Dr Dominic Johnson, BA (Warw) MA PhD (Lon) FHEA
Reader in Performance and Visual Culture
I joined the Department of Drama at Queen Mary as a Lecturer in 2006. My first publications were a number of edited books on performance artists, and my first authored monograph – Glorious Catastrophe: Jack Smith, Performance and Visual Culture – was published by Manchester University Press in 2012. Revised from my doctoral thesis, Glorious Catastrophe offered a critical analysis of Jack Smith’s iconic yet marginal work, across performance, experimental film and writing, from the early 1960s until the artist’s AIDS-related death in 1989.
In the 2016-17 academic year I will be teaching on:
- DRA118: Performance Texts in Practice
- DRA224: Performance and Visual Culture
- DRA260: London/Archives/Resources
- DRA345: Culture Wars
And for MA:
- Performance art and live art in the UK and US since 1960;
- Performance in - and as - visual culture;
- Art and controversy; and art and negative emotions
- Oral histories of performance; and interviewing as a research method
- Subcultural aesthetics
Recent and On-Going Research:
My research is generally artist-focused, and is always concerned with the cultural politics and historiography of experimental and/or marginal cultural practices, including (but not limited to) contemporary performance. I am currently working on an authored book-length study of the performance of extremity (under contract with Manchester University Press). My most recent publication is an edited book on the late Adrian Howells — It’s All Allowed: The Performance Work of Adrian Howells (with Deirdre Heddon) was published in 2016. I also recently published an oral history of performance art, constituted by 12 long interviews with iconic artists working at the vital limits of performance, including Genesis Breyer P-Orridge, the Kipper Kids, Anne Bean, Ulay, Sheree Rose, and Ann Magnuson.
In 2014 I was awarded the TaPRA Early Career Research Award, an annual research prize from the Theatre and Performance Research Association (UK). In 2014, I was also awarded a Fellowship (Early Career scheme) from the Arts and Humanities Research Council, to work on a new research project for 24 months from September 2014.
I was the Global Visiting Scholar in the Center for the Study of Gender and Sexuality (with Department of Performance Studies), New York University (NYU), New York (January to April 2016); and Scholar in Residence and AHRC Honorary Visiting Fellow in the Department of English and QueerLab Research Center, University of California Riverside, (January to March 2015).
I regularly publish and present research on live art in the UK. I was guest-editor of a special issue of Contemporary Theatre Review on ‘Live Art in the UK’ (2012), which includes articles on major figures in the field, interviews, and artists’ pages; it was recently republished in an revised and expanded version as Critical Live Art: Contemporary Histories of Performance in the UK (2013), with a new foreword by Carolee Schneemann. I have also published three edited books on major individual artists: Franko B (2006), Manuel Vason (2007), and Ron Athey (2013).
I have published extensively on aspects of visual culture, including: essays on and interviews with artists; contributions to exhibition catalogues and artists’ books; and a short book, Theatre & the Visual (2012), which explores the contingency of visual experience in historical and contemporary theatre and performance.
My research has been funded by Arts and Humanities Research Council (AHRC), Terra Foundation for American Art, and Arts Council England.
I am a founder member of the Sexual Cultures Research Group in the School of English and Drama, which actively fosters and develops cross-disciplinary conversations about methodologies, cultures, texts and objects and research outputs related to sexuality, sexuality, gender, identity, and both intimate and public cultures.
- The Art of Living: An Oral History of Performance Art (Basingstoke and New York: Palgrave Macmillan 2015).
- Glorious Catastrophe: Jack Smith, Performance and Visual Culture, Series: Rethinking Art’s Histories (Manchester and New York: Manchester University Press, 2012).
- Theatre & the Visual, with a foreword by Del LaGrace Volcano, Series: Theatre& (Basingstoke and New York: Palgrave Macmillan, 2012).
- (Editor — with Deirdre Heddon), It’s All Allowed: The Performances of Adrian Howells (Series: Intellect Live) Bristol and London: Intellect and Live Art Development Agency, 2016).
- (Editor), Pleading in the Blood: The Art and Performances of Ron Athey, Foreword by Antony Hegarty (Bristol and London: Intellect and Live Art Development Agency, 2013).
- (Editor), Critical Live Art: Contemporary Histories of Performance in the UK, Foreword by Carolee Schneemann (London and New York: Routledge, 2013).
- (Editor), Manuel Vason: Encounters – Performance, Photography, Collaboration (Bristol: Arnolfini, 2007).
- (Editor), Franko B: Blinded by Love (Bologna: Damiani, 2006).
- (with Maria M. Delgado, Aoife Monks, and Lara Shalson), Contemporary Theatre Review, Special issue: Alphabet: A Lexicon of Theatre and Performance, 23.1 (2013)
- Contemporary Theatre Review, Special Issue: Live Art in the UK, 22.1 (2012).
Selected Chapters in Peer-Reviewed Books
- ‘Transition Pieces: The Photography of Del LaGrace Volcano’, in Otherwise: Imagining Queer Feminist Art Histories, ed. by Amelia Jones and Erin Silver, Manchester and New York: Manchester University Press, pp. 340-55.
- ‘Intimacy and Risk in Live Art’, in Histories and Practices of Live Art in the UK, ed. by Dee Heddon and Jennie Klein (Houndsmills and New York: Palgrave Macmillan, 2012), pp. 122-48.
- ‘Ecstatic Intervals: Performance in a Continuum of Intimacy’, in Intimacy: Across Visceral and Digital Performance, ed. by Maria Chatzichristodoulou and Rachel Zerihan (Houndsmills and New York: Palgrave Macmillan, 2012), pp. 89-101.
- ‘Psychic Weight: The Pains and Pleasures of Performance’, in ORLAN: A Hybrid Body of Artworks, ed. by Simon Donger with Simon Shepherd and ORLAN (Abingdon and New York: Routledge, 2010), pp. 84-99.
Selected Peer-Reviewed Articles in Journals
- ‘Modern Death: Jack Smith, Paul Thek, Fred Herko’, in Criticism: A Quarterly for Literature and the Arts 56.2 (2014): Special Issue: Jack Smith, pp. 211-234.
- ‘Introduction: The What, Where and When of Live Art’, in Contemporary Theatre Review, Special Issue: Live Art in the UK, 22.1 (2012), pp. 1-16.
- ‘Ron Athey’s Visions of Excess: Performance After Georges Bataille’, in Papers of Surrealism: The Journal of the Centre for Studies of Surrealism and its Legacies 8 (2010), pp. 1-12.
- ‘Jack Smith’s Rehearsals For the Destruction of Atlantis: Exotic Ritual and Apocalyptic Tone’, in Contemporary Theatre Review 19.2 (2009), pp. 164-80.
- ‘The Wound Kept Open: Jack Smith, Queer Performance and Cultural Failure’, in Women and Performance 16.4 (2007), pp. 3-18.
Selected Interviews in Journals and Books
- ‘“Personality Crisis? Honey, I was Born with One”: Lydia Lunch Interviewed’, in Post Punk: Then and Now, ed. by Gavin Butt, Kodwo Eshun and Mark Fisher, London: Repeater Books, pp. 25-56.
- ‘The Subtle Aggressors: An Interview with Julia Bardsley and Simon Vincenzi’, in Return, Rewrite, Revisit: Theatre and Adaptation, ed. by Margherita Laera (London: Methuen, 2014).
- ‘The Kindness of Strangers: An Interview with Adrian Howells’, in Performing Ethos: An International Journal of Ethics in Theatre and Performance, 3.2 (2014): Special Issue: One-on-One Encounters: Desire, Reciprocity and Ethics, pp. 173-90.
- ‘Carrying Her Liver in a Shopping Cart (And Other Bohemian Notions): An Interview with Bruce Benderson’, in Social Text 114, 31.1 (2013), pp. 107-25.
- ‘Positive Surrender: An Interview with Breyer P-Orridge’, in Contemporary Theatre Review, Special Issue: Live Art in the UK, 22.1 (2012), pp. 134-45.
- ‘The Skin of the Theatre: An Interview with Julia Bardsley’ in Contemporary Theatre Review 20.3 (2010), pp. 340-52.
- ‘Perverse Martyrologies: An Interview with Ron Athey’ in Contemporary Theatre Review 18.4 (2008), pp. 503-13.
I welcome applications from prospective research students, especially those interested in histories and theories of live art and performance art; LGBT and queer cultures; and relations between performance and visual art. Prospective students with an investment in practice-based research are also welcome to apply.
I have recently supervised the following successful projects:
- Eleanor Roberts, ‘The Third Space: A Feminist Reading of Performance Art at the ICA, London, 1968-1980’ (2016)
- Lauren Barri Holstein, ‘‘The Agency of The Displayed Female Body: The Political Potential of Negative Affects in Contemporary Feminism and Performance’ (2016)
- Daniel Oliver, ‘The Social Turn: Engagement and Efficiency in Contemporary Performance’ (2016)
- Harriet Curtis, ‘Blood and Ketchup: Documents, institutions and Effects in the Performances of Paul McCarthy 1974-2013' (2014)
- Saini Manninen, 'Duration Materialised: Investigating Contemporary Performance as a Temporal Medium', co-supervised with Nicholas Ridout (2014)
- Helena Walsh, 'Irish Femininity and the Live Body: Between Rebellion and Conformity, Negation and Reproduction' (2013), co-supervised with Caoimhe McAvinchey
- Eirini Kartsaki, 'Repeat Repeat: Repetition in Performance' co-supervised with Nicholas Ridout (2010)
With Maria M. Delgado and Maggie B. Gale, I am an Editor of Contemporary Theatre Review, a peer-reviewed quarterly journal of theatre and performance studies. I currently serve on the Board of Directors of the Live Art Development Agency (LADA: a National Portfolio Organisation of Arts Council England). With LADA, I co-edit ‘Intellect Live’, a series of books on artists working at the thresholds of performance, which has so far published monographs on the work of Raimund Hoghe, Raimund Hoghe, Lois Weaver, and Adrian Howells (the series is co-published by LADA and Intellect Books).
I have curated several large-scale public events, including: a one-day symposium called Unlimited Action: Limits of Performance at Whitechapel Gallery, with Ulay, Anne Bean, and Nigel Rolfe; a series of artists’ residencies and a symposium on performance and politics in the 1970s, also at Whitechapel Gallery (with Nicholas Ridout, in collaboration with Acme Studios, Live Art development Agency, and Matts Gallery, 2015); an 18-month festival of performance art at QMUL (with Lois Weaver, 2010), and a retrospective of and symposium on the films of Jack Smith at the Institute of Contemporary Arts (with Matt Williams and LUX, ICA, 2011).
I have presented solo and collaborative performances both nationally and internationally. My performance solo Transmission was presented more than twenty times between 2007 and 2011, at festivals including Fierce (Birmingham), National Review of Live Art (Glasgow), Queer Zagreb (Croatia), Visions of Excess at SPILL Festival (London), International Festival of Performance (Copenhagen), Commitment Issues (Toronto) and as part of Gay Icons at the National Portrait Gallery (London). I collaborated on two performances with Ron Athey: Incorruptible Flesh (Perpetual Wound) was co-commissioned by Chelsea Theatre (London) and Fierce (Birmingham) and presented at both festivals in 2006 and 2007; a subsequent piece, Self-Obliteration Double Bill, was performed at Souterrain Porte IV: Monstres (Maxéville), 2007) and Donaufestival (Krems, 2008). I have also performed extensively in clubs, including at Duckie (2008, 2009) and Torture Garden (London, 2007; Rome, 2008; Maxéville, 2009; and Edinburgh, 2010). My most recent practice-based research project was a series of performances involving live tattooing, which was funded by a Grant for the Arts from Arts Council England, and toured nationally in 2011-12.