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School of English and Drama

Professor Dominic Johnson, BA (Warw) MA PhD (Lon) FHEA

Dominic

Professor of Performance and Visual Culture | Head of Drama

Email: d.f.johnson@qmul.ac.uk

Profile

I am an art historian and I write about performance art and live art – experimental forms of performance that do away with many of the formal conventions of theatre. I focus especially on artists whose work has tended to be marginalised in institutional and critical histories of art and performance. I have published books and chapters on performance art and live art in relation to such varied themes and problems as extremity and endurance, censorship, HIV/AIDS, intimacy, and pornography.

My most recent publications are: an authored book Unlimited Action: The Performance of Extremity in the 1970s, published in 2019; and an edited book on the late Adrian Howells — It’s All Allowed: The Performances of Adrian Howells (with Deirdre Heddon), published in 2016. In 2015 I published an oral history of performance art, constituted by 12 long interviews with iconic artists working at the vital limits of performance, including Genesis Breyer P-Orridge, the Kipper Kids, Anne Bean, Ulay, Sheree Rose, and others. Prior to that, I published books on Jack Smith, Ron Athey, Franko B, and Manuel Vason, as well as other topics.

In 2014 I was awarded the TaPRA Early Career Research Award, an annual research prize from the Theatre and Performance Research Association (UK). In 2014, I was also awarded a Fellowship (Early Career scheme) from the Arts and Humanities Research Council, to work on a new research project for 24 months from September 2014. In 2018, Deirdre Heddon and I received the TaPRA Editing Prize for our co-edited book on Adrian Howells.

I was the Global Visiting Scholar in the Center for the Study of Gender and Sexuality (with Department of Performance Studies), New York University (NYU), New York (January to April 2016); and Scholar in Residence and AHRC Honorary Visiting Fellow in the Department of English and QueerLab Research Center, University of California Riverside, (January to March 2015).

In partnership with the Live Art Development Agency, I co-designed and convene MA Live Art – the first programme of its kind in the UK.

I am a member of the AHRC Peer Review College (2012-present); a Director of the Live Art Development Agency; and an Editorial Associate of the peer-reviewed journal Contemporary Theatre Review.

Undergraduate Teaching

In 2020-21, I convene and teach the following modules:

  • DRA266 Performance Art in the 1970s

Research

Research Interests:

  • Performance art and live art after 1960
  • Performance in and as visual culture
  • Archives, oral history and historiography of performance art
  • Contemporary queer and LGBT performance and visual studies

Recent and On-Going Research

My research is generally artist-focused, and is always concerned with the cultural politics and historiography of experimental and/or marginal cultural practices of art, including (but not limited to) contemporary performance. 

I regularly publish and present research on live art in the UK. I was guest-editor of a special issue of Contemporary Theatre Review on ‘Live Art in the UK’ (2012), which includes articles on major figures in the field, interviews, and artists’ pages; it was subsequently republished in an revised and expanded version as Critical Live Art: Contemporary Histories of Performance in the UK (2013), with a new foreword by Carolee Schneemann. I have published four edited books on major individual artists: Franko B (2006), Manuel Vason (2007), Ron Athey (2013) and Adrian Howells (2016).

I have published extensively on aspects of visual culture, including: essays on and interviews with artists; contributions to exhibition catalogues and artists’ books; and a short book, Theatre & the Visual (2012), which explores the contingency of visual experience in historical and contemporary theatre and performance.

SInce 2017 I have been collaborating with Queen Mary Archives to acquire for posterity the posthumous papers of significant artists working in and around Live Art whose work risks being lost, forgotten, or obscured. To date we have acquired the papers of the performance artist Ian Hinchliffe (2017) and the body modification artist Jon John (2018).  

My research has been funded by Arts and Humanities Research Council (AHRC), Terra Foundation for American Art, and Arts Council England.

I am a founder member of the Sexual Cultures Research Group in the School of English and Drama, which actively fosters and develops cross-disciplinary conversations about methodologies, cultures, texts and objects and research outputs related to sexuality, gender, identity, and both intimate and public cultures.

Publications

 

Book cover image of Johnson's book Unlimited Action featuring a photograph of the Kipper Kids

Books

Guest-edited journals

  • (with Maria M. Delgado, Aoife Monks, and Lara Shalson), Contemporary Theatre Review, Special issue: Alphabet: A Lexicon of Theatre and Performance, 23.1 (2013)
  • Contemporary Theatre Review, Special Issue: Live Art in the UK, 22.1 (2012).

Selected Chapters in Peer-Reviewed Books

  • ‘Divine Fire: Ron Athey in Europe’, Queer Communion: Ron Athey, ed. by Andy Campbell and Amelia Jones (Bristol: Intellect, 2020), pp. 294-303.
  • ‘The Gold Standard: The Performances of Franko B’, in Live Art in the UK: Contemporary Performances of Precarity, ed. by Maria Chatzichristodoulou (London: Methuen Drama, 2020), 89-104.
  • ‘Dead Star Mileage: Jack Smith’s Fandom for Maria Montez’ in Fandom as Methodology: A Sourcebook for Artists and Writers, ed. by Catherine Grant and Kate Random Love (London: Goldsmiths University Press, 2019), pp. 65-82.
  • ‘Those Who Have Suffered Understand Suffering: Notes on the Body (in Pain)’, in Agency: A Partial History of Live Art, ed. by Theron Schmidt (London and Bristol: Live Art Development Agency and Intellect, 2019), pp. 45-56.
  • ‘How Does Performance Disrupt Institutional Spaces?’ (on Christopher D'Arcangelo) in Thinking Through Theatre and Performance, ed. by Maaike Bleeker, Adrian Kear, Joe Kelleher and Heike Roms (London: Bloomsbury Methuen, 2019), pp. 243-56.
  • ‘Impossible Things: The Life Art of Anne Bean in the 1970s’, in Anne Bean: Self Etc., by Rob La Frenais (Bristol and London: Intellect and Live Art Development Agency, 2018), pp. 24-53.
  • ‘File Under COUM: Art on Trial in Genesis P-Orridge’s Mail Action’, in London Art Worlds, 1960-1980, ed. by Jo Applin, Catherine Spencer and Amy Tobin (University Park: Penn State University Press, 2018), pp. 183-99.
  • ‘Transition Pieces: The Photography of Del LaGrace Volcano’, in Otherwise: Imagining Queer Feminist Art Histories, ed. by Amelia Jones and Erin Silver (Manchester and New York: Manchester University Press, 2015), pp. 340-55.
  • ‘Intimacy and Risk in Live Art’, in Histories and Practices of Live Art in the UK, ed. by Deirdre Heddon and Jennie Klein (Houndsmills and New York: Palgrave Macmillan, 2012), pp. 122-48.
  • ‘Ecstatic Intervals: Performance in a Continuum of Intimacy’, in Intimacy: Across Visceral and Digital Performance, ed. by Maria Chatzichristodoulou and Rachel Zerihan (Houndsmills and New York: Palgrave Macmillan, 2012), pp. 89-101.
  • ‘Psychic Weight: The Pains and Pleasures of Performance’, in ORLAN: A Hybrid Body of Artworks, ed. by Simon Donger with Simon Shepherd and ORLAN (Abingdon and New York: Routledge, 2010), pp. 84-99.

 Selected Peer-Reviewed Articles in Journals

Selected Interviews in Journals and Books

  • ‘“Personality Crisis? Honey, I was Born with One”: Lydia Lunch Interviewed’, in Post Punk: Then and Now, ed. by Gavin Butt, Kodwo Eshun and Mark Fisher, London: Repeater Books, pp. 25-56.
  • ‘The Subtle Aggressors: An Interview with Julia Bardsley and Simon Vincenzi’, in Return, Rewrite, Revisit: Theatre and Adaptation, ed. by Margherita Laera (London: Bloomsbury Methuen, 2014).
  • The Kindness of Strangers: An Interview with Adrian Howells’, in Performing Ethos: An International Journal of Ethics in Theatre and Performance, 3.2 (2014): Special Issue: One-on-One Encounters: Desire, Reciprocity and Ethics, pp. 173-90.
  • Carrying Her Liver in a Shopping Cart (And Other Bohemian Notions): An Interview with Bruce Benderson’, in Social Text 114, 31.1 (2013), pp. 107-25.
  • Positive Surrender: An Interview with Breyer P-Orridge’, in Contemporary Theatre Review, Special Issue: Live Art in the UK, 22.1 (2012), pp. 134-45.
  • The Skin of the Theatre: An Interview with Julia Bardsley’ in Contemporary Theatre Review 20.3 (2010), pp. 340-52.
  • Perverse Martyrologies: An Interview with Ron Athey’ in Contemporary Theatre Review 18.4 (2008), pp. 503-13.

 Essays in Exhibition Catalogues

  • ‘Circlejerker’ in Solitary Pleasures, ed. by Marquard Smith, exh. cat., Freud Museum, London (London: Live Art Development Agency, 2018), pp. 73-9.
  • ‘A Pyrotechnics of the Mind: The Performances of Stephen Cripps in Context’, in Stephen Cripps: Performance Machines, ed. by Sandra Beate Reimann, exh. cat., Museum Tinguely, Basel (Vienna: Verlag für Moderne Kunst 2017), pp. 33-9. (Translated as ‘Eine Pyrotechnik des Geistes: Die Performances von Stephen Cripps im Kontext’ in a separate edition, pp. 33-9.) 
  • ‘A Battle of Wills: Ulay and Marina Abramović’s Relation Works’ in Ulay: Life-Sized, ed. by Matthias Ulrich, exh. cat., Schirn Kunsthalle Frankfurt (Leipzig: Spector Books, 2016), pp. 124-8. (Translated as ‘Willensschlacht: Die Relation Works von Ulay und Marina Abramović’, pp. 120-23).
  • ‘Crocodile Tears: A Counter-Archive of Glam Aesthetics’, in Glam: The Performance of Style, ed. by Darren Pih, exh. cat., Tate Liverpool (London: Tate Publishing, 2013), pp. 95-107.
  • ‘The Queer Voice’, in Queer Voice, ed. by Ingrid Schaffner, exh. cat., Institute of Contemporary Art, Philadelphia (Philadelphia: University of Pennsylvania, 2010), p. 2.

Essays in Artists' Books

  • ‘Franko B: Blinded by Love’, in Franko B, I’m Here (London: Live Art Development Agency, 2020). Reprint.
  • ‘Introduction’, in Kat Toronto, Miss Meatface (London: Circa Press, 2020).
  • ‘Falling is Not so Pitiful: On Syncopal Actions and Falling States’, in Kira O’Reilly: Untitled (Bodies), ed. by Harriet Curtis and Martin Hargreaves (London and Bristol: Live Art Development Agency and Intellect, 2017), pp. 294-5.
  • ‘Jamie McMurry: Shit Parade (Best Left Unsaid)’, in Jamie McMurry, Shit Parade (Los Angeles: JMM, 2015).
  • ‘Stay a While: Raimund Hoghe’s Histories’, in Throwing the Body into the Fight: The Life and Work of Raimund Hoghe, ed. by Mary Kate Connolly (London and Bristol: Intellect Books and Live Art Development Agency, 2013), pp. 109-13
  • ‘False Messiah: Oreet Ashery’s Saint/s of Whitstable’, in Oreet Ashery: Dancing with Men (London: Live Art Development Agency, 2009), pp. 94-7.
  • ‘Aftermaths: A Dialogue with Kira O’Reilly’, in Manuel Vason: Encounters, Bristol: Arnolfini,2007), pp. 204-7.
  • ‘Hounded by Love, Blinded by Lights’, in Franko B: Blinded by Love (Bologna: Damiani in association with Galleria Pack, 2006), pp. 10-4.
  • ‘No Love’, in Slava Mogutin, Lost Boys (New York: PowerHouse Books, 2006).

See also my Queen Mary Research Publications profile

Supervision

I welcome applications from prospective research students, especially those interested in histories and theories of live art and performance art; LGBT and queer cultures; and relations between performance and visual art. Prospective students with an investment in practice-based research are also welcome to apply.

I am currently supervising eight doctoral research projects on: live art and ageing; self-injury in performance art; Black feminist performance art; performance art in Ukraine and Russia; performance art in Slovakia and Czechia; the performance of extremity in post-dictatorship Chile; the art of Leigh Bowery; and the riserva of Italian multimedia artist Emanuele Balzani.

I supervised the following projects to completion:

  • Lewis Church, ‘No Discipline: The Post-Punk Polymath in Contemporary Art’ (2017)
  • Eleanor Roberts, ‘The Third Space: A Feminist Reading of Performance Art at the ICA, London, 1968-1980’ (2016)
  • Lauren Barri Holstein, ‘‘The Agency of The Displayed Female Body: The Political Potential of Negative Affects in Contemporary Feminism and Performance’ (2016)
  • Daniel Oliver, ‘The Social Turn: Engagement and Efficiency in Contemporary Performance’ (2016)
  • Harriet Curtis, ‘Blood and Ketchup: Documents, institutions and Effects in the Performances of Paul McCarthy 1974-2013' (2014)
  • Saini Manninen, 'Duration Materialised: Investigating Contemporary Performance as a Temporal Medium', co-supervised with Nicholas Ridout (2014)
  • Helena Walsh, 'Irish Femininity and the Live Body: Between Rebellion and Conformity, Negation and Reproduction' (2013), co-supervised with Caoimhe McAvinchey
  • Eirini Kartsaki, 'Repeat Repeat: Repetition in Performance' co-supervised with Nicholas Ridout (2010)

Public Engagement

Dominic Johnson gives a lecture backed by a slide showing a performance by Ulay/Abramovic

I currently serve on the Board of Directors of the Live Art Development Agency (LADA: a National Portfolio Organisation of Arts Council England). With LADA, I co-edit ‘Intellect Live’, a series of books on artists working at the thresholds of performance, which has so far published monographs on the work of Raimund Hoghe, Ron Athey, Lois Weaver, Adrian Howells, Kira O’Reilly, Anne Bean, and Joshua Sofaer (the series is co-published by LADA and Intellect Books).

I have curated several large-scale public events, including: a one-day symposium called Unlimited Action: Limits of Performance at Whitechapel Gallery, with Ulay, Anne Bean, and Nigel Rolfe; a series of artists’ residencies and a symposium on performance and politics in the 1970s, also at Whitechapel Gallery (with Nicholas Ridout, in collaboration with Acme Studios, Live Art development Agency, and Matts Gallery, 2015); an 18-month festival of performance art at QMUL (with Lois Weaver, 2010), and a retrospective of and symposium on the films of Jack Smith at the Institute of Contemporary Arts (with Matt Williams and LUX, ICA, 2011).

Talks, Keynotes, and Conference Contributions (selected)

‘Love On Me: Life and Death in Jon John’s Archive’, Don’t Leave Me This Way: Accessing and Activating Challenging Archives (symposium), University of Bristol and Arnolfini, Bristol, 2020

‘Reading Art School, 1969-1973’, with Anne Bean, The Fine Art of Performance: Living Legacies of UK Art School, Attenborough Centre for Contemporary Art, University of Sussex, 2019

Derek Jarman: A Celebration, with Maria Balshaw, Neil Bartlett and Olivia Laing, Tate Britain, London, 2019

‘Becoming an Object: The Performances of Skip Arnold’, research seminar series, Department of History of Art, Edinburgh College of Art, University of Edinburgh, 2019

‘Body Probe: A History and Theory of Piercing in Performance Art’, 23rd Annual Conference of the Association of Professional Piercers, Las Vegas, US, 2018

‘An Eight Day Passage’, Human Resources: Whither the Human? On the Human as a Quantitative-Qualitative Resource (conference), Institute of Education, University College London, 2018

‘What Makes Us Human: The Body’, What Makes Us Human: Conversations on Art and Philosophy (seminar series), Tate Britain, 2018

There is a Criminal Touch to Art: Ulay Steals Germany’s Favourite Painting’ (and conversation with Ulay), Ulay: So You See Me – An International Symposium, Cooper Gallery, Duncan of Jordanstone College of Art, University of Dundee, 2017

‘It Hurts: Art, Performance, and Pain’, Skopje Pride Weekend (festival), National Museum of Art, Skopje, Macedonia, 2017

An Eight Day Passage: Endurance and Performance Art in the 1970s’, Centre for the Study of Gender and Sexuality, Tisch School of the Arts, New York University (NYU), 2017

An Eight Day Passage: Endurance and Performance Art in the 1970s’, Contemporary Art Practice lecture series, Royal College of Art, London, 2017

‘Impossible Things: The “Life Art” of Anne Bean in the 1970s’, research lecture series, Leicester School of Art, De Montford University, Leicester, 2017

‘Impossible Things: The “Life Art” of Anne Bean in the 1970s’, Art History Research Lectures (seminar series), Department of History of Art, University of York, 2016

‘Homelands: An Excavation – In Conversation with Issam Kourbaj’, Sacred: Homelands (festival), Artsadmin/Toynbee Studios, London, 2016

‘It Hurts: Art, Performance, and Pain’, In Pursuit of Pain (‘Friday Late’, public event), Wellcome Collection, London, 2016

‘It’s All Allowed: Adrian Howells, Queer Performance, and the Logic of Permission’, Annual Queer Studies Lecture, King’s College London, 2016

‘Reckless People: The Performances of Stephen Cripps’, Stephen Cripps in Context, Henry Moore Institute, Leeds, 2016

‘Institutional Bodies: A Roundtable on Pedagogy and Risk’, Department of Performance, School of the Art Institute of Chicago, Chicago, US, 2016

‘K. O. Kippers: The Kipper Kids and the Art of Sabotage’, Department of Performance, School of the Art Institute of Chicago, Chicago, US, 2016

‘Archiving the Kipper Kids’, Live Artists Live: Performance Art and the Archive (symposium), Roski School of Art and Design, University of Southern California, US, 2016

‘Cassils: In Conversation with Dominic Johnson’, City of Women (festival), Pritličje, Ljubljana, Slovenia, 2015

Keynote speaker, ‘Incendiary: Fragments of a Poetics of Fire in Performance’, A Day of Incendiary Art, MU Eindhoven (museum), Netherlands, 2015

‘Naked Hitchhikers: The Private Photography of William A. Rhoads’, How to do the History of the 1970s: Unearthing and Archiving Queer Lives, Edinburgh College of Art, University of Edinburgh, 2015

‘Naked Hitchhikers: The Private Photography of William A. Rhoads’ (public lecture), ONE National Lesbian and Gay Archives, University of Southern California, Los Angeles, US, 2015

‘File under COUM: Art on Trial in Genesis P-Orridge’s Mail Action, 1976’, Graduate Lecture Series, Roski School of Art and Design, University of Southern California, Los Angeles, US, 2015

Performance

Dominic Johnson performs in red silhouette against a black background

I have presented solo and collaborative performances both nationally and internationally. My performance solo Transmission was presented more than twenty times between 2007 and 2011, at festivals including Fierce (Birmingham), National Review of Live Art (Glasgow), Queer Zagreb (Croatia), Visions of Excess at SPILL Festival (London), International Festival of Performance (Copenhagen), Commitment Issues (Toronto) and as part of Gay Icons at the National Portrait Gallery (London).

I collaborated on two performances with Ron Athey: Incorruptible Flesh (Perpetual Wound) was co-commissioned by Chelsea Theatre (London) and Fierce (Birmingham) and presented at both festivals in 2006 and 2007; a subsequent piece, Self-Obliteration Double Bill, was performed at Souterrain Porte IV: Monstres (Maxéville), 2007) and Donaufestival (Krems, 2008). I have also performed extensively in clubs, including at Duckie (2008, 2009) and Torture Garden (London, 2007; Rome, 2008; Maxéville, 2009; and Edinburgh, 2010). My most recent practice-based research project was a series of performances involving live tattooing, which was funded by a Grant for the Arts from Arts Council England, and toured nationally in 2011-12.