Amy Sara Carroll.

Amy Sara Carroll, PhD

University of Michigan Faculty
Department of American Culture (AC), Latina/o Studies (LS)
Department of English Language & Literature

Undocumentation

Lecture on Thursday, May 15th, 2014, 5-7PM

Work/Life

Poetry Reading on Friday, May 16th, 2014, 1-2PM

UC San Diego Structural and Materials Engineering Bldg (SME) #149
9500 Gilman Dr, La Jolla, California 92093

The UC San Diego Visual Arts Department Discursive and Curatorial Productions (DCP) Initiative presents a lecture and poetry reading with Amy Sara Carroll.

In the 1980s, a group of artists set out to interrupt or reinvent the racialized and classed "impossible subject" of the "illegal alien" in the United States by languaging an alternative‐the undocumented __________ (entrant, worker...). Many have argued that participants in the Border Art Workshop/Taller de Arte Fronterizo not only intervened in public conversations concerning immigration and late twentieth‐century reconfigurations of the continent's labor pools, but also forever linked the genre of border art to Bajalata California. In this talk, I approach the efforts of BAW/TAF as well as contemporaneous and subsequent artwork in and from the Mexican‐U.S. borderlands as so many exercises in "undocumentation." By this I mean, I read a range of artwork produced after 1984 as responding to and reimagining sometimes overlapping, sometimes distinct Mexican and U.S. neoliberal logics of transparency‐which included, but were not bounded by the repeating island of the statistic (i.e. the GDP) and allegories of unification (i.e. NAFTA)‐with a collective will to erase, strike‐through, and palimpsest the latter's fastidious aesthetics of documentation. Spoiler alert: Thankfully my analysis functions as an incomplete survey of the work in question. The narrative I offer cannot begin or end as an exercise in cataloging, archive consolidation, or even historical contextualization. Rather, it expands and contracts (1) to accommodate an elaboration of my own shuttling between writerly forms and (2) to acknowledge the site‐specificity of its presentation (i.e. UCSD VisArts' unique location in accounts of border, conceptual, and performance art as institutional critique). A work in progress, this talk's conclusion, then, with any luck will be co‐written by you, its potential audience‐practitioners who participated or participate in undocumentation as method.

Bio

Amy Sara Carroll, Assistant Professor of American Culture, Latina/o Studies, and English at the University of Michigan, Ann Arbor, is the author of two collections of poetry SECESSION (Hyperbole Books, 2012) and FANNIE + FREDDIE/The Sentimentality of Post‐9/11 Pornography (Fordham University Press, 2013). Since 2008, she also has been a member of Electronic Disturbance Theater 2.0/b.a.n.g. lab, coproducing the Transborder Immigrant Tool. Currently, Carroll is completing her first critical monograph "REMEX: Toward an Art History of the NAFTA Era," under contract with the University of Texas Press.

About the EDS Initiative

The UC San Diego Visual Arts Department Discursive and Curatorial Productions Initiative is a space designed for critical dialogue and experimentation in curatorial and discursive practices, with workshops for research into art practice, the aesthetics of materialization, and the cognitive and pedagogical potential of aesthetics.

The DCP is led by Visual Arts Faculty Elizabeth Newsome, Kuiyi Shen, Mariana Wardwell and a team of PhD Students.

Related links:

Amy Sara Carroll
Assistant Professor
University of Michigan, Ann Arbor
http://www.lsa.umich.edu/english/people/profile.asp?ID=1242
https://www.lsa.umich.edu/latina/people/faculty/ci.carrollamysara_ci.detail

Elizabeth Newsome
Associate Professor of Visual Arts
UC San Diego
http://visarts.ucsd.edu/faculty/elizabeth-newsome

Kuiyi Shen
Professor of Visual Arts
UC San Diego
http://visarts.ucsd.edu/faculty/kuiyi-shen

Mariana Wardwell (aka Mariana Botey)
Assistant Professor of Visual Arts
UC San Diego
http://visarts.ucsd.edu/faculty/mariana-wardwell

Photo courtesy of the Artist and the University of Michigan.

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