Individual Listing

0227 ARTS
University of California
Riverside, CA 92521

Kotz, Liz

Associate Professor

College of Humanities, Arts, and Social Sciences

History of Art


Biography

Liz Kotz has taught at UC Riverside since 2007. She is the author of Words to be Looked At: Language in 1960s Art (MIT Press, 2007) and has published widely on contemporary art, ranging from work in experimental film and video to music, performance and text-based projects. She is currently developing two book projects: a collection of interviews with Los Angeles based artists, and a critical study of An Anthology of Chance Operations, the influential collection of scores, poems, drawings and other texts assembled by the composer La Monte Young in 1961 that played a crucial role in the emergence of interdisciplinary artmaking.

Former Institution

University of Minnesota, Department of Cultural Studies and Comparative Literature

Degrees

Ph.D. Comparative Literature 2002

Columbia University

M.A. English & Comparative Literature 1992

Columbia University

B.A. Humanities 1986

Stanford University

Awards

2012-2013 (with Charles Curtis, UCSD), UC Institute for Research on the Arts Planning Grant
2012-2013 UC Humanities Research Institute Working Group Grant
2012 Center for Ideas and Society Fellowship, UC Riverside
2009 Regents Fellowship, University of California.
2007 Warhol Foundation/Creative Capital Arts Writers Grant
2007 Graduate School Grant-in-Aid for Research, University of Minnesota.
2005
 Getty Research Institute Residential Postdoctoral Fellowship


Research Area

Modern and Contemporary art, Interdisciplinary Aesthetic Practices, Psychoanalysis and Critical Theory, Media Theory and Media technologies.

Publications


BOOKS

Words to Be Looked At: Language in 1960s Art (MIT Press, 2007) 



ARTICLES AND BOOK CHAPTERS

“Make an object to be lost: multiples and minimalism,” Germano Celant and Chiara Costa, eds., The Small Utopia: Ars multiplicata (Venice: Fondazione Prada, 2012)

“Bringing the War Home,” in Milena Hoegsberg and Melanie O’Brian, eds., Omer Fast: 5000 Feet is the Best (Sternberg Press, 2012).

“Projecting Cinema Otherwise, Via Judson Dance,” in Ursula Fröhne and Lilian Haberer, eds., Kinematographische Räume: Filmische Ästhetik in Kunstinstallationen und inszenierter Fotografie (Paderborn, Germany: Fink Verlag, 2012).

“Between Object and Image,” Anthony Pearson (Los Angeles: David Kordansky Gallery, 2011) 4-15.

“Object, Action and Ephemera,” in Armin Hochdörfer and Susanne Neuberger, eds., Konzept Aktion Sprache / Concept Action Language (Vienna: Museum of Modern Art/Foundation Ludwig, 2010) 27-49.

“This is To Be Looked At,” in Beatrix Ruf, ed. Elad Lassry (Kunstmuseum Zurich/J. R. P Ringier, 2010) 79-86.

“Marked Records/Program for Activity,” in Christian Marclay: Festival (New York: Whitney Museum, 2010) 10-21.

“Cagean Structures,” in Julia Robinson, ed., The Anarchy of Silence: John Cage and Experimental Art (Barcelona, Spain: Museu d’Art Contemporani de Barcelona, 2009) 118-135.

“Circuit and Score,” in Cosima Rainer, ed., See This Sound: Promises in Sound and Vision (Linz, Austria: Kunstmuseum Lentos, 2009) 130-143.

“Sound in Space,” in Lynne Cooke and Karen Kelly, eds., Max Neuhaus (New York: Dia Art Foundation/Yale University Press, 2009) 92-111.

Live Through This,” in Suzanne Weaver, ed., Phil Collins: the world won’t listen (Dallas Museum of Art/Yale University Press, 2007) 57-65.

"Golden Years," in Richard Marshall, Jack Pierson: A Retrospective (New York: Rizzoli, 2006) 17-20. 



“Language + Image: Reconsidering Photography in Contemporary Art,” Amelia Jones, ed., The Blackwell Companion to Contemporary Art Since 1945 (London: Blackwell, 2006) 512-533.

“Language between Performance and Photography,” October no. 111 (Winter, 2005) 3-21.


“An Aesthetics of the Index?” in Dia’s Andy (New York: Dia Art Foundation, 2005) 88-93.

“Video: The Space Between Screens," in Simon Leung and Zoya Kocur, eds., Theory in Contemporary Art Since 1985 (London: Basil Blackwell, 2004) 101-115. Revised version reprinted in Tanya Leighton, ed., Art and the Moving Image: A Critical Reader (London: Afterall, 2008); in Portuguese translation, in Katia Maciel, ed.,Cinema Sim: Narrativas e Projeções (Sao Polo, Brazil: Itaú Cultural, 2008) 48-62; and in Japanese translation in Miwa Kenjin, ed., Waiting for Video: Works From the 1960s To Today (Tokyo: National Museum of Modern Art, 2009) 226-247.


“Disciplining Expanded Cinema,” in Matthias Michalka, X-Screen: Film Installations and Actions in the 1960s and 1970s (Vienna: Museum of Modern Art/Foundation Ludwig, 2003). 



"Lawrence Weiner/Sound Projects" in Lawrence Weiner / Until It Is (Columbus, OH: Wexner Center for the Arts, 2002) unpaginated. 



"Post-Cagean Aesthetics and the 'Event' Score," October 95 (Spring, 2001) 54-89; revised version reprinted in Julia Robinson, ed., John Cage: October Files 12 (Cambridge, MA: MIT Press, 2011) 101-140.

“Damaged” (on Arbus and Winogrand) in Connie Butler, ed., The Social Scene: The Ralph M. Parsons Photography Collection (Los Angeles: Museum of Contemporary Art, 2000) 21-28. Revised version printed in Ute Eskildsen and Alberto Martín, eds., De Lo Humano: Fotografía Internacional 1950-2000/On the Human Being: International Photography 1950-2000 (Madrid: Centro Andaluz de Arte Contemporáneo/Turner, 2008) 204-217.