Amelia Jones
Amelia Jones is Professor and Pilkington Chair in the History of Art and Visual Studies Her work consistently pivots around the question of identity - exploring how our assumptions aboutthe bodily identifications we perceive in the visual field . Professor Jones has written numerous articles in journals such as Art History, Signs, and Oxford Art Journal and lectures internationally on the topics of visual theory, feminism, and modern and contemporary art and visual culture (including new media).She co-edited, with Jennifer Doyle, New Feminist Theories of Visual Culture, a special issue of Signs: A Journal of Women in Culture and Society 31 n. 3 (Spring 2006), which includes articles theorizing the intersectionality of gender and sexuality with a vast range of other identifications in the visual field. Jones has organized exhibitions, including Sexual Politics:Judy Chicago's Dinner Party in Feminist Art History at the UCLA/Armand Hammer Art Museum (1996). Jones co-organized (with five editorial collaborators) and contributed to the Web project WomEnhouse, a virtual "house" with "rooms" designed by 25 artists, architects, and art theorists, which re-examines feminism and domesticity in the 1990s while offering an homage to Womanhouse (the 1972 installation project by Judy Chicago, Miriam Schapiro, and the CalArts Feminist Art Program). Jones contributed to and co-edited the anthology Performing the Body/Performing the Text (1999), and edited The Feminism and Visual Culture Reader (2003) and the handbook and intellectual survey of original essays on post WWII art and culture, Companion to Contemporary Art (2006). She contributed the primary survey essay to the Phaidon book The Artist's Body (2000). She has published the books Postmodernism and the En-Gendering of Marcel Duchamp (1994), Body Art/Performing the Subject (1998), and Irrational Modernism:A Neurasthenic History of New York Dada (2004), and her book Self/Image: Technology, Representation, and the Contemporary Subject is just out from Routledge Press). Jones's new project,provisionally titled Identity and the Visual, will providea critical history of identity politics in relation to the visual arts and examines the very structures through which we identify bodies in the visual field, exploring a range of examplesfrom descriptions of the viewing subject in traditional aesthetics to explorations of ambiguously gendered, sexed, and raced bodies incontemporary visual culture.