CFPs by Scott Volz
DEADLINE EXTENDED: We are seeking contributions for a panel entitled “Infiltration Visuality” for... more DEADLINE EXTENDED: We are seeking contributions for a panel entitled “Infiltration Visuality” for the 2023 meeting of the Association for the Study of the Arts of the Present (ASAP). Please send a 250-300 word abstract and short bio to srvolz@uci.edu by April 5 to apply.
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Dissertation by Scott Volz
Scott Volz, "Deadly Circularity: Waste and Ecology in Art of the 1970s and 1980s," PhD Dissertation (Excerpt), 2022
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Book Reviews by Scott Volz
caa.reviews, 2018
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Conference Presentations by Scott Volz
Paper presentation for the Association for the Study of Arts of the Present (ASAP), 13th Annual M... more Paper presentation for the Association for the Study of Arts of the Present (ASAP), 13th Annual Meeting, September 14-17, 2022
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Paper presentation for the Association for the Study of Arts of the Present (ASAP), 13th Annual M... more Paper presentation for the Association for the Study of Arts of the Present (ASAP), 13th Annual Meeting, September 14-17, 2022
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Paper presentation for the American Studies Association, Annual Conference, October 7-10, 2021
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Paper presentation for the Cultural Studies Association, 19th Annual Conference, June 10-12, 2021
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Paper presentation for the College Art Association, 109th Annual Conference, February 2021; Panel... more Paper presentation for the College Art Association, 109th Annual Conference, February 2021; Panel: "Telematic Art: Bridging Distances Past and Present" (panel withdrawn by panel chair)
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Paper presentation for the UC Speculative Futures Collective Annual Symposium, October 2020
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Paper presentation for The Constructed Environment Research Network, Tenth International Conferen... more Paper presentation for The Constructed Environment Research Network, Tenth International Conference, 2020
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Paper presentation at the Paul J. Getty Research Institute, Second Annual Getty Graduate Symposiu... more Paper presentation at the Paul J. Getty Research Institute, Second Annual Getty Graduate Symposium, February 2020
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Roundtable at the Society for Literature, Science, and the Arts (SLSA), 33rd Annual Meeting, Nove... more Roundtable at the Society for Literature, Science, and the Arts (SLSA), 33rd Annual Meeting, November 7-9, 2019.
Participants: Aaron Katzeman (chair), Gabriele M. Schwab, Scott Volz, Marianna Davison, Anirban Gupta-Nigam, and Aziz Sohail
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Paper Presentation for "Breaking Conventions: Interdisciplinary Methodologies and Art History," 6... more Paper Presentation for "Breaking Conventions: Interdisciplinary Methodologies and Art History," 6th Annual History of Art Graduate Student Conference, University of California, Riverside, May 20, 2017
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Paper Presentation for "Into the Sun: Light and Atmospherics of the American West," 17th Annual V... more Paper Presentation for "Into the Sun: Light and Atmospherics of the American West," 17th Annual Visual Studies Graduate Student Conference, University of California, Irvine, April 27, 2017
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Climate Futures Collective by Scott Volz
UCI Ph.D. Program in Visual Studies 20th Annual Graduate (Virtual) Conference. Hosted by the Clim... more UCI Ph.D. Program in Visual Studies 20th Annual Graduate (Virtual) Conference. Hosted by the Climate Futures Collective.
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Description of Climate Futures Collective Research Group at the University of California, Irvine.
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Conferences and Panels Organized by Scott Volz
Panel at ASAP/13, the annual conference of the Association for the Study of the Arts of the Prese... more Panel at ASAP/13, the annual conference of the Association for the Study of the Arts of the Present.
Participants: Aaron Katzeman (co-chair), Marianna Davison (co-chair), Scott Volz (co-chair), Nida Sinnokrot, Zachary Korol-Gold, Martabel Wasserman and T. J. Demos
Abstract: In his 2021 book, "A People's Green New Deal," Max Ajl articulates an edge-based logic of emancipation, stating: "A front can only build from existing states: the already-existing ecological society in the interstices and shadow-zones of colonial-capitalism, arenas which can or do rely less on imperialism for their social reproduction" (101). What practices constitute these interstitial activities? Which political-aesthetic projects can be found in the shadow-zones? And what sorts of fugitivity, collectivity, and care-work participate in the struggle for another way of being? Following Ajl's championing of radical agricultural movements, Indigenous land rights, and feminist praxis, this panel considers the edge formations of ecological art and culture beyond imperialist hegemony. We seek, in particular, to engage the already-existing ecological societies that make life in community gardens, yards, co-ops, and small farms, examining the subversive qualities offered by such projects.
Beginning with the formal emergence of ecological art in the 1970s, numerous artists have utilized the garden plot as a site of aesthetic inquiry, employing plants to address food production, cultivate biodiversity, and decontaminate soils, among other practices. These early endeavors have been characterized by art historian T. J. Demos as "restorationist eco aesthetics," which he describes as "art that envisions and enacts the repair of damaged habitats and degraded ecosystems" ("Decolonizing Nature: Contemporary Art and the Politics of Ecology," 2016, 39). Although novel for their time, Demos argues such works were merely cosmetic, repairing individual deteriorated sites but failing to expand beyond local contexts and link pollution to global systems of colonialism and capitalism. Nonetheless, this critique provides the grounds to analyze how artists have newly considered repair and reparations in ways that exceed the confines of the "garden" itself. Considering gardens as geographically and ethically expansive entities, we aim to reimagine the emancipatory possibilities of restoration through broader conceptualizations of the garden as a site of anti-colonial resistance, where mutual aid is nurtured, food sovereignty is propagated, and abolitionist futures are imagined.
Organizing this panel in response to the conference theme of "Edge Play," we take inspiration from bell hooks in considering the "margin as space of radical openness" (1989), in which both the historically enclosed nature of the garden and its hitherto limited engagement are wrested open by critical art practice and scholarship. Participants will speak on their work in redefining the liberatory means of the garden as a conduit of sociocultural revolution, gardening the edge of what is deemed possible.
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CFPs by Scott Volz
Dissertation by Scott Volz
Book Reviews by Scott Volz
Conference Presentations by Scott Volz
Participants: Aaron Katzeman (chair), Gabriele M. Schwab, Scott Volz, Marianna Davison, Anirban Gupta-Nigam, and Aziz Sohail
Climate Futures Collective by Scott Volz
Conferences and Panels Organized by Scott Volz
Participants: Aaron Katzeman (co-chair), Marianna Davison (co-chair), Scott Volz (co-chair), Nida Sinnokrot, Zachary Korol-Gold, Martabel Wasserman and T. J. Demos
Abstract: In his 2021 book, "A People's Green New Deal," Max Ajl articulates an edge-based logic of emancipation, stating: "A front can only build from existing states: the already-existing ecological society in the interstices and shadow-zones of colonial-capitalism, arenas which can or do rely less on imperialism for their social reproduction" (101). What practices constitute these interstitial activities? Which political-aesthetic projects can be found in the shadow-zones? And what sorts of fugitivity, collectivity, and care-work participate in the struggle for another way of being? Following Ajl's championing of radical agricultural movements, Indigenous land rights, and feminist praxis, this panel considers the edge formations of ecological art and culture beyond imperialist hegemony. We seek, in particular, to engage the already-existing ecological societies that make life in community gardens, yards, co-ops, and small farms, examining the subversive qualities offered by such projects.
Beginning with the formal emergence of ecological art in the 1970s, numerous artists have utilized the garden plot as a site of aesthetic inquiry, employing plants to address food production, cultivate biodiversity, and decontaminate soils, among other practices. These early endeavors have been characterized by art historian T. J. Demos as "restorationist eco aesthetics," which he describes as "art that envisions and enacts the repair of damaged habitats and degraded ecosystems" ("Decolonizing Nature: Contemporary Art and the Politics of Ecology," 2016, 39). Although novel for their time, Demos argues such works were merely cosmetic, repairing individual deteriorated sites but failing to expand beyond local contexts and link pollution to global systems of colonialism and capitalism. Nonetheless, this critique provides the grounds to analyze how artists have newly considered repair and reparations in ways that exceed the confines of the "garden" itself. Considering gardens as geographically and ethically expansive entities, we aim to reimagine the emancipatory possibilities of restoration through broader conceptualizations of the garden as a site of anti-colonial resistance, where mutual aid is nurtured, food sovereignty is propagated, and abolitionist futures are imagined.
Organizing this panel in response to the conference theme of "Edge Play," we take inspiration from bell hooks in considering the "margin as space of radical openness" (1989), in which both the historically enclosed nature of the garden and its hitherto limited engagement are wrested open by critical art practice and scholarship. Participants will speak on their work in redefining the liberatory means of the garden as a conduit of sociocultural revolution, gardening the edge of what is deemed possible.
Participants: Aaron Katzeman (chair), Gabriele M. Schwab, Scott Volz, Marianna Davison, Anirban Gupta-Nigam, and Aziz Sohail
Participants: Aaron Katzeman (co-chair), Marianna Davison (co-chair), Scott Volz (co-chair), Nida Sinnokrot, Zachary Korol-Gold, Martabel Wasserman and T. J. Demos
Abstract: In his 2021 book, "A People's Green New Deal," Max Ajl articulates an edge-based logic of emancipation, stating: "A front can only build from existing states: the already-existing ecological society in the interstices and shadow-zones of colonial-capitalism, arenas which can or do rely less on imperialism for their social reproduction" (101). What practices constitute these interstitial activities? Which political-aesthetic projects can be found in the shadow-zones? And what sorts of fugitivity, collectivity, and care-work participate in the struggle for another way of being? Following Ajl's championing of radical agricultural movements, Indigenous land rights, and feminist praxis, this panel considers the edge formations of ecological art and culture beyond imperialist hegemony. We seek, in particular, to engage the already-existing ecological societies that make life in community gardens, yards, co-ops, and small farms, examining the subversive qualities offered by such projects.
Beginning with the formal emergence of ecological art in the 1970s, numerous artists have utilized the garden plot as a site of aesthetic inquiry, employing plants to address food production, cultivate biodiversity, and decontaminate soils, among other practices. These early endeavors have been characterized by art historian T. J. Demos as "restorationist eco aesthetics," which he describes as "art that envisions and enacts the repair of damaged habitats and degraded ecosystems" ("Decolonizing Nature: Contemporary Art and the Politics of Ecology," 2016, 39). Although novel for their time, Demos argues such works were merely cosmetic, repairing individual deteriorated sites but failing to expand beyond local contexts and link pollution to global systems of colonialism and capitalism. Nonetheless, this critique provides the grounds to analyze how artists have newly considered repair and reparations in ways that exceed the confines of the "garden" itself. Considering gardens as geographically and ethically expansive entities, we aim to reimagine the emancipatory possibilities of restoration through broader conceptualizations of the garden as a site of anti-colonial resistance, where mutual aid is nurtured, food sovereignty is propagated, and abolitionist futures are imagined.
Organizing this panel in response to the conference theme of "Edge Play," we take inspiration from bell hooks in considering the "margin as space of radical openness" (1989), in which both the historically enclosed nature of the garden and its hitherto limited engagement are wrested open by critical art practice and scholarship. Participants will speak on their work in redefining the liberatory means of the garden as a conduit of sociocultural revolution, gardening the edge of what is deemed possible.