Room 210), RC Mills Building
The University of Sydney
Camperdown, NSW 2006

To register, please email your name to: