Robert Summers
Since 2003
Works in Los Angeles, California United States of America

BIO
Robert Summers is working on a manuscript tentatively tilted “Queer Visual Tactics: Aesthetics, Politics, Ethics,” which is being supported by the generous grants from the University of California Humanities Research Institute's California Studies Initiative and UCLA's Center for the Study of Women.
Recently he chaired a panel, “Intersectional Queer Visualities,” at annual AAH conference in the UK, and he will be co-chairing a panel on "Queer Relationality" at the annual CAA conference in the US.
Summers has presented papers on live art and queer and feminist visualities. He has presented papers on panels and has chaired panels nationally and internationally.
Summers is a faculty member at Otis College of Art -- where he teaches modern, contemporary, visual culture, performance and body, and video art.
Discussions (0) Opportunities (6) Events (7) Jobs (0)
OPPORTUNITY

How Is 'Queer' Art Relational?


Deadline:
Mon Jun 01, 2009 00:00

QCA: Lunch Time Panel Proposal
Chairs: Virginia Solomon and Robert Summers

How is “Queer” Art Relational?

Ever since Nicolas Bourriaud’s 1998 text Relational Aesthetics, many art historians, critics and artists have been theorizing about and/or making art as a relationality, as community- and as world- making. But is “queer” art (however construed) engaged in the Bourriaudean notion of “relational aesthetics”? Or is it engaged in a slightly different style or form of relationality, with a different understanding of what constitutes the political, within both art and the relational? If Bourriaud is interested in the art of Liam Gillick, Rirkrit Tiravanija, Carsten Höller and others, then what of art and artists who work outside of this mainstream “art world”? How do “queer” practices and tactics—such as those enacted by LTTR, Ridykeulous, Ryan Trecartin, Ron Athey, General Idea, Ray Johnson, Jack Smith and others—enact a different version of so-called “relational aesthetics”? Or, indeed, those who refuse the “art world” yet make “art” nonetheless—for example, the “art” of the cruise, the glance, the political action? How does “queer” (art)work enact an aesthetics of the relational that is critical of normativity in all of its forms? Who is left out of the framework of so-called “relational art” and its attendant history? Indeed, how are we to think relationality and aesthetics (the writing, the research and the art) “queerly”?

In seeking short papers that address some or all of the questions above, this panel aims to be inclusive of not only artists, art historians and critics, but also established and emerging scholars and practitioners in performance studies, theater, film, philosophy, sociology and other fields. Presenters must be or become dues paying members of the Queer Caucus of art by CAA.

Please send a 250 word abstract with a one-page CV to both Virginia Solomon and Robert Summers by June 1; accepted papers will be notified no later than June 15.
Virginia Solomon - virginia.solomon@gmail.com
Robert Summers - robtsum@gmail.com


EVENT

Distributed Gallery Bodies-Cities


Dates:
Mon Feb 23, 2009 00:00 - Thu Feb 12, 2009

Art historian Robert Summers has curated an exhibition for Telic's Distributed gallery entitled "Bodies-Cities".

The video exhibition is (literally) distributed throughout Chung King Road in Los Angeles' China Town. The Exhibition reckons with the interlacing of bodies and cities, and it visually explores how the embodied self, or "body/self", both does and undoes the city -- as well as how the city does and undoes the body.

A catalogue will be made available, in which a discussion of bodies-cites is discussed between the artists, critical theorists, and Robert Summers.

For more information on Telic's Distributed Gallery see http://dg.telic.info/?a=robert_summers


OPPORTUNITY

Intersectional Queer Visualities: Call for Papers


Deadline:
Mon Nov 10, 2008 00:00

Location:
United Kingdom of Great Britain and Northern Ireland

CFP: Association of Art Historians 2009 Conference: Intersections
http://www.aah.org.uk/future-conferences/index.php
http://www.miriad.mmu.ac.uk/aah09/session.php?id=9

Panel: Intersectional Queer Visualities

Michael du Plessis, University of Southern California
duplessi@usc.edu

Robert Summers, University of California, Los Angeles
robtsum@ucla.edu

This session will highlight different articulations of art-historical understandings of subject/object relations, theory, and visuality as those terms themselves have been transformed through an intersection with “queer.” We wish to trace passages to critical thinkers (e.g., Derrida, Cixous, Deleuze, Rancière, Nancy, Agamben, Ettinger, among others) and the modalities of their projects—and to ask what “queer” practices can, or have, emerge from such critical and creative crossovers into art history? How have theories on, and around, the visual by these critical thinkers working outside of art history been “queered” and put to work in the practice of “(un-)doing” art history—which is to ask how has the discipline of art history become un-disciplined, “queered”? Furthermore, how is “queer” in theory and visuality thought differently when further intersected with post-colonial theories and/or feminisms? Indeed, how has “queer” been (re-) opened to issues such as race, ethnicity, the nation-state, and sexual difference? How have these multiple intersections with “queer” and/in art history transformed it? Do such multiple crossings, thinkings, and doings by way of creative connections and intersections radically change the project and trajectory of art history as a discipline—if only in some of its modes and movements? If so, then what are the ramifications for the future/s of art history and its institutions? These are some of the questions that we want to explore in this session.

Deadline for proposals: 10 November, 2008


OPPORTUNITY

Panel:


Deadline:
Mon Nov 10, 2008 00:00

Location:
United Kingdom of Great Britain and Northern Ireland

CFP: Association of Art Historians 2009 Conference: Intersections

Panel: Intersectional Queer Visualities

Michael du Plessis, University of Southern California
duplessi@usc.edu

Robert Summers, University of California, Los Angeles
robtsum@ucla.edu

This session will highlight different articulations of art-historical understandings of subject/object relations, theory, and visuality as those terms themselves have been transformed through an intersection with “queer.” We wish to trace passages to critical thinkers (e.g., Derrida, Cixous, Deleuze, Rancière, Nancy, Agamben, Ettinger, among others) and the modalities of their projects—and to ask what “queer” practices can, or have, emerge from such critical and creative crossovers into art history? How have theories on, and around, the visual by these critical thinkers working outside of art history been “queered” and put to work in the practice of “(un-)doing” art history—which is to ask how has the discipline of art history become un-disciplined, “queered”? Furthermore, how is “queer” in theory and visuality thought differently when further intersected with post-colonial theories and/or feminisms? Indeed, how has “queer” been (re-) opened to issues such as race, ethnicity, the nation-state, and sexual difference? How have these multiple intersections with “queer” and/in art history transformed it? Do such multiple crossings, thinkings, and doings by way of creative connections and intersections radically change the project and trajectory of art history as a discipline—if only in some of its modes and movements? If so, then what are the ramifications for the future/s of art history and its institutions? These are some of the questions that we want to explore in this session.

Deadline for proposals: 10 November, 2008


OPPORTUNITY

Intersectional Queer Visualities: Call for Papers


Deadline:
Mon Nov 10, 2008 00:00

Location:
United Kingdom of Great Britain and Northern Ireland

CFP: AAH 2009 Intersections Conference
http://www.aah.org.uk/future-conferences/index.php
http://www.miriad.mmu.ac.uk/aah09/session.php?id=9

Panel: Intersectional Queer Visualities

Michael du Plessis, University of Southern California
duplessi@usc.edu

Robert Summers, University of California, Los Angeles
robtsum@ucla.edu

This session will highlight different articulations of art-historical understandings of subject/object relations, theory, and visuality as those terms themselves have been transformed through an intersection with “queer.” We wish to trace passages to critical thinkers (e.g., Derrida, Cixous, Deleuze, Rancière, Nancy, Agamben, Ettinger, among others) and the modalities of their projects—and to ask what “queer” practices can, or have, emerge from such critical and creative crossovers into art history? How have theories on, and around, the visual by these critical thinkers working outside of art history been “queered” and put to work in the practice of “(un-)doing” art history—which is to ask how has the discipline of art history become un-disciplined, “queered”? Furthermore, how is “queer” in theory and visuality thought differently when further intersected with post-colonial theories and/or feminisms? Indeed, how has “queer” been (re-) opened to issues such as race, ethnicity, the nation-state, and sexual difference? How have these multiple intersections with “queer” and/in art history transformed it? Do such multiple crossings, thinkings, and doings by way of creative connections and intersections radically change the project and trajectory of art history as a discipline—if only in some of its modes and movements? If so, then what are the ramifications for the future/s of art history and its institutions? These are some of the questions that we want to explore in this session.

Deadline for proposals: 10 November, 2008