Amelia Jones

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Amelia Jones
Born (1961-07-14) July 14, 1961 (age 58)
ResidenceLos Angeles, California
NationalityUnited States
Alma materUniversity of California, Los Angeles
Known forArt History and Art Theory
AwardsGuggenheim Fellowship (2000)[1]

Amelia Jones (born July 14, 1961) originally from Durham, North Carolina is an American art historian, art theorist, art critic, author, professor and curator. Her work specializes in feminist art, body art, performance art, video art, identity politics, cultural biases and Dadaism. Early in her career she was associated as a feminist scholar, later she broadened her focus on other social activist topics including race, class and identity politics. Amelia has contributed significantly to the world of art as a teacher, researcher and activist.[2][3]

Education and personal life[edit]

She is the daughter of Virginia Sweetnam Jones and Edward E. Jones, a Princeton Psychology professor.[4] She studied art history as an undergraduate at Harvard University and completed her M.A. at the University of Pennsylvania. She received her Ph.D. from UCLA in 1991. Her dissertation was later turned into a published book, Postmodernism and the Engendering of Marcel Duchamp (1994). After completing her education, Jones began to focus on her career and starting a family. On March 7, 1987 Jones married Anthony Sherin a film editor. The two later divorced in 2005. In 2007 following her divorce, Jones married artist Paul Craig Donald. She has two kids, Evan and Vita. Jones currently resides in Los Angeles, California.[5]


After completing her PhD, Jones left Los Angeles to teach at universities throughout the United States as well as in Manchester, England and Montreal, Canada. She has taught art history at University of California, Riverside and the University of Manchester, where she served as the Pilkington Chair of the department.[6] She also served as the Grierson Chair in Visual Culture at McGill University in Montreal and has held visiting professorships at Maine College of Art, Texas Christian University, University of Colorado, Boulder, and Washington University, St. Louis. She is also the Robert A. Day Professor and Chair of Critical Studies at the USC Roski School of Art and Design, where she also served as Vice Dean of Research.[7] She is affiliated faculty in the Department of American Studies and Ethnicity in the USC Dornsife College of Letters, Arts and Sciences.[8]

In addition to her work in academia, Jones has also curated a number of exhibitions, including Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History (1996) at the Hammer Museum, The Politics of Difference: Artists Explore Issues of Identity (1991) at the Chandler Art Museum at University of California, Riverside, and Material Traces: Time and the Gesture in Contemporary Art (2013) at the Leonard and Bina Ellen Gallery at Concordia University in Montreal.[9][10] She also independently organizing a retrospective exhibition on the work of American performance artist Ron Athey.[7][11]

Through art history, Amelia Jones has spoken out against cultural biases related to gender and race during her career. She has challenged most authoritative voices for insistently promoting a straight white-male perspective. Her work is committed to representing female, color, and queer artists. She has dedicated her worked to accurately acknowledging artists' career and work. Jones is a revolutionary art historian who has conquered boundaries that have been hindering the artists that make up the world of art history. [11]


Along with being a professor, Jones is the author and editor of numerous books and anthologies on art history, performance studies, queer studies, and visual culture. She currently serves as co-editor of the Manchester University Press series Rethinking Art's Histories with Martha Meskimmon.[12] Jones has edited A Companion to Contemporary Art since 1945, a collection of art history and criticism by contributors who write on such topics as technology, formalism, public space, diasporas, culture wars, the avant-garde, and the society of the spectacle. She has also edited The Feminism and Visual Culture Reader, the seven part work of Provocations, Representation, Difference, Disciplines/Strategies, Mass culture/Media interventions, Body, and Technology.

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

  • Postmodernism and the En-Gendering of Marcel Duchamp. New York: Cambridge University Press, 1994.
  • Sexual Politics: Judy Chicago's 'Dinner Party' in Feminist Art History. Berkeley: University of California Press, 1996.
  • Body Art/Performing the Subject. Minneapolis: Minnesota University Press, 1998.
  • 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.[13]
  • 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.[14]
  • Heathfield, Adrian and Amelia Jones (eds.). Perform, Repeat, Record: Live Art in History. Chicago: University of Chicago Press, 2012.
  • Seeing Differently: A History and Theory of Identification and the Visual Arts. New York: Routledge, 2012.
  • "Sexuality" London: Whitechapel Gallery, 2014.
  • Silver, Erin and Amelia Jones (eds.). Otherwise: Imagining queer feminist art histories. Manchester: Manchester University Press, 2015.


Throughout Amelia Jones' career she has been recognized for her valuable contributions to the art world. She has also been recognized for her progressive work with feminist ideas. She was award the Distinguished Feminist Award in 2015 which honors art, scholarship or advocacy advancing the cause of equality for women in the arts. Previous winners of the award include The Guerrilla Girls, Lucy Lippard and Lorraine O’Grady.[8] Jones received a few awards prior that acknowledge her success as an art historian and feminist activist.

Awards Amelia Jones received:

  • Distinguished Feminist Award, 2015
  • National Endowment for the Humanities, 2000-01
  • Guggenheim fellow, 2000.
  • Fellow of American Council of Learned Societies, 1994- 95


  1. ^ "Archived copy". Archived from the original on 2014-02-03. Retrieved 2014-02-01.CS1 maint: archived copy as title (link), John Simon Guggenheim Memorial Foundation.
  2. ^ "Amelia Jones: The Politics of Identity". Artillery Magazine. 2015-11-03. Retrieved 2017-11-13.
  3. ^ Bishop, Jacqueline (2016-01-21). "Renowned Feminist Art Historian Amelia Jones Believes that the Discipline of Art History Should be Restructured to Embrace New Narratives and Diverse Voices". Huffington Post. Retrieved 2017-11-13.
  4. ^ "Dr. Edward E. Jones, Social Psychologist, 66". The New York Times. 1993-08-04. ISSN 0362-4331. Retrieved 2017-11-13.
  5. ^ "Gale - Product Login". Retrieved 2019-03-21.
  6. ^
  7. ^ a b
  8. ^ a b de Leve, Samantha (2015-01-28). "USC Roski professor to be honored for advancing the equality of women in the arts". USC News. Retrieved 2017-11-13.
  9. ^ PREZIOSI, DONALD (1996-05-13). "'Sexual Politics' an Important Show". Los Angeles Times. ISSN 0458-3035. Retrieved 2017-11-13.
  10. ^ "Archived copy". Archived from the original on 2015-09-28. Retrieved 2015-09-27.CS1 maint: archived copy as title (link), "Material Traces: Time and the Gesture in Contemporary Art" at Leonard and Bina Ellen Gallery, Montreal.
  11. ^ a b November 3; Features, 2015 · in (2015-11-04). "Amelia Jones: The Politics of Identity". Artillery Magazine. Retrieved 2019-03-21.
  12. ^ [permanent dead link], Rethinking Art's Histories at University of Manchester Press
  13. ^ "Irrational Modernism". MIT Press. Retrieved 2017-11-13.
  14. ^ [1], TDR at MIT Press Journals