Researching (with) Difficult Feelings

Birkbeck Centre for Contemporary Theatre

Keynes Library, 43 Gordon Square, London WC1H 0PD

Day 1, 14 December 2017

9.45-10.00: Welcome

On Academic Research

Academics reflect on how they have approached difficult feelings in their research.

10.00-11.00: Minds

Difficult Company: Research and Emotional Distress

Sociologist Arthur W. Frank discusses how, during his experience of cancer, illness memoirs became a kind of ‘company’. Literature, in this sense, offered companionship in a period of emotional and physical distress. Crucially, this companionship was not predicated on sameness of experience. The words on the page were not company because they were identical to his own feelings and encounters; rather the books simply populated a space that otherwise felt profoundly isolated. I do not wish to equate the solitude of illness with the solitude of research. Nonetheless, there are ideas to be mined in Frank’s account of illness literature for what it might teach us about how to navigate the difficult practice of research, and in particular, the difficult practice of researching difficult feelings. His words raise questions regarding appropriation of experience, empathy, the place of autobiography in critical prose, and legitimate and illegitimate feelings in, and about, research. I will explore these questions in relation to my research on madness and cultural representation in order to explore together the emotional politics of researching distress.

Anna Harpin is Associate Professor Theatre and Performance Studies at the University of Warwick. Her monograph, Madness, Art, and Society: Beyond Illness has just been published and other recent works include Performance and Participation (with Helen Nicholson, RHUL) and Performance, Madness, Psychiatry: Isolated Acts (with Juliet Foster, Cambridge), and a chapter on the history of theatre in Broadmoor Hospital in The Edinburgh Companion to the Critical Medical Humanities. Alongside her academic work, she is writer and director with her theatre company, Idiot Child.

‘The Greatest Possible Tact’: Writing about Torture

Clare Finburgh is researcher and teacher in the Department of Theatre and Performance at Goldsmiths University of London. She has published widely on modern and contemporary European theatre. Co-authored and co-edited volumes include Jean Genet (2012), Contemporary French Theatre and Performance (2011), and Jean Genet: Performance and Politics (2006). More recently her research reflects two of the most pressing political and social issues of the modern world: the ecological crisis, and global conflict. She has co-edited a volume of eco-critical essays, Rethinking the Theatre of the Absurd: Ecology, the Environment and the Greening of the Modern Stage (2015) and written a monograph on representations of war in recent British theatre: Watching War: Spectacles of Conflict on the Twenty-First-Century Stage (2017). Clare has also translated several plays from French into English, notably Noëlle Renaude’s By the Way (Par les routes, 2005) which was performed at the Edinburgh Fringe.

11.00-12.00: Bodies

How Do You Feel When Men and Girls Dance?

This presentation reflects on Fevered Sleep’s project Men & Girls Dance, which brings together five adult, male professional dancers with nine girls for whom dance is not a job.  The project is in three parts:  a performance, a newspaper, and a space for talking about the themes of the project.  The presentation will focus on the process of making the performance, which is remade in each new place the work is presented, with a group of local girls joining the professional company.

David Harradine is co-artistic director of Fevered Sleep (feveredsleep.co.uk) and Professor of Interdisciplinary Practice at Royal Central School of Speech and Drama.

Ethics, embodiment and the long vantage

This presentation takes up the (with) of the event’s title. For scholars like myself whose work engages with refugee-responsive performance, the contexts of embodiment and conditions of appearance must always be prominent – and ethically fraught – concerns. Much scholarship on refugees and theatre deals with participation and is rightly attentive to agency. The so-called European ‘migrant crisis’ has prompted me to apprehend performativity from the wide vantage of the en masse. But situating refugee arrival as a massive visual regime raises difficult questions about compelled visibility, not to mention the complicity of the critic. I reflect on two pieces of my recent work, one theorising en masse refugee movement, and the other on a video installation whose thermographic imaging renders refugees’ bodies metabolic signifiers.

Emma Cox is Senior Lecturer in Drama and Theatre at Royal Holloway, University of London. Her research concerns refugee-responsive performance, cross-cultural commemorative practices, and postcolonial museology. Emma is the author ofPerforming Noncitizenship (Anthem 2015), Theatre & Migration (Palgrave 2014), and the edited play collection Staging Asylum (Currency 2013), as well as essays in journals including Theatre Research International and Theatre Journal. She is currently developing an interdisciplinary project on cultural and performance histories associated with human remains.

12.00-1.00: Lunch

1.00-2.00: Things

Willful Things: Bodies, Equipment, and Potentialities 

In 2014, I started a project on physical culture and the performance of masculinity, conducting fieldwork in the culture and sport of weightlifting. More days than not, I carry a heavy backpack filled with: Adidas Power Perfect weightlifting shoes; straps; wrist wraps; knee sleeves; zinc oxide tape; protein shaker; chalk. There are things to wear: tights; t-shirt; socks. I carry this ensemble of objects to a place where there is another set of objects: barbell, plates, platform. This presentation will explore the affects and intensities prompted by the encounter of my body with the equipment and tools of physical culture. I define ‘feeling-with’ as a form of embodied research, a valuable, though under-theorised methodology in its own right. Feeling-with objects might help us understand more deeply the role of these ‘scriptive’ things (Bernstein 2009) in the archive, and their relation to past and present masculinities.

Broderick D.V. Chow is Senior Lecturer in Theatre at Brunel University London. His research explores how social, political and historical forces can be understood through performances of the body, and spans theatre and performance studies, anthropology, and sociology. He is Principal Investigator on the AHRC-funded Leadership Fellows research project Dynamic Tensions: New Masculinities in the Performance of Fitness (www.dynamictensions.com). As part of this research he was recently a visiting scholar at the H.J. Lutcher Stark Center for Physical Culture and Sports, University of Texas at Austin. He is co-editor of Žižek and Performance (Palgrave 2014) and Performance and Professional Wrestling (Routledge 2016). Broderick is an amateur Olympic Weightlifter and a BWL Level 1 Qualified Weightlifting Coach.

How to deal with the (dead) Elephant in the room and other problems of the non-human

Theatre and Performance is a field populates with bodies–mainly human, moving, speaking, performing. But how does your research shift when its focus is the non-human? What are the problem and possibilities of working with technological agents, animals, objects? This talk will grapple with my experiences of defining, researching, and analysing cyborg theatre and questions of animality. From work proposing a cyborg subjectivity to distinctions between animals and things, the research faces ethical challenges within a fascination for how ‘things’ might have agency.

Jennifer Parker-Starbuck is Head of the Department of Drama, Theatre and Performance, and Professor of Theatre and Performance Studies at the University of Roehampton. She is the Editor of Theatre Journal and author of Cyborg Theatre: Corporeal/Technological Intersections in Multimedia Performance (Palgrave Macmillan, 2011, paperback 2014), Performance and Media: Taxonomies for a Changing Field (co-authored with S. Bay-Cheng and D. Saltz, University of Michigan Press, 2015), and co-editor of Performing Animality: Animals in Performance Practices, (Palgrave, 2015). She will be starting as Professor and Head of Drama, Theatre, and Dance at Royal Holloway, University of London in January 2018.

2.00-3.00: Histories

Customer Relations

Under what conditions do theatre spectators come to view themselves as customers? Is it when they buy a ticket – and, perhaps, question the cost of admission? Or is it inside the theatre, when experience violates expectation? Maybe it is when what they see on stage elicits outrage, compelling them to demand their money back? This paper argues that customer feelings within the theatre are best understood in terms of what historian EP Thompson called “the moral economy,” a concept that insists we historicize the feelings evoked by economic exchange. To approach this topic, I turn to the riotous 1966 premiere of Peter Handke’s Publikumsbeschimpfung (Offending the Audience) – a play and writer about whom I have very mixed feelings.

Shane Boyle works in the Drama Department at Queen Mary University London. His research focuses on the economics of performance, art and social movements, and critical race theory–mostly in Germany and the UK. He is just finishing his first book called The New Spirit of Performance, which examines postwar West German theatre through the lens of economic history. The essay collection Postdramatic Theatre and Form, which Shane co-edited, will be published in 2018. He is also writing a book titled Infrastructural Aesthetics that considers how artists use logistics technologies that undergird contemporary capitalist production, such as shipping containers and drones.

My Nikolaevka: Notes from the field with Ukraine’s Theatre of Displaced People

Molly Flynn researches the history and significance of documentary theatre in Russia and Eastern Europe. She completed her MA in Theatre and Performance Studies at Brown University in 2008 and her PhD in Slavonic Studies at the University of Cambridge in 2015. Molly’s book Witness Onstage: Documentary theatre in twenty-first century Russia is forthcoming at Manchester University Press. See a full list of Molly’s publications here. From 2015 – 2016, Molly worked as a researcher on the AHRC funded project For Love or Money? Collaboration between amateur and professional theatre. Based in the Department of Drama, Theatre, and Dance at Royal Holloway, Molly’s work on the project explored the impact of the Royal Shakespeare Company’s Open Stages initiative. More recently she has begun a new research project on Ukraine’s first dedicated documentary theatre company, the Theatre of Displaced People. Molly is also a performer and maker of documentary theatre. From 2008 – 2011 she lived and worked in Moscow during which time she performed the role of Gerda in the Joseph Beuys Theatre documentary production, Legacy of Silence at Moscow’s Sakharov Centre. Since relocating to the UK, Molly has continued to work with many of Eastern Europe’s leading documentary theatre artists as a dramaturg, performer, and producer. Molly’s research has appeared in New Theatre Quarterly, Contemporary Theatre Review, RiDE: The Journal of Applied Theatre and Performance, Problems of Post-Communism, Open Democracy, and Calvert Journal.

On Theatre Making

Performers, writers, and theatre makers discuss making work about specific feelings.

3.15-4.45

Shame: Alinah Azadeh is an artist using performance, installation and digital media to create poetic and provocative narratives around identity, loss, and our personal and social relationships. She works mainly in the public realm and collaboratively.

Disgust: Lauren Barri Holstein is a performance artist whose work explores female representation, feminism and pop culture. Notorious, her most work for the Barbican in November, explored female monstrosity.

Envy: Rachel Mars is a performance maker borrowing from theatre, live art and comedy. Her work interrogates the cultural and social constructs that dictate our daily interactions. She is currently obsessed with envy, a return to narrative, and the double-act.

Grief: Dickie Beau is an artist and performer, who makes work that draws on diverse traditions including drag, theatre, cabaret, dance and mime – without being exclusive to one school’s rules. He merges contemporary culture with queer twists and informed echoes of the past.

Love: David Eldridge is a playwright and lecturer in Creative Writing at Birkbeck. His play Beginning recently premiered at the National Theatre.

Day 2, 15 December 2017 

10.00-10.50: Critical Attachments

Over-identification and attraction

My research looks at the co-development of queer British art and theory between 1987-1996, focusing on photography, film, and performance. While sadness and anger unavoidably come to the fore of research bracketed by the AIDS crisis, the “difficult feelings” I am most frequently confronted with are over-identification, and attraction to/affection for the artists I work on.

I don’t consider this unusual, but do wonder how to figure a project that is close to me temporally (30 years past), and emotionally (as a queer woman writing about queers). Sometimes the empathy generated by this proximity feels useful and necessary, others overbearing. Given recently revived propensities to embrace (and even perform) attraction and over-identification, I would find it useful to address these feelings in the context of work which necessitates some level of formality, in this case, the PhD.

My question is therefore how to navigate this line, how to foreground its inevitability within one’s methodology and writing, and how to generate breathing space around it. The scale of this question stretches from the small (ex. the desire to refer to artists with familiarity) to the large (ex. the feeling that one knows, and can speak for, someone not present).

As a way in, I want to consider the specific difficulty of researching sex and sexuality, particularly in artistic practices where these are investigated through the presence of physical bodies (filmed or live). This is illustrated by my complicated attachment to the politics of the lesbian sex wars, and debates therein around the ethics of lesbian erotica and pornography. Without insisting on an impossible distance, how do we navigate recognition and/or desire? How can these feelings hinder research (ex. creating shyness in interviews, prompting bias for one position over another), and should we seek to bracket or otherwise utilise them?

Flora Dunster is a second year PhD candidate at the University of Sussex, in Drama, Theatre and Performance studies. Her dissertation is provisionally titled “The Queer Subjunctive in English Art and Theory, 1987-1996.”

The ethics of focus

It would seem to be ethically good for research to focus on the minor, the understudied or the overlooked. That was how I expected to feel on starting a PhD project that attempts to read the afterlives of queer theory through its ‘late’ and ‘minor’ forms. As part of my research, I have focused on Eve Kosofsky Sedgwick’s ‘late style’, post a cancer diagnosis. In doing so, I have found myself assailed with ethical concerns and low but persistent levels of self-reproach: why focus on work composed at a time when the theorist experiences illness, rather than focus on when this theorist is in her ‘prime’; what am I afraid it will say about me personally if I choose to put my focus here? Why does a keen, sustained interest in the minor sometimes feel as though it were a kind of perversion and are there quite normative assumptions that underpin such fears? Moreover, if these late texts have an affective impact that is different from earlier works, can a reason be found for this difference that would not run into crass assertions that proximity to death gives access to a different way of knowing: insights from “the other side”. Is there ever a place for the “crass” in academic work, or does it by necessity block further investigation so that, when it rears its head, it can only be a sign to steer clear or broaden one’s scope and focus elsewhere?

Katherine Parker-Hay is a CHASE funded PhD candidate in English at University of Sussex. She has a Master’s degree in Women’s Studies from University of Oxford and an undergraduate degree in English from University of London. She is a peer reviewer for Excursions and the Reviews Editor of Encounters. She has also worked at the Feminist Library, AQA and as a freelance journalist and tutor.

11.00-11.50: Acting Emotional, Emotional Acting

The ethics of performative and emotional labour

My research examines the relationship between forms of performative and emotional labour in the service sector and the work of professional actors. It considers the historical convergence of particular performance modes, specifically in the Stanislavskian tradition, with the rise in business and management practices which place emphasis on ‘authenticity’ and ‘character’ in the workplace.

A primary emphasis of my research is the development of a methodology that combines performance analysis with ethnography. In workplaces where emotional labour is being employed, I will be analysing the ‘performances’ being enacted between workers and consumers. This approach raises difficult questions about research ethics, disciplinary boundaries, and the audience/performer relationship. These issues are further complicated by the fact that the subject of my research is precisely the feelings and emotions of these workers themselves.

For this workshop I will discuss my approach to some of these issues, and how I have attemped to draw up an ethical framework for the project despite the problems they raise.  I will consider how my prior knowledge about these business practices has effected my experiences as a consumer in these interactions, the relationship between my research subjects and I, and attempts to employ performance analysis in a non-theatrical environment. I will also talk about my experiences of being an audience member, on the receiving end of performative labour, in these interactions, the feelings that have been unearthed in that process and how these feelings then influence the research.

Jaswinder Blackwell-Pal is enrolled on the PhD Arts and Humanities at Birkbeck, with supervisors from both the theatre and geography departments of the university. Her research is interdisciplinary and combines methods from the arts and social sciences in order to bridge the gap between performance histories and their relevance to industrial changes. She is also a playwright whose work has been shown at venues including the Old Red Lion, Old Vic and RADA festival.

Relational trauma and actor learning

A focus of my research is the effects of relational trauma in mediating actor learning.  I am a certified Associate Teacher of Fitzmaurice Voicework, which is based in part on Reichian bodywork psychotherapy.  The premise of this work is that emotional histories are stored in our musculature. In order to release the full expressive potential of an actor’s voice, the work aims to dissolve habitual patterns of muscular armoring.  While not the goal of the work, an inevitable side effect is the release of often intense emotions.  If the teacher of Fitzmaurice Voicework avoids actors in the midst of a release, it can reinforce notions that such expression is unacceptable.  Conversely, a facilitator that can comfortably experience the release of such emotion, without succumbing to emotional contagion, can guide the actor through the release and facilitate a stepping out process.  Some actors fear that if they give reign to suppressed emotions they will ‘go crazy’. An effective trainer facilitates emotional resilience.

Roger Smart is a PhD student in the final stages of completing his dissertation in the Drama department at Goldsmiths.  His supervisor is Robert Gordon.

12.00-12.50:  Challenging Affects

Sex, shame and institutional critique

Institutional Critique (IC) today is dismissed for its perceived moralistic ‘high-handedness’ on the one hand, or in receipt of ‘delusional’ praise, on the other, as it is granted ‘unquestioning respect’ thanks to the purity of its ambition (Fraser, 2005). This is the assessment of Andrea Fraser, an artist near synonymous with the term, who has, in recent years, sought to redefine IC in recognition of the way ‘The Institution’ is in fact an immaterial category that encompasses her personally. The intimate self-examination Fraser performs is at odds, however, with the way critique, a style of ‘suspicious reading that blends interpretation with moral judgment’ (Felski, 2015), continues to dominate the way Fraser’s work is discussed. My thesis – working title ‘ICky Feelings: Andrea Fraser’s Institutional Critique, 2001-2012’ – argues that the task critique is charged with, ‘to interrogate, unmask, expose, subvert, unravel’ (Felski, 2015), is incompatible with Fraser’s formulation of IC as a defence of the institution of art, one ultimately inspired by love.

I would like to discuss Andrea Fraser’s Untitled, 2003 (DVD rt: 60 minutes), a videotape of Fraser and an anonymous art collector having sex in a hotel room. My research has revealed how existing literature on Untitled is split between the sensationalism of accounts found in mainstream newspapers’ arts coverage regarding the work’s sexual content, and, on the other hand, discussions found in the dedicated art press restricted to reading the work via the artist-as-prostitute metaphor, which elide any first-hand account of the work as an art object. I am interested, therefore, in exploring how to marry theoretical work, like Jennifer Doyle’s research on the ‘rhetoric of prostitution’, as it appears in arts criticism, with an aesthetic reading of the work that does not shy away from Untitled’s overtly sexual content.

Moreover, Fraser has spoken about the subsequent ‘shame’ she developed in relation to the piece; a shame that ‘had much less to do with the sexual exposure’ the work entailed, than with the ‘shame of being cheap’ within the economy of the commercial art market: many early accounts of the piece were largely concerned to find out how much the collector paid to participate in the work. I am interested, therefore, in thinking about how to ‘find the right words’ to give an account of Untitled as an aesthetic experience, while acknowledging my responsibilities as a researcher working with such intimate material, the reception of which the artist has described as ‘extraordinarily painful’ to witness.

Rebecca Sykes is an AHRC funded Arts and Humanities PhD student at Birkbeck College. Her principal supervisor is Ben Cranfield (now RCA); her secondary supervisor is Andrew Asibong (Film and Media).

Disrupted and difficult affect

In my PhD project I examine contemporary UK- based theatre performance the subject of which is mental illness, explicitly or implicitly. During the first year of my PhD I discovered that reading performance on the basis of performativity and – primarily- difficult affect helps my analysis significantly in terms of my project-wide questions. I have established a focus on five artists or companies and six case studies (case studies being the performances rather than the performance artists). These are: James Leadbitter’s (or the vacuum cleaner) mental (2013) and The Assessment (2014), Bobby Baker’s Drawing on a (Grand) Mother’s Experience (2015), Theatre Temoin’s Nobody’s Home (2015) and Bryony Kimming’s (and Tim Grayburn’s) Fake it ‘til you Make it (2015) and Kim Noble’s You’re not Alone (2014). Difficult feelings for the artist and the audience are at the epicentre of most of these performances, however, in this particular presentation I will examine a number of unidentified, negative, affective audience experiences such as confusion, distress and awkwardness, alongside stronger and clearer negative reactions, such as aversion and disgust as they present in Noble’s performance You’re not alone. My focus lies in the, often, disrupted and disruptive process of affect transmission that keeps spectators constantly on their toes, coerced into a perpetual state of uncertainty, attempting to establish answers both for the artist and themselves. In this presentation I will focus on the productive potential that the transmission of such affect has between audience and artist when taking place in a state of intimate distance; a space where artist and spectator have formed a relationship, whereby the affective exchange does not obliterate the will and presence of either side. I argue that it is during this disrupted exchange found only in negative states, that both artist and spectator turn difficulty into a productive experience.

Maria Patsou lives, studies and works in London. She is a PhD student at Birkbeck, University of London, undertaking a project that examines contemporary UK performance work on mental illness under the concepts of affect and performativity. She has a professional and academic background in acting and in psychology that spans over fifteen years and has worked in arts and health for the past six years both in clinical settings and in research. Recently, she worked as a senior research assistant in clinical psychology for the NHS and as research assistant for the National Alliance for Museums, Health and Wellbeing at UCL. Her academic interests lie in medical humanities, health inequalities and using research methodology innovatively to examine interdisciplinary fields.

1.00-2.00: Lunch

2.00-3.30: Mindful Biography

Poetry, romanticism and mental health

This project focuses on the relationship between mental health and the environment in writing of the Romantic Period. Specifically, it examines the lives and works of three poets – William Cowper, Charlotte Smith, and John Clare – all of whom used the natural world as a resource for alleviating emotional trauma. The project is particularly concerned with moments in which the natural world fails to console the sufferer, and probes these moments in order to conceptualise the conditions for a successful therapeutic relationship with the natural world.

Whilst my chosen poets are dealing explicitly with the difficult feelings of melancholy and depression, it is a secondary aspect of these feelings which I wish to explore through the workshop. This project is predicated upon my personal experience of depression and the range of contemporary therapeutic practices known as ‘ecotherapy’. These practices have been underexplored as aesthetic experiences which are heavily reliant upon the viewer/patient’s sensibility to the natural world. As such, I wish to explore how the medicalisation of what were understood in the Eighteenth Century as aesthetic pursuits – namely walking, writing and painting – breeds a form of anticipation which can actually have the opposite effect to the intended one of emotional alleviation. In my personal experience, apprehension of the natural world as simultaneous art- and therapeutic-object creates a feeling of expectation which can easily be negated into disappointment, frustration, confusion, and melancholy. Through this workshop, therefore, I wish to develop a methodology for applying my affective experience of environmental aesthetics to a conceptualisation of the natural world in the Romantic Period as a site of failed consolation.

Matthew McConkey was born in Northern Ireland and educated at Pembroke College, Cambridge. He moved to the University of Sussex in 2015 to study for an MA in Literature, Culture and Theory, for which he wrote his dissertation on environmental aesthetics in the works of John Clare and George Eliot. In 2017 he began an AHRC-funded PhD in the School of English at the University of Sussex, focusing on the relationship between mental health and the environment in writing of the Romantic Period.

What is the author? Navigating biography and historicism in researching Sarah Kane

This contribution will discuss issues surrounding biography and authorship which I have encountered whilst researching Sarah Kane’s theatre in relation to discourses surrounding mental illness and psychiatry. It raises questions about authorial intention; how to locate the figure of the author when using historical materialist methods; and using biographical detail in constructing a critical argument. It also addresses issues surrounding the ethics of using presentations of mental life and subjectivity in political arguments, for which they may not have been intended. Finally it asks whether it is possible or even desirable to set aside the ‘ghost’ of the author when they are as well-known and polemical as Kane.

Leah Sidi is completing a PhD in the Department of English and Humanities at Birkbeck on Sarah Kane.

Staging a mad archive using methodologies of affect

My PhD uses a British Library archive of women’s mental health testimonies alongside amateur film archives and my own archive of images, sound and video. In this workshop I want to address the difficulty of making audio-visual work from painful archives, both institutional and personal, and the feelings of depression, anxiety and stuck-ness that I have experienced throughout the practice process. I wish to think through ways to address these feelings and affects in my writing.

My work asks questions about how theories of transgenerational haunting can be used to open up institutional silences, and how audio-visual practices can create affective encounters. Working with theories of haunting and affect that often foreground the pre-personal and unspoken, alongside hours of deeply personal, often traumatic oral testimony, I have found myself blocked; at times uncertain about the ethics of editing testimonial voices and yet certain of the need to find a way to bring these stories out of the archive to encounter other stories and find new ways of speaking.  Here I hope to find an opportunity to think through these difficulties, using the language of affect in ways that enable me to acknowledge working with difficult feelings.

Amanda McDowell is a CHASE funded Fine Art PhD student at the University of Kent.  Her research by practice explores women’s experiences of psychiatric care in the UK from the 1960s to the present using theories of transgenerational haunting.  Amanda’s academic background is in Social Anthropology and Screen Documentary. Her Masters film, Mum, Me and Mania, was nominated for a Royal Television Society Award in 2009. She has spent much of the last 15 years working in the voluntary sector, particularly with refugees and prisoners, as well as associate teaching in Goldsmiths Media & Communications Department.

3.45-5.00: Keynote

Em & Them: Gender, Grief and Pedagogy

In this lecture, Jennifer Doyle meditates on those forms of loss which are difficult to memorialize within institutional contexts like a university. This lecture also addresses generational difference in the classroom — most specifically, the transformation of the campus sexual community led by genderqueer and trans students. It is a personal reflection on queer theory, pedagogical limits as well the forms of connection which develop between students and teachers. This lecture is part of a new book project, tentatively titled Queer Theory and the Scene of Friendship.

 Jennifer Doyle is the author of Campus Sex/Campus Security (2015), Hold It Against Me: Difficulty and Emotion in Contemporary Art (2013) and Sex Objects: Art and the Dialectic of Desire (2006). She is professor of English at the University of California, Riverside. She guest curated the performance series “Tip of Her Tongue” for The Broad Museum, guest curated Nao Bustamante: Soldadera for the Vincent Price Museum in East Los Angeles. She was the 2013-2014 Fulbright Distinguished Chair at the center for Transnational Research in Art Identity and Nation at the University of the Arts, London and is the recipient of an Arts Writers Grant (both in support of a forthcoming book on art and sport).

To attend this workshop register here

To download the schedule in pdf form please click here

Please note:

  • Lunch and morning and afternoon tea and coffee will be provided both days.
  • Presentations on Day 1 and the keynote on Day 2 will be recorded for dissemination.

 

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