RodenbeckJudith Rodenbeck, Associate Professor
CHASS Interdisciplinary South 3133
Phone: (951) 827-6427

Judith Rodenbeck received her Ph.D. in Art History from Columbia University in 2003 and comes to MCS after 14 years on the faculty at Sarah Lawrence College. Her first book Radical Prototypes: Allan Kaprow and the Invention of Happenings (MIT, 2011) explores the emergence of performance and intermedia in the American fine arts of the 1950s. She is currently working on several book-length projects: case-studies of four women artists engaged with media ecologies ca. 1969, which will feature essays on Lygia Clark, Joan Jonas, Alison Knowles, and Marta Minujin; a longitudinal study of the intersections between what Marcel Mauss called “techniques of the body” and the visual arts, configured through the notion of the performative; and an experimental text, Bipedal Modernity. In addition to authoring numerous catalogue essays, she has served as editor-in-chief of the Art Journal and is on the editorial board of Evental Aesthetics. Her work has appeared in journals such as October, Grey Room, X-TRA, Artforum, Modern Painters, Sculpture, Woman’s Art Journal and Camera Austria, among others. Her teaching and research interests encompass critical theory, performance studies, the politics of aesthetics, and radical pedagogy, especially as these engage with Modernism and its avant-gardes and with contemporary artistic practice. A Fellow at the Clark Art Institute in the fall of 2013, she is also a past recipient of grants from Creative Capital/Andy Warhol Foundation, the Mellon Foundation and the American Council of Learned Societies.

Professor Rodenbeck’s upcoming MCS classes include “Bipedal Modernity,” which focuses on the biopolitics of modernity through its configurations of bodies, in particular through walking. Objects to be examined draw from art, literature, film history, robotics, and material culture. “Avant-Garde/Everyday” explores theories of the everyday, from Mass Observation to Henri Lefebvre to communization. “Dead Media and New Media” interrogates the question: Do media ever really die? Starting with the transition from orality to literacy, examines “dead” media such as the handwritten letter, the hard-wired telephone, the phonograph, the analogue photograph, and their zombie afterlives in so-called new media.