Professor of Art
Office Hours (Spring 2016):
Thursday from 2:00–3:30 pm
M.A. University of Rochester, Visual and Cultural Studies (1996)
Ph.D. University of Rochester, Visual and Cultural Studies (2002)
Areas of Expertise
Latina/o visual culture
Public art, Performance art, Conceptual art
Art and urban space
Art collectives and collaborative art projects
Avant-garde cinema, independent media, film theory
Warhol films and superstars
History of Punk
LATS 203 / ARTH 203 / WGSS 203 / AMST 205 LECChicana/o/x Film and Video (not offered 2021/22)
ARTH 265 / AMST 265 LECPop Art (not offered 2021/22)
ARTH 305 SEMQueer Art, Queer Archives (not offered 2021/22)
ARTH 310 / WGSS 312 / AMST 333 SEMAn American Family and "Reality" Television (not offered 2021/22)
LATS 358 / ARTH 358 SEMLatinx Installation and Site-Specific Art (not offered 2021/22)
ARTH 440 / LATS 440 SEMContemporary Exhibitions: Los Angeles and Latin America (not offered 2021/22)
ARTH 462 / AMST 462 / LATS 462 / ARTH 562 SEMArt of California: Pacific Standard Time (not offered 2021/22)
“Michel Auder: Chronicles and Other Scenes,” Reprint Afterimage cover feature v.32, n. 4, pp. 4–7; 12. January 2005.
“Customized Hybrids: The Art of Rubén Ortiz Torres and Lowriding in Southern California,” CR: The New Centennial Review, v. 4, n. 2, pp. 141–184. 2004.
“Social Unwest: An Interview with Harry Gamboa, Jr.” Wide Angle: A Quarterly Journal of Film History, Theory, Criticism, and Practice. Special issue on “Cityscapes II: Los Angeles,” Eds. Clark Arnwine and Jesse Lerner. Ohio University School of Film/John Hopkins University Press. v. 20, n. 3, pp. 54–78. July 1998.
Pseudographic Cinema: Asco’s No-Movies,” Performance Research. Special issue, “On America,” Ed. Nick Kaye. Routledge. v. 3, n. 1, pp. 1–14. 1998.
“Images of Advocacy: An Interview with Chon Noriega,” Afterimage, v. 21, n. 10, pp. 5–9. May 1994.
Anthologies and Collections:
The 1980s: A Virtual Discussion, edited by Maurice Berger. Issues in Cultural Theory, Center for Art and Visual Culture. Georgia O’Keeffe Museum Research Center and the Center for Arts and Visual Culture, University of Maryland. Fall 2007.
“Collaborative Public Art and Multi-Media Installation: David Avalos, Louis Hock, and Elizabeth Sisco’s Welcome to America’s Finest Tourist Plantation (1988),” Reprint in Chicana/o Cultural Studies Reader. Ed. Angie Chabrám-Dernersesian. Routledge. pp. 136–149. 2006.
“Malcriada: Delilah Montoya, Photographer,” Women Boxers: The New Warriors, Photographs by Delilah Montoya. University of Houston, Arte Público Press. pp. 90–93. 2006.
“Internal Exiles: The Interventionist Public and Performance Art of Asco,” Space, Site, and Intervention: Situating Installation Art. Ed. Erika Suderburg. University of Minnesota Press. pp. 189–208. 2000.
“Mildred Tolbert: A Biographical Sketch,” Patrocino Barela. Owings-Dewey Fine Art, Santa Fe, New Mexico. p. 71. 2006.
“Rétropsective: Michel Auder,” Abridged translation of “Michel Auder: Chronicles and Other Scenes,” 11th Biennale de l’image en Mouvement, Centre pour l’image Contemporaine, Saint-Gervais Genève, Switzerland. French translation, pp. 12–20; English, pp. 21–25. 2005.
Interviews with Krzysztof Wodiczko, Lucy Orta, William Pope.L, e-Xplo, Rubén Ortiz Torres, Alex Villar, Institute for Applied Autonomy, The Surveillance Camera Players, Valerie Tevere, The Yes Men, Critical Art Ensemble, and subRosa. The Interventionists: Users’ Manual for the Creative Destruction of Everyday Life. Eds. Nato Thompson and Gregory Sholette. MASS MoCA & MIT Press. 2004.
“No Movies: The Art of False Documents,” Only Skin Deep: Changing Visions of the American Self. Eds. Coco Fusco and Brian Wallis. Abrams/ICP. pp. 199–203. 2003.
“Christina Fernandez,” Aztlán Hoy: La Posnación Chicana/Aztlán Today: The Chicano Postnation. Madrid, Spain: Consejeria de Cultura, Sala de Exposiciones del Canal de Isabel II and Bronx Museum of Art. Spanish translation, pp. 62-63, English, pp. 137–138. 2000.
“Rubén Ortiz Torres: Style Politics and Hydraulic Hijinck,” Customized: Art Inspired by Hotrods, Lowriders and American Car Culture. Ed. Nora Donnelly. Abrams/ICA Boston. pp. 43–47. 2000.
Recent Curatorial Projects:
Williams College Museum of Art
Asco: Elite of the Obscure, A Retrospective, 1972–1987 Co-organized by Rita Gonzalez and C. Ondine Chavoya. A Los Angeles County Museum of Art and Williams College Museum of Art collaboration. On view at Los Angeles County Museum of Art, Broad Contemporary Gallery, September 4–December 4, 2011, at Williams College Museum of Art, February 4–July 29, 2012, and at Museo Universitario de Arte Contemporáneo (MUAC), University Museum of Contemporary Art at the National Autonomous University of Mexico (UNAM), Mexico City, March 21–July 28, 2013.
Bonnie Barret Stretch, “Interview: C. Ondine Chavoya,” Art New England Online. May 2012
Michel Auder: Chronicles and Other Scenes Co-organized with Lisa Dorin, MediaFields Gallery. February–May 2004
Pop Art from the Permanent Collection – August 2003–February 2004