Isabelle Loring Wallace is Associate Director of Research and Graduate Studies at the Lamar Dodd School of Art at the University of Georgia and a specialist in the field of contemporary art. She is the author of Jasper Johns (Phaidon, 2014) and is currently completing on a second book on the artist that considers his work in conjunction with contemporaneous developments in the fields of genetics and psychoanalysis. Professor Wallace has authored numerous articles and exhibition catalogues in the fields of modern and contemporary art and is a contributor to and co-editor of three anthologies: Contemporary Art and Classical Myth (Ashgate/Routledge 2011/2016); Contemporary Art About Architecture: A Strange Utility (Ashgate/Routledge 2013/2016); and Ventriloquism, Performance and Contemporary Art (Routledge 2023). Address: Lamar Dodd School of Art
University of Georgia
270 River Rd
Athens, GA 30601
This paper considers the reception and meaning of Pfeiffer's video installation, Fragment of Cruc... more This paper considers the reception and meaning of Pfeiffer's video installation, Fragment of Crucifixion (After Francis Bacon),(1999).
This paper considers two series by the contemporary photographer, Pipo Nguyen-duy -- "East of Ede... more This paper considers two series by the contemporary photographer, Pipo Nguyen-duy -- "East of Eden" and "The Garden" -- and opens up onto broad questions about the history of media, perspective, Christianity, and the events of 9-11.
Ventriloquism, Performance, and Contemporary Art volume calls attention to the unexpected prevale... more Ventriloquism, Performance, and Contemporary Art volume calls attention to the unexpected prevalence of ventriloqual motifs and strategies within contemporary art. Engaging with issues of voice, embodiment, power, and projection, the case studies assembled in this volume span a range of media from painting, sculpture, and photography to installation, performance, architecture, and video. Importantly, they both examine and enact ventriloqual practices, and do so as a means of interrogating and performatively bearing out contemporary conceptions of authorship, subjectivity, and performance. Put otherwise, the chapters in this book oscillate between art history, theory, and criticism through both analytical and performative means. Across twelve essays on ventriloquism in contemporary art, the authors, who are curators, historians, and artists, shine light on this outdated practice, repositioning it as a conspicuous and meaningful trend within a range of artistic practices today. This book will be of interest to scholars working in art history, contemporary art, media studies, performance, museum/curatorial studies, and theater.
Written in conjunction with Wim Delvoye's show at the Heydar Aliyev Center in Baku, this essay co... more Written in conjunction with Wim Delvoye's show at the Heydar Aliyev Center in Baku, this essay considers the artist's Gothic works and those objects engaged with DNA and the image of the crucifixion.
This paper considers the reception and meaning of Pfeiffer's video installation, Fragment of Cruc... more This paper considers the reception and meaning of Pfeiffer's video installation, Fragment of Crucifixion (After Francis Bacon),(1999).
This paper considers two series by the contemporary photographer, Pipo Nguyen-duy -- "East of Ede... more This paper considers two series by the contemporary photographer, Pipo Nguyen-duy -- "East of Eden" and "The Garden" -- and opens up onto broad questions about the history of media, perspective, Christianity, and the events of 9-11.
Ventriloquism, Performance, and Contemporary Art volume calls attention to the unexpected prevale... more Ventriloquism, Performance, and Contemporary Art volume calls attention to the unexpected prevalence of ventriloqual motifs and strategies within contemporary art. Engaging with issues of voice, embodiment, power, and projection, the case studies assembled in this volume span a range of media from painting, sculpture, and photography to installation, performance, architecture, and video. Importantly, they both examine and enact ventriloqual practices, and do so as a means of interrogating and performatively bearing out contemporary conceptions of authorship, subjectivity, and performance. Put otherwise, the chapters in this book oscillate between art history, theory, and criticism through both analytical and performative means. Across twelve essays on ventriloquism in contemporary art, the authors, who are curators, historians, and artists, shine light on this outdated practice, repositioning it as a conspicuous and meaningful trend within a range of artistic practices today. This book will be of interest to scholars working in art history, contemporary art, media studies, performance, museum/curatorial studies, and theater.
Written in conjunction with Wim Delvoye's show at the Heydar Aliyev Center in Baku, this essay co... more Written in conjunction with Wim Delvoye's show at the Heydar Aliyev Center in Baku, this essay considers the artist's Gothic works and those objects engaged with DNA and the image of the crucifixion.
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to installation, performance, architecture, and video. Importantly, they
both examine and enact ventriloqual practices, and do so as a means of interrogating and performatively bearing out contemporary conceptions of authorship, subjectivity, and performance. Put otherwise, the chapters in this book oscillate between art history, theory, and criticism through both analytical and performative means. Across twelve essays on ventriloquism in contemporary art, the authors, who are curators, historians, and artists, shine light on this outdated practice, repositioning
it as a conspicuous and meaningful trend within a range of artistic practices today. This book will be of interest to scholars working in art history, contemporary art, media studies, performance, museum/curatorial studies, and theater.
to installation, performance, architecture, and video. Importantly, they
both examine and enact ventriloqual practices, and do so as a means of interrogating and performatively bearing out contemporary conceptions of authorship, subjectivity, and performance. Put otherwise, the chapters in this book oscillate between art history, theory, and criticism through both analytical and performative means. Across twelve essays on ventriloquism in contemporary art, the authors, who are curators, historians, and artists, shine light on this outdated practice, repositioning
it as a conspicuous and meaningful trend within a range of artistic practices today. This book will be of interest to scholars working in art history, contemporary art, media studies, performance, museum/curatorial studies, and theater.