Concise, critical reviews of books, exhibitions, and projects in all areas and periods of art history and visual studies

Performance Studies
Dissertations in Progress by Subject, 2011

Show completed dissertations

Albu, Cristina, “Mirror Affect: Interpersonal Spectatorship in Installation Art since the 1960s” (Pittsburgh, T. Smith)

Askren-Dangeli, Mique’l, “‘Dancing on Tears’: Northwest Coast First Nations Dance and Performative Practices” (University of British Columbia, C. Townsend-Gault)

Dees, Janet, “The Evidence of Things Not Seen: Performance Art as Art History” (Delaware, A. Gibson)

Hanas, Erin, “Experimental Aesthetics, and Artistic Interventions: Wolf Vostell’s Fluxus Zug” (Duke, K. Stiles)

Harnett, Gerald, “Recorded Objects and Couterauras: Art, Technical Reproducibility, Cybernetics, 1952–1962 (Stony Brook University, A. Uroskie)

Kalinsky, Yelena, “Collective Actions: Moscow Conceptualism, Performance, and the Archive, 1976–1989” (Rutgers, J. Sharp)

Lacis, Indra, “Marina Abramovic and Shirin Neshat: Collaboration, Performance, and the Executive Female Artist” (Case Western Reserve, E. Landau)

Maydanchik, Michelle, “Creative Disruption: Performance Art in Post-Soviet Moscow” (Chicago, M. Jackson)

Ming, Leta, “Making and Unmaking the Museum: Tom Marioni and the San Francisco Museum of Conceptual Art, 1968–1979” (USC, R. Meyer)

Myers, Cerise, “The Visible Posthuman: Envisioning Agency for the Cybernetic Self in Digital Culture” (Minnesota, J. Blocker)

Oh, Gyung Eun, “Music and Time: Relation of Nam June Paik’s Early Works to Video Art” (Rutgers, A. Zervigón)

Pezolet, Nicola, “Spectacles Plastiques: Reconstruction and the Debates on the ‘Synthesis of the Arts’ in France, 1944–1962” (MIT, C. Jones)

Stanek, Damon, “Seeing the Light: A History of the Projected Image in the Gallery (1963–Present)” (CUNY, C. Bishop)

Weil, Harry, “To Live Again: The Possibilities of Reperformance in 20th-Century Arts” (Stony Brook University, Z. Patterson)

Westerman, Jonah, “Standard Deviations: Reality, Reproducibility, and Politics in Performance Art since 1989” (CUNY, C. Bishop)