Tirza True Latimer has published work from a queer feminist perspective on a range of topics in the fields of visual culture, sexual culture, and criticism. She is coeditor, with Whitney Chadwick, of the anthology The Modern Woman Revisited: Paris Between the Wars (Rutgers University Press, 2003); the author of Women Together / Women Apart: Portraits of Lesbian Paris (Rutgers University Press, 2005); and coauthor of Seeing Gertrude Stein: Five Stories (University of California Press, 2011). Her most recent book, Eccentric Modernisms: Making Differences in the History of American Art, is under production at University of California Press and scheduled for release in late 2016. Tirza received a Georgia O’Keeffe Research Fellowship and an N.E.H. Summer Research Grant to complete research on this topic

Her articles and reviews circulate in such peer-reviewed journals as GLQ: A Journal of Lesbian and Gay StudiesWomen’s Studies: An Interdisciplinary Journal­, and American Art. She has contributed to over twenty peer-reviewed anthologies, including Otherwise: Imagining Queer Feminist Art Histories, Amelia Jones and Erin Silver eds. (Manchester University Press, 2016). Her curatorial essay “Entre Nous: Between Claude Cahun and Marcel Moore” figures among the key queer-cultural texts reprinted in Art and Queer Culture, eds. Richard Meyer and Catherine Lord (2013). She has served as guest editor for special issues of Art Journal (“Queer Affect and Queer Archives,” 2013) and American Art (“Discrepant Modernisms,” 2016) and currently serves on Art Journal’s the editorial board. She regularly contributes criticism to such on-line journals as SFMOMA’s Open SpaceSquarecylinder, and Art Practical.

Parallel to these pursuits, Tirza has been continuously active in the curatorial domain. She curated a groundbreaking exhibiton on Claude Cahun and Marcel Moore at the Magnes, Berkeley, in 2008. The Musée Jeu de Paume in Paris commissioned the essay “Le Masque Verbal: Claude Cahun’s Textual Travesty” for the catalogue of its 2011 retrospective of Cahun’s photographs. Her essay on Marcel Moore appears in the catalogue for the 2015 Musée de Beaux-Arts, Nantes, exhibition on Claude Cahun. Her catalogue essay “Warhol’s Surfaces, Mapplethorpe’s Depths,” appears in Warhol and Mapplethorpe: Guise and Dolls (2016) published by Yale University Press/Wadsworth Atheneum, Hartford.

tirza in front of suture 2Students and faculty members from CCA have shown work in the exhibitions she has curated or co-curated at SomArts Cultural Center (Chronotopia, Threads, Making Room for Wonder) and the GLBT Historical Society (Lineage: Match-Making in the Archive). She was co-curator of a 2011 exhibition about the life and afterlife of Gertrude Stein, organized by the Contemporary Jewish Museum, San Francisco in partnership with the National Portrait Gallery, Washington, D.C. In 2014, her exhibition “Becoming/UnBecoming Monochrome,” featuring work by Harmony Hammond, opened at RedLine Center for the Arts in Denver.

Recent conference presentations include “The Making of Modernism’s Origin Myths,” Terra Summer Residency Program, Giverny, France (2013); “Eccentric Modernisms,” Alternative Modernisms Conference, University of Cardiff, Wales (2013); “Abstraction and Difference,” College Art Association Conference, Chicago (2014), “The Politics of Abstraction,” RedLine Center for the Arts, Denver, Co. (2014), “Eccentric Modernisms,” In Our Back Yard lecture series, Art History Program, University of California, Berkeley  (2015), Ten Portraits: Gertrude Stein’s ‘Second Family’ Album,”  Comparative Literature Lecture Series, Pennsylvania State University  (2015), “‘Foreigners Everywhere’”: Interwar Paris’s Lesbian Expats,” The Feminist Art Project day of panels, National Museum of Women in the Arts, Washington, D.C. (2016), “What Can Trans Do?”, keynote address, “Becoming TransGerman: Transnational, Transdisciplinary, Transgender, Transhuman,” German Studies Association, Berlin Summer Workshop (2016).

Tirza’s teaching, like her research, explores the intersection of visual and sexual cultures. Her interests include the emergence of lesbian and gay visual communities in early twentieth-century Paris, the history of photography, collaborative and participatory art practices in contemporary art, new genres of public art, the visual politics of identity, art activism, social practices, and queer visual culture.   She is an active member and former co-chair of the Queer Caucus for Art, a College Art Association affiliated society, an advisor to the Board of the Queer Cultural Center, SF. She collaborates with QCC to produce the Queer Conversations on Culture ant the Arts [QCCA] programming.

Chair and Associate Professor, Visual and Critical Studies. Associate Professor, Visual Studies.

BA, Sarah Lawrence College
MA, University of California, Davis
PhD, Stanford University

Contact: tlatimer@cca.edu

Additional Links: http://blog.sfmoma.org/author/ttlatimer/

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