Amelia Jones

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Amelia Jones
Born (1961-07-14) July 14, 1961 (age 53)
Durham, North Carolina, United States
Residence Los Angeles, California
Citizenship United States
Fields Art history Performance Studies, Feminist and Queer Theory
Institutions University of Southern California McGill University
University of Manchester
Alma mater UCLA, 1991
Notable awards Guggenheim Fellowship (2000)[1]

Amelia Jones (born July 14, 1961) is an American art historian, art critic and curator specializing in feminist art, body/performance art, video art and Dadaism.


Amelia Jones, the daughter of Virginia S. Jones and Princeton Psychology professor Edward E. Jones, studied art history at Harvard and the University of Pennsylvania. She received her PhD from UCLA in 1991.


Jones has taught art history at UC Riverside, 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 and is currently the Robert A. Day Chair in Art and Design at the Roski School at University of Southern California. With Martha Meskimmon, she co-edits the series Rethinking Art's Histories from Manchester University Press.[2]

Amelia Jones curated the 1996 exhibition, Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History, at the Hammer Museum.[3] 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.[4]


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

  • 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.
  • 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.[5]
  • Seeing Differently: A History and Theory of Identification and the Visual Arts. New York: Routledge, 2012.
  • "Sexuality" London: Whitechapel Gallery, 2014.


  1. ^ [1], John Simon Guggenheim Memorial Foundation.
  2. ^ [2], Rethinking Art's Histories at University of Manchester Press
  3. ^ [3], Donald Preziosi, "Counterpunch: 'Sexual Politics' an Important Show". Los Angeles Times, May 13, 1996.
  4. ^ [4], "Material Traces: Time and the Gesture in Contemporary Art" at Leonard and Bina Ellen Gallery, Montreal.
  5. ^ [5], TDR at MIT Press Journals

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