Susan Jarosi

Susan JarosiSusan Jarosi

Ph.D., Art History & Visual Studies, Duke University, 2005

Dr. Susan Jarosi is Associate Professor, Women's and Gender Studies, with a secondary appointment in the Department of Fine Arts. Dr. Jarosi's office is located in 313 Stevenson Hall. Contact Dr. Susan Jarosi: email Dr. Jarosi

Selected Publications:


  • "Traumatic Subjectivity and the Continuum of History: Hermann Nitsch's Orgies Mysteries Theater," Art History 36, no. 4 (September 2013): 834-863.
  • "Recycled Cinema as Material Ecology: Raphael Montañez Ortiz's Found-Footage Films and Computer-Laser-Videos," Screen 53, no. 3 (Autumn 2012): 228-245.
  • "The Image of the Artist in Performance Art: The Case of Rudolf Schwarzkogler," Art and Documentation 5 (Autumn 2011): 63-80; reprinted in English in volume 8 (Spring 2013): 65-77.
  • Translator, Rudolf Schwarzkogler, "Panorama 1: The Total Act Manifesto" (1965), Art and Documentation 5 (Autumn 2011): 143.


  • "Expanded Cinema," in Meiling Cheng and Gabrielle Cody, eds, Reading Contemporary Performance: Theatricality Across Genres (New York: Routledge, 2016), 201-203.
  • "The Audience Cries Back," in Kathryn Brown, ed., Interactive Contemporary Art: Participation in Practice (London: I.B. Tauris, 2014), 155-175.
  • "Keeping Score: Considering Performance Texts as Artists' Writings," in Helen De Preester, ed., Not a Day Without a Line -- Understanding Artists' Writings (Ghent, Belgium: Academia Press, 2013), 106-126.
  • "'The Grunewald of Happenings' -- On Traumatic Subjectivity," in Aaron Levy, ed., Blood Orgies: Hermann Nitsch in America (Philadelphia: Slought Books, 2008), 94-115.
  • "An Interview with Billie Maciunas," in Ken Friedman, ed., The Fluxus Reader (London: Academy Editions, 1998), 199-211.


Inside the Glass Cube: The Ideology of the Vitrine

Building upon the profound insights of Brian O’Doherty, who introduced us to the paradigm of the "White Cube,” this monographic project argues for the ideological significance of another ubiquitous vehicle for art’s contemporary display, the vitrine. While vitrines are purportedly the ultimate objects of transparency — we look right through their presence in museums and galleries — in fact the materiality of vitrines inscribes some of the most powerfully dominant institutional discourses, including patriarchy, science, logocentrism, and ocularcentrism, upon the artworks they contain.


  • Curator, Project 2: Defining Installation, Zephyr Gallery, Louisville, April 4 -- May 24, 2014.
  • Curator, The Art of Experience: Fluxus Works from the Collection of Michael Lowe, Cressman Center for the Visual Arts, University of Louisville, November 7, 2008 -- January 3, 2009.

Current and recent courses:

  • Seeing Gender: Gender in Visual Studies
  • Introduction to Art History, Renaissance to Present
  • Art Since 1945
  • Women in Performance Art
  • Art and Feminism
  • Theories and Methods of Art History
  • History of Performance Art
  • Pop Art and Fluxus
  • Representations of Trauma in the Visual Arts
  • Installation Art
  • Artists' Writings
  • Economic Histories of the Arts


Research Interests:

Professor Jarosi teaches courses on contemporary art and visual culture since 1950. Research interests include the history and reception of performance art; experimental film, video, and technology; trauma studies; and the modes of exchange between art and science. New projects involve the ideological function of vitrines in contemporary art exhibitions, the role of models and metaphors in the art-science interchange, and global contemporary art markets. Her dedication to feminism and feminist theory inflects all her work.