Амелия Джонс: Исследования в области феминистского искусства и теории перформанса.

American art historian

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 research specialisms include feminist art, body art, performance art, video art, identity politics, and New York Dada. Jones's earliest work established her as a feminist scholar and curator, including through a pioneering exhibition and publication concerning the art of Judy Chicago; later, she broadened her focus on other social activist topics including race, class and identity politics. Jones has contributed significantly to the study of art and performance as a teacher, researcher, and activist.

She is the daughter of Virginia Sweetnam Jones and Edward E. Jones, a Princeton Psychology professor. 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). On March 7, 1987, Jones married Anthony Sherin, a film editor. They divorced in 2005. In 2007, Jones married artist Paul Donald. She has two children, Evan and Vita, from her first marriage. Jones currently resides in Los Angeles, California.

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. 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 in St. Louis. She is currently the Robert A. Day Professor and Chair of Critical Studies at the USC Roski School of Art and Design, where she also serves as Vice Dean of Research. She is affiliated faculty in the Department of American Studies and Ethnicity in the USC Dornsife College of Letters, Arts and Sciences. 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. She is also independently organizing a retrospective exhibition on the work of American performance artist Ron Athey. 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 artists who are women, queer or people of color.