Amelia Jones

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Amelia Jones
Born (1961-07-14) July 14, 1961 (age 53)
Durham, North Carolina, United States
Residence Montreal, Quebec, Canada
Citizenship United States
Fields Art history
Institutions 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.

Background[edit]

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

Career[edit]

Jones has taught art history at UC Riverside, University of Southern California, the Art Center College of Design in Pasadena, CA, and was formerly the Pilkington Chair of the art history department at the University of Manchester.[2] 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 a professor and the Grierson Chair in Visual Culture in the Department of Art History and Communication Studies at McGill University.[3] With Martha Meskimmon, she co-edits the series Rethinking Art's Histories from Manchester University Press.[4]

Amelia Jones curated the 1996 exhibition, Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History, at the Hammer Museum.[5] 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.[6]

Bibliography[edit]

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.[7]
  • Seeing Differently: A History and Theory of Identification and the Visual Arts. New York: Routledge, 2012.

References[edit]

  1. ^ [1], John Simon Guggenheim Memorial Foundation.
  2. ^ "Amelia Jones, Curriculum Vitae". Amelia Jones Faculty Page. Department of Art History & Communication Studies, McGill University. Retrieved September 13, 2011. 
  3. ^ "McGill University, Art History and Communication Studies". Faculty Profile. Retrieved September 13, 2011. 
  4. ^ [2], Rethinking Art's Histories at University of Manchester Press
  5. ^ [3], Donald Preziosi, "Counterpunch: 'Sexual Politics' an Important Show". Los Angeles Times, May 13, 1996.
  6. ^ [4], "Material Traces: Time and the Gesture in Contemporary Art" at Leonard and Bina Ellen Gallery, Montreal.
  7. ^ [5], TDR at MIT Press Journals

External Links[edit]

Amelia Jones' profile at the University of Manchester

Amelia Jones' profile at McGill University