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{{Infobox artist
{{Infobox artist
| name = Aliza Shvarts
| name = Aliza Shvarts
| image =
| image = Aliza Shvarts - Speaking.png
| caption =
| caption = Aliza Shvarts speaking at the Whitney.
| birth_date = {{birth year|1986}}
| birth_date = {{birth year and age|1986}}
| birth_place =
| birth_place =
| death_date = <!--(death date then birth date)-->
| death_date = <!--(death date then birth date)-->
| nationality = American
| nationality = American
| field = {{Flatlist|
| field = {{Flatlist|
* [[Performance art]]
* [[Performance art]]
* [[queer theory]]
* [[queer theory]]
* [[material feminism]]
* [[material feminism]]
}}
}}
| training = [[New York University]], [[Yale University]], Whitney Independent Study Program
| training = [[New York University]], [[Yale University]], Whitney Independent Study Program
| movement =
| movement =
| awards = [[Creative Capital]] Art Writers Award
| awards = [[Creative Capital]] Art Writers Award
| website = {{URL|alizashvarts.com}}
| website = {{URL|alizashvarts.com}}
}}
}}
'''Aliza Shvarts''' (born 1986) is an artist and writer who works in [[Performance art|performance]], [[Video art|video]], and [[Installation art|installation]].<ref name=":0">{{Cite journal|last=Lambert-Beatty|first=Carrie|date=Summer 2009|title=Make-Believe: Parafiction and Plausibility|url=https://www.alizashvarts.com/ASIS/_.._files/Lambert-Beatty_Make-Believe.pdf|journal=[[October (journal)|October]]|volume=|issue=129|pages=51–84|via=|access-date=2018-05-30|archive-url=https://web.archive.org/web/20180612211145/https://www.alizashvarts.com/ASIS/_.._files/Lambert-Beatty_Make-Believe.pdf|archive-date=2018-06-12|url-status=dead}}</ref> Her art and writing explore [[Queer theory|queer]] and [[Feminism|feminist]] understandings of reproduction and [[Duration (philosophy)|duration]],<ref name=":4">{{Cite web|url=https://www.artswriters.org/grant/grantees/grantee/aliza_shvarts|title=Aliza Shvarts - Grantees|last=|first=|date=2014|website=Arts Writers Grant Program|archive-url=|archive-date=|dead-url=|access-date=2018-05-30}}</ref> and use these themes to affirm [[abjection]], failure, and "decreation". [[Simone Weil]]{{'}}s idea of decreation has been described as "a mystical passage from the created to the uncreated"<ref>Marcus Boon and Gabriel Levine, “The Promise of Practice” in ''Documents of Contemporary Art: Practice'' (Cambridge: MIT Press, 2018), 21.</ref>
'''Aliza Shvarts''' (born 1986) is an artist and writer who works in [[Performance art|performance]], [[Video art|video]], and [[Installation art|installation]].<ref name=":0">{{Cite journal|last=Lambert-Beatty|first=Carrie|date=Summer 2009|title=Make-Believe: Parafiction and Plausibility|url=https://www.alizashvarts.com/ASIS/_.._files/Lambert-Beatty_Make-Believe.pdf|journal=[[October (journal)|October]]|volume=129|issue=129|pages=51–84|doi=10.1162/octo.2009.129.1.51|s2cid=57560104|access-date=2018-05-30|archive-url=https://web.archive.org/web/20180612211145/https://www.alizashvarts.com/ASIS/_.._files/Lambert-Beatty_Make-Believe.pdf|archive-date=2018-06-12|url-status=dead}}</ref> Her art and writing explore [[Queer theory|queer]] and [[Feminism|feminist]] understandings of reproduction and [[Duration (philosophy)|duration]],<ref name=":4">{{Cite web|url=https://www.artswriters.org/grant/grantees/grantee/aliza_shvarts|title=Aliza Shvarts - Grantees|date=2014|website=Arts Writers Grant Program|access-date=2018-05-30}}</ref> and use these themes to affirm [[abjection]], failure, and "decreation". [[Simone Weil]]{{'}}s idea of decreation has been described as "a mystical passage from the created to the uncreated"<ref>Marcus Boon and Gabriel Levine, “The Promise of Practice” in ''Documents of Contemporary Art: Practice'' (Cambridge: MIT Press, 2018), 21.</ref>
and "a spiritual exercise of mystical passage: across a threshold, from created to uncreated".<ref name="Robert">{{cite journal |last1=Robert |first1=William |title=Decreation , or Saying Yes |journal=Epoché: The University of California Journal for the Study of Religion |date=2005 |volume=23 |issue=1 |pages=59–85 |url=http://www.epoche.ucsb.edu/RobertSpring05.pdf |accessdate=28 June 2018}}</ref>
and "a spiritual exercise of mystical passage: across a threshold, from created to uncreated".<ref name="Robert">{{cite journal |last1=Robert |first1=William |title=Decreation , or Saying Yes |journal=Epoché: The University of California Journal for the Study of Religion |date=2005 |volume=23 |issue=1 |pages=59–85 |url=http://www.epoche.ucsb.edu/RobertSpring05.pdf |access-date=28 June 2018}}</ref>


Shvarts' 2008 performance ''Untitled [Senior Thesis], 2008''<ref name="Hagen">{{cite journal |last1=Hagen |first1=Lisa Hall |title=A performance ethics of the 'real' abortive body: The case of Aliza Shvarts and 'Untitled [Senior Thesis], 2008' |journal=Performing Ethos: International Journal of Ethics in Theatre and Performance |date=4 April 2012 |volume=2 |issue=1 |pages=21–39 |doi=10.1386/peet.2.1.21_1 |url=https://www.ingentaconnect.com/contentone/intellect/peet/2011/00000002/00000001/art00003 |accessdate=28 June 2018}}</ref> was the center of the so-called [[Yale student abortion art controversy]], generating an international debate.<ref>{{Cite news|url=http://www.artnet.com/magazineus/features/finch/finch5-12-08.asp|title=Mission Aborted|last=Finch|first=Charlie|date=12 May 2008|work=ArtNet|access-date=30 May 2018}}</ref> The work explores ideas of fiction and doubt,<ref name=":1">{{Cite book|title=Learning how to fall: art and culture after September 11|last=Schotzko|first=T. Nikki Cesare|publisher=Routledge|year=2015|isbn=9781138796881|location=Abingdon, Oxon|pages=99–128|chapter=Not yet finished, never yet begun: Aliza Shvarts, the girl from West Virginia, and the consequence of doubt|oclc=890462461}}</ref> and engages feminist inquiries into the medical, political, and legal frameworks of gender and reproduction.<ref name=":2">{{Cite book|title=Hold it against me: difficulty and emotion in contemporary art|last=Doyle|first=Jennifer|publisher=Duke University Press|year=2013|isbn=9780822353027|location=Durham|pages=28–39|chapter=Three Case Studies in Difficulty and the Problem of Affect|oclc=808216847}}</ref>
Shvarts' 2008 performance ''[[Untitled (Senior Thesis)|Untitled [Senior Thesis], 2008]]''<ref name="Hagen">{{cite journal |last1=Hagen |first1=Lisa Hall |title=A performance ethics of the 'real' abortive body: The case of Aliza Shvarts and 'Untitled [Senior Thesis], 2008' |journal=Performing Ethos: International Journal of Ethics in Theatre and Performance |date=4 April 2012 |volume=2 |issue=1 |pages=21–39 |doi=10.1386/peet.2.1.21_1 }}</ref> generated an international debate.<ref>{{Cite news|url=http://www.artnet.com/magazineus/features/finch/finch5-12-08.asp|title=Mission Aborted|last=Finch|first=Charlie|date=12 May 2008|work=ArtNet|access-date=30 May 2018}}</ref> The work explores ideas of fiction and doubt,<ref name=":1">{{Cite book|title=Learning how to fall: art and culture after September 11|last=Schotzko|first=T. Nikki Cesare|publisher=Routledge|year=2015|isbn=9781138796881|location=Abingdon, Oxon|pages=99–128|chapter=Not yet finished, never yet begun: Aliza Shvarts, the girl from West Virginia, and the consequence of doubt|oclc=890462461}}</ref> and engages feminist inquiries into the medical, political, and legal frameworks of gender and reproduction.<ref name=":2">{{Cite book|title=Hold it against me: difficulty and emotion in contemporary art|last=Doyle|first=Jennifer|publisher=Duke University Press|year=2013|isbn=9780822353027|location=Durham|pages=28–39|chapter=Three Case Studies in Difficulty and the Problem of Affect|oclc=808216847}}</ref>


Her subsequent works ''Non-consensual Collaborations'' (2012–ongoing) and ''How does it feel to be a fiction'' (2017) have expanded on such themes as [[Consent#Sexual activity|consent]], narrative, and doubt.<ref name="Vogel 250">{{Cite journal|last=Vogel|first=Wendy|date=Summer 2018|title=Going Viral: Aliza Shvarts's Daring Performance Work|url=|journal=[[Mousse]]|volume=64|pages=250|via=}}</ref> Shvarts holds a BA from [[Yale University]], and is a PhD candidate in [[Performance Studies]] at [[New York University]].<ref>https://www.nytimes.com/2018/07/21/style/campus-sex-women-exposure.html</ref><ref>{{cite web|url=http://www.impactmania.com/article/aliza-shvarts-banned-common/|title=Aliza Shvarts on Being Banned and What We Have in Common (interview) |last=|first=|date=|website=Impact Mania|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref>
Her subsequent works ''Non-consensual Collaborations'' (2012–ongoing) and ''How does it feel to be a fiction'' (2017) have expanded on such themes as [[Consent#Sexual activity|consent]], narrative, and doubt.<ref name="Vogel 250">{{Cite journal|last=Vogel|first=Wendy|date=Summer 2018|title=Going Viral: Aliza Shvarts's Daring Performance Work|journal=[[Mousse]]|volume=64|pages=250}}</ref> Shvarts holds a BA from [[Yale University]], and a PhD in [[Performance Studies]] from [[New York University]].<ref>{{Cite news|url=https://www.nytimes.com/2018/07/21/style/campus-sex-women-exposure.html|title = There is Life After Campus Infamy|newspaper = The New York Times|date = 21 July 2018|last1 = Alptraum|first1 = Lux}}</ref><ref>{{cite web|url=http://www.impactmania.com/article/aliza-shvarts-banned-common/|title=Aliza Shvarts on Being Banned and What We Have in Common (interview) |website=Impact Mania|access-date=30 May 2018}}</ref>


== Career ==
== Career ==
{{main|Yale student abortion art controversy}}
{{main|Untitled (Senior Thesis)}}
In the spring of her senior year at Yale, Shvarts’s first major work, ''Untitled [Senior Thesis]'' (2008), was the center of an [[Yale student abortion art controversy|international debate]] around abortion.<ref name=":2" /> The piece consisted of a [[Duration (philosophy)|"durational"]] (crudely translated as "extended time") performance of self-induced [[miscarriage]]s,<ref>{{Cite news|url=https://yaledailynews.com/blog/2008/04/18/shvarts-explains-her-repeated-self-induced-miscarriages/|title=Shvarts Explains Her 'Repeated Self-Induced Miscarriages'|last=Shvarts|first=Aliza|date=18 April 2008|work=Yale News|access-date=30 May 2018}}</ref> and was intensely controversial, with criticism from mass media outlets and both anti-abortion and [[Abortion-rights movements|pro-choice]] political commentators.<ref name=":1" /> Yale claimed that the project was a “creative fiction”<ref>{{cite web|url=https://www.nytimes.com/2008/04/23/nyregion/23yale.html|title=An Artwork at Yale May Not Be Real, but the Furor Is|first=Karen W.|last=Arenson|date=23 April 2008|via=NYTimes.com}}</ref> and requested that Shvarts submit an alternate thesis project in order to graduate.<ref>{{Cite news|url=https://www.nytimes.com/2008/04/22/arts/22arts-YALEDEMANDSE_BRF.html|title=Yale Demands End to Student’s Performance|last=Kennedy|first=Randy|date=2008-04-22|work=The New York Times|access-date=2018-05-30|language=en-US|issn=0362-4331}}</ref><ref>{{Cite news|url=https://www.nytimes.com/2008/05/01/arts/01arts-YALESTUDENTS_BRF.html|title=Yale Students' New Art|last=Gelder|first=Lawrence Van|date=2008-05-01|work=The New York Times|access-date=2018-05-30|language=en-US|issn=0362-4331}}</ref> The work has since been considered an important piece of [[Feminism|feminist]] performance art. Theorist, [[Jennifer Doyle]], notes that the performance “exposed the investments of a range of institutional systems in [the female] body as both a creative and reproductive system,” and wrote of the media controversy, “the content of the performance has expanded to include nearly all reaction to it.”<ref name=":2" /> Art historian, Carrie Lambert Beatty, writes that the project’s “central point [is] that what we take as biological facts are constructed in language and ideology,” noting the different implications of calling Shvarts’s bleeding a period, a miscarriage, or an abortion.<ref name=":0" /> Shvarts’s later artworks made using documentation of ''Untitled [Senior Thesis]'' have since been exhibited at [[Artspace]], New Haven<ref name="artspacenewhaven.org">{{cite web|url=https://artspacenewhaven.org/exhibitions/aliza-shvarts-off-scene/|title=Aliza Shvarts: Off Scene May 11- June 30, 2018 |last=|first=|date=2018|website=Artspace New Haven|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> and written about in ''[[Texte zur Kunst]]'',<ref>{{Cite journal|last=Fusco|first=Coco|date=March 2018|title=Learning the Rules of the Game: Art Without Rules?|url=|journal=[[Texte zur Kunst]]|volume=109|pages=108|via=}}</ref> ''[[Mousse]]'',<ref name="Vogel 250"/> and ''[[Artforum]]''.<ref name="Olunkwa">{{Cite journal|last=Olunkwa|first=Emmanuel|date=June 12, 2018|title=Interviews: Aliza Shvarts talks about her exhibition at Artspace in New Haven, Connecticut|url=https://www.artforum.com/interviews/aliza-shvarts-talks-about-her-exhibition-at-artspace-in-new-haven-connecticut-75730|journal=[[Artforum]]|volume=|pages=|via=}}</ref>
In the spring of her senior year at Yale, Shvarts's first major work, ''Untitled [Senior Thesis]'' (2008), was the center of an international debate around abortion.<ref name=":2" /> The piece consisted of a [[Duration (philosophy)|"durational"]] (crudely translated as "extended time") performance of self-induced [[miscarriage]]s,<ref>{{Cite news|url=https://yaledailynews.com/blog/2008/04/18/shvarts-explains-her-repeated-self-induced-miscarriages/|title=Shvarts Explains Her 'Repeated Self-Induced Miscarriages'|last=Shvarts|first=Aliza|date=18 April 2008|work=Yale News|access-date=30 May 2018}}</ref> and was intensely controversial, with criticism from mass media outlets and both [[Anti-abortion movements|anti-abortion]] and [[Abortion-rights movements|pro-choice]] political commentators.<ref name=":1" /> Yale claimed that the project was a “creative fiction”<ref>{{cite news|url=https://www.nytimes.com/2008/04/23/nyregion/23yale.html|title=An Artwork at Yale May Not Be Real, but the Furor Is|first=Karen W.|last=Arenson|newspaper=The New York Times|date=23 April 2008}}</ref> and requested that Shvarts submit an alternate thesis project in order to graduate.<ref>{{Cite news|url=https://www.nytimes.com/2008/04/22/arts/22arts-YALEDEMANDSE_BRF.html|title=Yale Demands End to Student's Performance|last=Kennedy|first=Randy|date=2008-04-22|work=The New York Times|access-date=2018-05-30|language=en-US|issn=0362-4331}}</ref><ref>{{Cite news|url=https://www.nytimes.com/2008/05/01/arts/01arts-YALESTUDENTS_BRF.html|title=Yale Students' New Art|last=Gelder|first=Lawrence Van|date=2008-05-01|work=The New York Times|access-date=2018-05-30|language=en-US|issn=0362-4331}}</ref> The work has since been considered an important piece of [[Feminism|feminist]] performance art. Theorist, [[Jennifer Doyle]], notes that the performance “exposed the investments of a range of institutional systems in [the female] body as both a creative and reproductive system,” and wrote of the media controversy, “the content of the performance has expanded to include nearly all reaction to it.”<ref name=":2" /> Art historian, Carrie Lambert Beatty, writes that the project's “central point [is] that what we take as biological facts are constructed in language and ideology,” noting the different implications of calling Shvarts's bleeding a period, a miscarriage, or an abortion.<ref name=":0" /> Shvarts's later artworks made using documentation of ''Untitled [Senior Thesis]'' have since been exhibited at [[Artspace, New Haven]]<ref name="artspacenewhaven.org">{{cite web|url=https://artspacenewhaven.org/exhibitions/aliza-shvarts-off-scene/|title=Aliza Shvarts: Off Scene May 11- June 30, 2018 |date=2018|website=Artspace New Haven|access-date=30 May 2018}}</ref> and written about in ''[[Texte zur Kunst]]'',<ref>{{Cite journal|last=Fusco|first=Coco|date=March 2018|title=Learning the Rules of the Game: Art Without Rules?|journal=[[Texte zur Kunst]]|volume=109|pages=108}}</ref> ''[[Mousse]]'',<ref name="Vogel 250"/> and ''[[Artforum]]''.<ref name="Olunkwa">{{Cite journal|last=Olunkwa|first=Emmanuel|date=June 12, 2018|title=Interviews: Aliza Shvarts talks about her exhibition at Artspace in New Haven, Connecticut|url=https://www.artforum.com/interviews/aliza-shvarts-talks-about-her-exhibition-at-artspace-in-new-haven-connecticut-75730|journal=[[Artforum]]}}</ref>


Shvarts continues to explore ideas surrounding gender, narrative, and truth in her performance ''Please Come Find Me'' (2012), in which she invited participants to ask her to do something they thought she'd never done before,<ref>Schotzko, 124.</ref> as well as ''Non-consensual Collaborations'' (2012–ongoing), in which she retroactively designates events and interactions not initially conceived as part of an artistic project as art<ref name="Kachel">{{cite journal |last1=Kachel |first1=Andrew |title=Aliza Shvarts |journal=Out of Order |date=2017 |volume=Summer |page=260}}</ref> to explore the gendered dynamics of artistic collaboration.<ref name="Olunkwa"/> ''Non-consensual Collaborations'' has been presented at the [[Hemispheric Institute of Performance and Politics]]<ref name=":3">{{Cite web|url=http://hemisphericinstitute.org/excentrico/5973/aliza-shvarts/|title=Aliza Shvarts|last=|first=|date=|website=Hemispheric Institute|language=en-US|archive-url=|archive-date=|dead-url=|access-date=2018-05-30}}</ref> and The 8th Floor, New York.<ref name=":6">{{cite web|url=http://sdrubin.org/events/march-29-consentdissent-talk-aliza-shvarts-emma-sulkowicz/|title=March 29: Consent/Dissent, a talk by Aliza Shvarts and Emma Sulkowicz|last=|first=|date=24 March 2017|website=The Shelley & Donald Rubin Foundation|archive-url=https://web.archive.org/web/20180610170819/http://www.sdrubin.org/events/march-29-consentdissent-talk-aliza-shvarts-emma-sulkowicz/|archive-date=10 June 2018|dead-url=|access-date=30 May 2018|url-status=dead}}</ref>
Shvarts continues to explore ideas surrounding gender, narrative, and truth in her performance ''Please Come Find Me'' (2012), in which she invited participants to ask her to do something they thought she'd never done before,<ref>Schotzko, 124.</ref> as well as ''Non-consensual Collaborations'' (2012–ongoing), in which she retroactively designates events and interactions not initially conceived as part of an artistic project as art<ref name="Kachel">{{cite journal |last1=Kachel |first1=Andrew |title=Aliza Shvarts |journal=Out of Order |date=2017 |volume=Summer |page=260}}</ref> to explore the gendered dynamics of artistic collaboration.<ref name="Olunkwa"/> ''Non-consensual Collaborations'' has been presented at the [[Hemispheric Institute of Performance and Politics]]<ref name=":3">{{Cite web|url=http://hemisphericinstitute.org/excentrico/5973/aliza-shvarts/|title=Aliza Shvarts|website=Hemispheric Institute|language=en-US|archive-url=https://web.archive.org/web/20180628183356/http://hemisphericinstitute.org/excentrico/5973/aliza-shvarts/|archive-date=2018-06-28|access-date=2018-05-30|url-status=dead}}</ref> and The [[The 8th Floor|8th Floor]], New York.<ref name=":6">{{cite web|url=http://sdrubin.org/events/march-29-consentdissent-talk-aliza-shvarts-emma-sulkowicz/|title=March 29: Consent/Dissent, a talk by Aliza Shvarts and Emma Sulkowicz|date=24 March 2017|website=The Shelley & Donald Rubin Foundation|archive-url=https://web.archive.org/web/20180610170819/http://www.sdrubin.org/events/march-29-consentdissent-talk-aliza-shvarts-emma-sulkowicz/|archive-date=10 June 2018|access-date=30 May 2018|url-status=dead}}</ref>


In 2017, Shvarts further used digital communication and mass media to engage concepts of “[[truthiness]]” and “[[fake news]]" in ''How Does It Feel To Be A Fiction'' (2017), a [[Viral phenomenon|viral]] email performance that explores the various ways in which people are read as fictional along lines of race, class, gender, and sexuality by systems of institutional power.<ref name="Vogel 250"/><ref>{{Cite book|chapter-url=https://issuu.com/alizashvarts/docs/offscene_final_pages_cover_issuu|title=Off-Scene|last=Szymanek|first=Angelique|publisher=Artspace|year=2018|isbn=|location=New Haven, CT|pages=3–7|chapter=Aliza Shvarts: Material Fictions}}</ref> Originally commissioned by [[Recess Activities|Recess]]’s Critical Writing Fellowship,<ref name=":5">{{Cite web|url=https://www.recessart.org/alizashvarts/|title=Aliza Shvarts: How Does it Feel to Be a Fiction? |last=Shvarts|first=Aliza |date=|website=Recess|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> versions of ''How Does It Feel To Be A Fiction'' have been presented at the [[University of Los Andes (Colombia)|Universidad de Los Andes]], Bogatá,<ref>{{Cite web|url=http://www.decabeza.org/no-coma-cuento/|title=(No) coma cuento Verdad y mentira al mismo tiempo (y en sentido contrario)|last=|first=|date=2017|website=De Cabeza|language=Spanish|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> and [[Artspace]], New Haven.<ref name="artspacenewhaven.org"/>
In 2017, Shvarts further used digital communication and mass media to engage concepts of “[[truthiness]]” and “[[fake news]]" in ''How Does It Feel To Be A Fiction'' (2017), a [[Viral phenomenon|viral]] email performance that explores the various ways in which people are read as fictional along lines of race, class, gender, and sexuality by systems of institutional power.<ref name="Vogel 250"/><ref>{{Cite book|chapter-url=https://issuu.com/alizashvarts/docs/offscene_final_pages_cover_issuu|title=Off-Scene|last=Szymanek|first=Angelique|publisher=Artspace|year=2018|location=New Haven, CT|pages=3–7|chapter=Aliza Shvarts: Material Fictions}}</ref> Originally commissioned by [[Recess Activities|Recess]]’s Critical Writing Fellowship,<ref name=":5">{{Cite web|url=https://www.recessart.org/alizashvarts/|title=Aliza Shvarts: How Does it Feel to Be a Fiction? |last=Shvarts|first=Aliza |website=Recess|date=6 April 2017 |access-date=30 May 2018}}</ref> versions of ''How Does It Feel To Be A Fiction'' have been presented at the [[University of Los Andes (Colombia)|Universidad de Los Andes]], Bogotá,<ref>{{Cite web|url=http://www.decabeza.org/no-coma-cuento/|title=(No) coma cuento Verdad y mentira al mismo tiempo (y en sentido contrario)|date=2017|website=De Cabeza|language=es|access-date=30 May 2018}}</ref> and [[Artspace, New Haven]].<ref name="artspacenewhaven.org"/>


== Publications ==
== Publications ==
Shvarts’s writing has appeared in ''[[TDR: The Drama Review]]'',<ref>{{cite journal|title=The Con|first=Aliza|last=Shvarts|date=1 June 2014|publisher=|journal=TDR/The Drama Review|volume=58|issue=2|pages=2–3|doi=10.1162/dram_a_00342}}</ref> ''The Feminist and Queer Information Studies Reader'',<ref>{{cite book|url=http://litwinbooks.com/fqis-reader.php|title=Litwin Books, LLC : Feminist and Queer Information Studies Reader|isbn=978-1-936117-16-1|website=Litwin Books, LLC|archive-url=|archive-date=|dead-url=|access-date=30 May 2018|last1=Keilty|first1=Patrick|last2=Dean|first2=Rebecca|year=2013}}</ref> and ''[[The Brooklyn Rail]]''.<ref>{{cite web|url=https://brooklynrail.org/2015/02/criticspage/black-wedding|title=Black Wedding|last=Shvarts|first=Aliza|date=5 February 2015|website=The Brooklyn Rail|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref><ref>{{cite web|url=http://www.thefader.com/2015/12/01/sunn-o-interview-kannon-album|title=How Sunn O)))'s Subversive Metal Birthed An Album With A Buddhist Heart|last=Barron|first=Michael|date=1 December 2015|website=The Fader|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> She is on the advisory board of ''Women & Performance: a journal of feminist theory'',<ref>{{Cite web|url=https://www.womenandperformance.org/about/|title=About the Journal|last=|first=|date=|website=Women & Performance|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> where she has published a number of essays, including “Figuration and Failure, Performance and Pedagogy: Reflections Three Years Later,” which considers what it meant to be known for a piece that had, at the time, never been exhibited publicly.<ref>{{Cite journal|last=Shvarts|first=Aliza|date=March 2011|title=Figuration and Failure, Pedagogy and Performance: Reflections Three Years Later|url=https://alizashvarts.com/ewExternalFiles/Figuration%20and%20Failure.pdf|journal=Women & Performance: A Journal of Feminist Theory|volume=21|issue=1|pages=155–162|via=|doi=10.1080/0740770X.2011.563047}}</ref><ref name="Hagen"/>
Shvarts's writing has appeared in ''[[TDR: The Drama Review]]'',<ref>{{cite journal|title=The Con|first=Aliza|last=Shvarts|date=1 June 2014|journal=TDR/The Drama Review|volume=58|issue=2|pages=2–3|doi=10.1162/dram_a_00342|s2cid=57564363|doi-access=free}}</ref> ''The Feminist and Queer Information Studies Reader'',<ref>{{cite book|url=http://litwinbooks.com/fqis-reader.php|title=Litwin Books, LLC : Feminist and Queer Information Studies Reader|isbn=978-1-936117-16-1|access-date=30 May 2018|last1=Keilty|first1=Patrick|last2=Dean|first2=Rebecca|year=2013|publisher=Litwin Books, LLC }}</ref> and ''[[The Brooklyn Rail]]''.<ref>{{cite web|url=https://brooklynrail.org/2015/02/criticspage/black-wedding|title=Black Wedding|last=Shvarts|first=Aliza|date=5 February 2015|website=The Brooklyn Rail|access-date=30 May 2018}}</ref><ref>{{cite web|url=http://www.thefader.com/2015/12/01/sunn-o-interview-kannon-album|title=How Sunn O)))'s Subversive Metal Birthed An Album With A Buddhist Heart|last=Barron|first=Michael|date=1 December 2015|website=The Fader|access-date=30 May 2018}}</ref> She is on the advisory board of ''Women & Performance: a journal of feminist theory'',<ref>{{Cite web|url=https://www.womenandperformance.org/about/|title=About the Journal|website=Women & Performance|access-date=30 May 2018}}</ref> where she has published a number of essays, including “Figuration and Failure, Performance and Pedagogy: Reflections Three Years Later,” which considers what it meant to be known for a piece that had, at the time, never been exhibited publicly.<ref name="Hagen"/><ref>{{Cite journal|last=Shvarts|first=Aliza|date=March 2011|title=Figuration and Failure, Pedagogy and Performance: Reflections Three Years Later|url=https://alizashvarts.com/ewExternalFiles/Figuration%20and%20Failure.pdf|journal=Women & Performance: A Journal of Feminist Theory|volume=21|issue=1|pages=155–162|doi=10.1080/0740770X.2011.563047|s2cid=191495535}}</ref>
She has given talks and lectures at [[Artists Space]],<ref>{{cite web|url=http://artistsspace.org/programs/in-the-last-instance|title=In the Last Instance|last=|first=|date=2017|website=Artists Space|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> the [[Whitney Museum]],<ref>{{cite web|url=https://whitney.org/Events/CriticalUtopianism|title=Critical Utopianism from Yoko Ono to Jimmie Durham - Whitney Museum of American Art|last=|first=|date=2017|website=Whitney Museum of American Art|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref><ref>{{cite web|url=https://whitney.org/Events/ParticipationOccupationBelonging|title=Learning Series Lecture: Participation/ Occupation/ Belonging - Whitney Museum of American Art|last=|first=|date=|website=Whitney Museum of American Art|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> [[Harvard University]],<ref>{{cite web|url=https://drclas.harvard.edu/event/prosthetic-programming|title=ARTS@DRCLAS/ HAA/ VES Series: Prosthetic Realities Programming|last=|first=|date=|website=David Rockefeller Center for Latin American Studies|publisher=Harvard University|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> and [[Henry Street Settlement#Services|Abrons Arts Center]],<ref>{{cite web|url=http://www.abronsartscenter.org/on-view/exhibits/queens-of-welfare-pawns-of-capital-reframingwelfare-debates-through-archives-public-discussions-and-brunch/|title=Queens of Welfare / Pawns of Capital: ReframingWelfare Debates Through Archives, Public Discussions and Brunch|last=|first=|date=|website=Abrons Arts Center|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> among other institutions. In addition to her artistic and scholarly work, Shvarts has written liner notes for the drone metal band [[SunnO)))]]'s album ''[[Kannon (album)|Kannon]]''<ref>{{cite web|url=https://www.theguardian.com/music/2015/dec/03/sunn-o-kannon-review|title=Sunn O))): Kannon review – daunting but oddly relaxing drone-metal|last=Bakare|first=Lanre|date=3 December 2015|website=The Guardian|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> and appeared as a guest commentator on [[MTV]].<ref>{{cite web|url=http://www.mtv.com/video-clips/3c3ycd/performance-artist-aliza-shvarts-comments-on-kayne-west-s-runaway|title=Performance Artist Aliza Shvarts Comments On Kayne West's 'Runaway' (Video Clip) - MTV|last=|first=|date=|website=MTV|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref>
She has given talks and lectures at [[Artists Space]],<ref>{{cite web|url=http://artistsspace.org/programs/in-the-last-instance|title=In the Last Instance|date=2017|website=Artists Space|access-date=30 May 2018}}</ref> the [[Whitney Museum]],<ref>{{cite web|url=https://whitney.org/Events/CriticalUtopianism|title=Critical Utopianism from Yoko Ono to Jimmie Durham - Whitney Museum of American Art|date=2017|website=Whitney Museum of American Art|access-date=30 May 2018}}</ref><ref>{{cite web|url=https://whitney.org/Events/ParticipationOccupationBelonging|title=Learning Series Lecture: Participation/ Occupation/ Belonging - Whitney Museum of American Art|website=Whitney Museum of American Art|access-date=30 May 2018}}</ref> [[Harvard University]],<ref>{{cite web|url=https://drclas.harvard.edu/event/prosthetic-programming|title=ARTS@DRCLAS/ HAA/ VES Series: Prosthetic Realities Programming|website=David Rockefeller Center for Latin American Studies|publisher=Harvard University|access-date=30 May 2018}}</ref> and [[Henry Street Settlement#Services|Abrons Arts Center]],<ref>{{cite web|url=http://www.abronsartscenter.org/on-view/exhibits/queens-of-welfare-pawns-of-capital-reframingwelfare-debates-through-archives-public-discussions-and-brunch/|title=Queens of Welfare / Pawns of Capital: ReframingWelfare Debates Through Archives, Public Discussions and Brunch|website=Abrons Arts Center|access-date=30 May 2018}}</ref> among other institutions. In addition to her artistic and scholarly work, Shvarts has written liner notes for the [[drone metal]] band [[Sunn O)))]]'s album ''[[Kannon (album)|Kannon]]''<ref>{{cite web|url=https://www.theguardian.com/music/2015/dec/03/sunn-o-kannon-review|title=Sunn O))): Kannon review – daunting but oddly relaxing drone-metal|last=Bakare|first=Lanre|date=3 December 2015|website=The Guardian|access-date=30 May 2018}}</ref> and appeared as a guest commentator on [[MTV]].<ref>{{cite web|url=http://www.mtv.com/video-clips/3c3ycd/performance-artist-aliza-shvarts-comments-on-kanye-west-s-runaway|title=Performance Artist Aliza Shvarts Comments On Kayne West's 'Runaway' (Video Clip) - MTV|website=MTV|access-date=30 May 2018}}{{dead link|date=June 2024|bot=medic}}{{cbignore|bot=medic}}</ref>


== Exhibitions ==
== Exhibitions ==
Shvarts’s work has been the subject of a solo exhibition at Artspace, New Haven, which occurred on the decade anniversary of ''Untitled [Senior Thesis]'' (2008) being censored by Yale.<ref name="artspacenewhaven.org"/> She has also exhibited and performed at Abrons Art Center<ref>{{cite web|url=http://www.abronsartscenter.org/on-stage/shows/subject-to-capital/|title=Subject to Capital|last=|first=|date=|website=Abrons Arts Center|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> and Lévy Gorvy<ref>{{cite web|url=https://www.levygorvy.com/artist/karin-schneider/|title=Karin Schneider|last=|first=|date=|website=Lévy Gorvy Gallery|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> in New York; the Slought Foundation in Philadelphia;<ref>{{cite web|url=https://slought.org/resources/emergent_perspectives|title=Emergent Perspectives|last=|first=|date=|website=Slought|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> and Performance Space <ref>{{cite web|url=http://www.performancespace.org/soapboxsession|title=April 2015: Directing Actions|last=|first=|date=|website=Performance Space|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> and the [[Tate Modern]]<ref>{{cite web|url=https://yaledailynews.com/blog/2008/06/26/shvarts-to-present-new-piece-at-tate-modern/|title=Shvarts to present new piece at Tate Modern|last=Abrahamson|first=Zachary|last2=Kaplan|first2=Thomas|date=26 June 2008|website=Yale News|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> in London, among other venues. She frequently designs stage sets for and performs with [[Carmelita Tropicana]],<ref>{{cite web|url=http://sfonline.barnard.edu/life-un-ltd-feminism-bioscience-race/bio-performatives-cross-species-and-continents-of-plastic-in-chicas-2000-and-post-plastica-an-interview-with-carmelita-tropicana-and-ela-troyano/3/|title=Bio-Performatives, Cross-Species, and Continents of Plastic in ''Chicas 2000'' and ''Post Plastica'': An Interview with Carmelita Tropicana and Ela Troyano|last=McHugh|first=Kathleen|date=2013|website=S&F Online|publisher=Barnard Center for Research on Women|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> and has collaborated with [[Vaginal Davis]],<ref>{{cite web|url=https://steinhardt.nyu.edu/80wse/gallery/2016/05/themagicfluteparttwo|title=The Magic Flute, Part Two: A Film in Pieces - 80 Washington Square East Galleries - NYU Steinhardt|last=Auder|first=Michel|last2=Stickrod|first2=Michael|date=2015|website=Steinhardt|publisher=NYU|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> [[Emma Sulkowicz]],<ref name=":6" /><ref>{{cite web|url=https://brooklynrail.org/2017/05/art/Emma-Sulkowicz-with-Kang-Kang|title=Emma Sulkowicz with Kang Kang|last=|first=|date=1 May 2017|website=The Brooklyn Rail|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> and Critical Practices, Inc.<ref>{{cite web|url=http://www.criticalpractices.org/about/|title=About Us|last=|first=|date=|website=Critical Practices Inc.|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref>
Shvarts's work has been the subject of a solo exhibition at Artspace, New Haven, which occurred on the decade anniversary of ''Untitled [Senior Thesis]'' (2008) being censored by Yale.<ref name="artspacenewhaven.org"/> She has also exhibited and performed at Abrons Art Center<ref>{{cite web|url=http://www.abronsartscenter.org/on-stage/shows/subject-to-capital/|title=Subject to Capital|website=Abrons Arts Center|access-date=30 May 2018}}</ref> and Lévy Gorvy in New York;{{citation needed|date=June 2021}} the Slought Foundation in Philadelphia;<ref>{{cite web|url=https://slought.org/resources/emergent_perspectives|title=Emergent Perspectives|website=Slought|access-date=30 May 2018}}</ref> and Performance Space <ref>{{cite web|url=http://www.performancespace.org/soapboxsession|title=April 2015: Directing Actions|website=Performance Space|access-date=30 May 2018}}</ref> and the [[Tate Modern]]<ref>{{cite web|url=https://yaledailynews.com/blog/2008/06/26/shvarts-to-present-new-piece-at-tate-modern/|title=Shvarts to present new piece at Tate Modern|last1=Abrahamson|first1=Zachary|last2=Kaplan|first2=Thomas|date=26 June 2008|website=Yale News|access-date=30 May 2018}}</ref> in London, among other venues. She frequently designs stage sets for and performs with [[Carmelita Tropicana]],<ref>{{cite web|url=http://sfonline.barnard.edu/life-un-ltd-feminism-bioscience-race/bio-performatives-cross-species-and-continents-of-plastic-in-chicas-2000-and-post-plastica-an-interview-with-carmelita-tropicana-and-ela-troyano/3/|title=Bio-Performatives, Cross-Species, and Continents of Plastic in ''Chicas 2000'' and ''Post Plastica'': An Interview with Carmelita Tropicana and Ela Troyano|last=McHugh|first=Kathleen|date=2013|website=S&F Online|publisher=Barnard Center for Research on Women|access-date=30 May 2018}}</ref> and has collaborated with [[Vaginal Davis]],<ref>{{cite web|url=https://steinhardt.nyu.edu/80wse/gallery/2016/05/themagicfluteparttwo|title=The Magic Flute, Part Two: A Film in Pieces - 80 Washington Square East Galleries - NYU Steinhardt|last1=Auder|first1=Michel|last2=Stickrod|first2=Michael|date=2015|website=Steinhardt|publisher=NYU|access-date=30 May 2018}}</ref> [[Emma Sulkowicz]],<ref name=":6" /><ref>{{cite web|url=https://brooklynrail.org/2017/05/art/Emma-Sulkowicz-with-Kang-Kang|title=Emma Sulkowicz with Kang Kang|date=1 May 2017|website=The Brooklyn Rail|access-date=30 May 2018}}</ref> and Critical Practices, Inc.<ref>{{cite web|url=http://www.criticalpractices.org/about/|title=About Us|website=Critical Practices Inc.|access-date=30 May 2018}}</ref>


== Awards and fellowships ==
== Awards and fellowships ==
Shvarts was a 2017 Critical Writing Fellow at Recess, New York<ref name=":5" /> and a [[List of Creative Capital Grant recipients#2014 Arts Writers Grant Program|2014 recipient]] of the Creative Capital | Warhol Foundation Arts Writers Grant.<ref name=":4" /><ref>{{cite web|url=https://www.artforum.com/news/2014-warhol-arts-writers-grants-announced-49356|title=2014 Warhol Arts Writers Grants Announced|last=|first=|date=4 December 2014|website=ArtForum|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref> She attended the Whitney Independent Study Program as a Helena Rubinstein Fellow in Critical Studies in 2014 to 2015.<ref>{{cite web|url=https://whitney.org/Events/2015CriticalStudiesProgramSymposium|title=Whitney Independent Study Program Critical Studies Symposium: Critical Perspectives on Visual Culture - Whitney Museum of American Art|last=|first=|date=|website=Whitney Museum of American Art|archive-url=|archive-date=|dead-url=|access-date=30 May 2018}}</ref>
Shvarts was a 2017 Critical Writing Fellow at Recess, New York<ref name=":5" /> and a [[List of Creative Capital Grant recipients#2014 Arts Writers Grant Program|2014 recipient]] of the [[Creative Capital]] | Warhol Foundation Arts Writers Grant.<ref name=":4" /><ref>{{cite web|url=https://www.artforum.com/news/2014-warhol-arts-writers-grants-announced-49356|title=2014 Warhol Arts Writers Grants Announced|date=4 December 2014|website=ArtForum|access-date=30 May 2018}}</ref> She attended the Whitney Independent Study Program as a Helena Rubinstein Fellow in Critical Studies in 2014 to 2015.<ref>{{cite web|url=https://whitney.org/Events/2015CriticalStudiesProgramSymposium|title=Whitney Independent Study Program Critical Studies Symposium: Critical Perspectives on Visual Culture - Whitney Museum of American Art|website=Whitney Museum of American Art|access-date=30 May 2018}}</ref>


== See also ==
== See also ==
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[[Category:Living people]]
[[Category:Living people]]
[[Category:American women artists]]
[[Category:American women artists]]
[[Category:Jewish American artists]]
[[Category:American contemporary artists]]
[[Category:American contemporary artists]]
[[Category:Yale University alumni]]
[[Category:Yale University alumni]]
[[Category:21st-century American women]]

Latest revision as of 19:28, 27 June 2024

Aliza Shvarts
Aliza Shvarts speaking at the Whitney.
Born1986 (age 37–38)
NationalityAmerican
EducationNew York University, Yale University, Whitney Independent Study Program
Known for
AwardsCreative Capital Art Writers Award
Websitealizashvarts.com

Aliza Shvarts (born 1986) is an artist and writer who works in performance, video, and installation.[1] Her art and writing explore queer and feminist understandings of reproduction and duration,[2] and use these themes to affirm abjection, failure, and "decreation". Simone Weil's idea of decreation has been described as "a mystical passage from the created to the uncreated"[3] and "a spiritual exercise of mystical passage: across a threshold, from created to uncreated".[4]

Shvarts' 2008 performance Untitled [Senior Thesis], 2008[5] generated an international debate.[6] The work explores ideas of fiction and doubt,[7] and engages feminist inquiries into the medical, political, and legal frameworks of gender and reproduction.[8]

Her subsequent works Non-consensual Collaborations (2012–ongoing) and How does it feel to be a fiction (2017) have expanded on such themes as consent, narrative, and doubt.[9] Shvarts holds a BA from Yale University, and a PhD in Performance Studies from New York University.[10][11]

Career

[edit]
Main article: Untitled (Senior Thesis)

In the spring of her senior year at Yale, Shvarts's first major work, Untitled [Senior Thesis] (2008), was the center of an international debate around abortion.[8] The piece consisted of a "durational" (crudely translated as "extended time") performance of self-induced miscarriages,[12] and was intensely controversial, with criticism from mass media outlets and both anti-abortion and pro-choice political commentators.[7] Yale claimed that the project was a “creative fiction”[13] and requested that Shvarts submit an alternate thesis project in order to graduate.[14][15] The work has since been considered an important piece of feminist performance art. Theorist, Jennifer Doyle, notes that the performance “exposed the investments of a range of institutional systems in [the female] body as both a creative and reproductive system,” and wrote of the media controversy, “the content of the performance has expanded to include nearly all reaction to it.”[8] Art historian, Carrie Lambert Beatty, writes that the project's “central point [is] that what we take as biological facts are constructed in language and ideology,” noting the different implications of calling Shvarts's bleeding a period, a miscarriage, or an abortion.[1] Shvarts's later artworks made using documentation of Untitled [Senior Thesis] have since been exhibited at Artspace, New Haven[16] and written about in Texte zur Kunst,[17] Mousse,[9] and Artforum.[18]

Shvarts continues to explore ideas surrounding gender, narrative, and truth in her performance Please Come Find Me (2012), in which she invited participants to ask her to do something they thought she'd never done before,[19] as well as Non-consensual Collaborations (2012–ongoing), in which she retroactively designates events and interactions not initially conceived as part of an artistic project as art[20] to explore the gendered dynamics of artistic collaboration.[18] Non-consensual Collaborations has been presented at the Hemispheric Institute of Performance and Politics[21] and The 8th Floor, New York.[22]

In 2017, Shvarts further used digital communication and mass media to engage concepts of “truthiness” and “fake news" in How Does It Feel To Be A Fiction (2017), a viral email performance that explores the various ways in which people are read as fictional along lines of race, class, gender, and sexuality by systems of institutional power.[9][23] Originally commissioned by Recess’s Critical Writing Fellowship,[24] versions of How Does It Feel To Be A Fiction have been presented at the Universidad de Los Andes, Bogotá,[25] and Artspace, New Haven.[16]

Publications

[edit]

Shvarts's writing has appeared in TDR: The Drama Review,[26] The Feminist and Queer Information Studies Reader,[27] and The Brooklyn Rail.[28][29] She is on the advisory board of Women & Performance: a journal of feminist theory,[30] where she has published a number of essays, including “Figuration and Failure, Performance and Pedagogy: Reflections Three Years Later,” which considers what it meant to be known for a piece that had, at the time, never been exhibited publicly.[5][31] She has given talks and lectures at Artists Space,[32] the Whitney Museum,[33][34] Harvard University,[35] and Abrons Arts Center,[36] among other institutions. In addition to her artistic and scholarly work, Shvarts has written liner notes for the drone metal band Sunn O)))'s album Kannon[37] and appeared as a guest commentator on MTV.[38]

Exhibitions

[edit]

Shvarts's work has been the subject of a solo exhibition at Artspace, New Haven, which occurred on the decade anniversary of Untitled [Senior Thesis] (2008) being censored by Yale.[16] She has also exhibited and performed at Abrons Art Center[39] and Lévy Gorvy in New York;[citation needed] the Slought Foundation in Philadelphia;[40] and Performance Space [41] and the Tate Modern[42] in London, among other venues. She frequently designs stage sets for and performs with Carmelita Tropicana,[43] and has collaborated with Vaginal Davis,[44] Emma Sulkowicz,[22][45] and Critical Practices, Inc.[46]

Awards and fellowships

[edit]

Shvarts was a 2017 Critical Writing Fellow at Recess, New York[24] and a 2014 recipient of the Creative Capital | Warhol Foundation Arts Writers Grant.[2][47] She attended the Whitney Independent Study Program as a Helena Rubinstein Fellow in Critical Studies in 2014 to 2015.[48]

See also

[edit]

References

[edit]
  1. ^ a b Lambert-Beatty, Carrie (Summer 2009). "Make-Believe: Parafiction and Plausibility" (PDF). October. 129 (129): 51–84. doi:10.1162/octo.2009.129.1.51. S2CID 57560104. Archived from the original (PDF) on 2018-06-12. Retrieved 2018-05-30.
  2. ^ a b "Aliza Shvarts - Grantees". Arts Writers Grant Program. 2014. Retrieved 2018-05-30.
  3. ^ Marcus Boon and Gabriel Levine, “The Promise of Practice” in Documents of Contemporary Art: Practice (Cambridge: MIT Press, 2018), 21.
  4. ^ Robert, William (2005). "Decreation , or Saying Yes" (PDF). Epoché: The University of California Journal for the Study of Religion. 23 (1): 59–85. Retrieved 28 June 2018.
  5. ^ a b Hagen, Lisa Hall (4 April 2012). "A performance ethics of the 'real' abortive body: The case of Aliza Shvarts and 'Untitled [Senior Thesis], 2008'". Performing Ethos: International Journal of Ethics in Theatre and Performance. 2 (1): 21–39. doi:10.1386/peet.2.1.21_1.
  6. ^ Finch, Charlie (12 May 2008). "Mission Aborted". ArtNet. Retrieved 30 May 2018.
  7. ^ a b Schotzko, T. Nikki Cesare (2015). "Not yet finished, never yet begun: Aliza Shvarts, the girl from West Virginia, and the consequence of doubt". Learning how to fall: art and culture after September 11. Abingdon, Oxon: Routledge. pp. 99–128. ISBN 9781138796881. OCLC 890462461.
  8. ^ a b c Doyle, Jennifer (2013). "Three Case Studies in Difficulty and the Problem of Affect". Hold it against me: difficulty and emotion in contemporary art. Durham: Duke University Press. pp. 28–39. ISBN 9780822353027. OCLC 808216847.
  9. ^ a b c Vogel, Wendy (Summer 2018). "Going Viral: Aliza Shvarts's Daring Performance Work". Mousse. 64: 250.
  10. ^ Alptraum, Lux (21 July 2018). "There is Life After Campus Infamy". The New York Times.
  11. ^ "Aliza Shvarts on Being Banned and What We Have in Common (interview)". Impact Mania. Retrieved 30 May 2018.
  12. ^ Shvarts, Aliza (18 April 2008). "Shvarts Explains Her 'Repeated Self-Induced Miscarriages'". Yale News. Retrieved 30 May 2018.
  13. ^ Arenson, Karen W. (23 April 2008). "An Artwork at Yale May Not Be Real, but the Furor Is". The New York Times.
  14. ^ Kennedy, Randy (2008-04-22). "Yale Demands End to Student's Performance". The New York Times. ISSN 0362-4331. Retrieved 2018-05-30.
  15. ^ Gelder, Lawrence Van (2008-05-01). "Yale Students' New Art". The New York Times. ISSN 0362-4331. Retrieved 2018-05-30.
  16. ^ a b c "Aliza Shvarts: Off Scene May 11- June 30, 2018". Artspace New Haven. 2018. Retrieved 30 May 2018.
  17. ^ Fusco, Coco (March 2018). "Learning the Rules of the Game: Art Without Rules?". Texte zur Kunst. 109: 108.
  18. ^ a b Olunkwa, Emmanuel (June 12, 2018). "Interviews: Aliza Shvarts talks about her exhibition at Artspace in New Haven, Connecticut". Artforum.
  19. ^ Schotzko, 124.
  20. ^ Kachel, Andrew (2017). "Aliza Shvarts". Out of Order. Summer: 260.
  21. ^ "Aliza Shvarts". Hemispheric Institute. Archived from the original on 2018-06-28. Retrieved 2018-05-30.
  22. ^ a b "March 29: Consent/Dissent, a talk by Aliza Shvarts and Emma Sulkowicz". The Shelley & Donald Rubin Foundation. 24 March 2017. Archived from the original on 10 June 2018. Retrieved 30 May 2018.
  23. ^ Szymanek, Angelique (2018). "Aliza Shvarts: Material Fictions". Off-Scene. New Haven, CT: Artspace. pp. 3–7.
  24. ^ a b Shvarts, Aliza (6 April 2017). "Aliza Shvarts: How Does it Feel to Be a Fiction?". Recess. Retrieved 30 May 2018.
  25. ^ "(No) coma cuento Verdad y mentira al mismo tiempo (y en sentido contrario)". De Cabeza (in Spanish). 2017. Retrieved 30 May 2018.
  26. ^ Shvarts, Aliza (1 June 2014). "The Con". TDR/The Drama Review. 58 (2): 2–3. doi:10.1162/dram_a_00342. S2CID 57564363.
  27. ^ Keilty, Patrick; Dean, Rebecca (2013). Litwin Books, LLC : Feminist and Queer Information Studies Reader. Litwin Books, LLC. ISBN 978-1-936117-16-1. Retrieved 30 May 2018.
  28. ^ Shvarts, Aliza (5 February 2015). "Black Wedding". The Brooklyn Rail. Retrieved 30 May 2018.
  29. ^ Barron, Michael (1 December 2015). "How Sunn O)))'s Subversive Metal Birthed An Album With A Buddhist Heart". The Fader. Retrieved 30 May 2018.
  30. ^ "About the Journal". Women & Performance. Retrieved 30 May 2018.
  31. ^ Shvarts, Aliza (March 2011). "Figuration and Failure, Pedagogy and Performance: Reflections Three Years Later" (PDF). Women & Performance: A Journal of Feminist Theory. 21 (1): 155–162. doi:10.1080/0740770X.2011.563047. S2CID 191495535.
  32. ^ "In the Last Instance". Artists Space. 2017. Retrieved 30 May 2018.
  33. ^ "Critical Utopianism from Yoko Ono to Jimmie Durham - Whitney Museum of American Art". Whitney Museum of American Art. 2017. Retrieved 30 May 2018.
  34. ^ "Learning Series Lecture: Participation/ Occupation/ Belonging - Whitney Museum of American Art". Whitney Museum of American Art. Retrieved 30 May 2018.
  35. ^ "ARTS@DRCLAS/ HAA/ VES Series: Prosthetic Realities Programming". David Rockefeller Center for Latin American Studies. Harvard University. Retrieved 30 May 2018.
  36. ^ "Queens of Welfare / Pawns of Capital: ReframingWelfare Debates Through Archives, Public Discussions and Brunch". Abrons Arts Center. Retrieved 30 May 2018.
  37. ^ Bakare, Lanre (3 December 2015). "Sunn O))): Kannon review – daunting but oddly relaxing drone-metal". The Guardian. Retrieved 30 May 2018.
  38. ^ "Performance Artist Aliza Shvarts Comments On Kayne West's 'Runaway' (Video Clip) - MTV". MTV. Retrieved 30 May 2018.[dead link]
  39. ^ "Subject to Capital". Abrons Arts Center. Retrieved 30 May 2018.
  40. ^ "Emergent Perspectives". Slought. Retrieved 30 May 2018.
  41. ^ "April 2015: Directing Actions". Performance Space. Retrieved 30 May 2018.
  42. ^ Abrahamson, Zachary; Kaplan, Thomas (26 June 2008). "Shvarts to present new piece at Tate Modern". Yale News. Retrieved 30 May 2018.
  43. ^ McHugh, Kathleen (2013). "Bio-Performatives, Cross-Species, and Continents of Plastic in Chicas 2000 and Post Plastica: An Interview with Carmelita Tropicana and Ela Troyano". S&F Online. Barnard Center for Research on Women. Retrieved 30 May 2018.
  44. ^ Auder, Michel; Stickrod, Michael (2015). "The Magic Flute, Part Two: A Film in Pieces - 80 Washington Square East Galleries - NYU Steinhardt". Steinhardt. NYU. Retrieved 30 May 2018.
  45. ^ "Emma Sulkowicz with Kang Kang". The Brooklyn Rail. 1 May 2017. Retrieved 30 May 2018.
  46. ^ "About Us". Critical Practices Inc. Retrieved 30 May 2018.
  47. ^ "2014 Warhol Arts Writers Grants Announced". ArtForum. 4 December 2014. Retrieved 30 May 2018.
  48. ^ "Whitney Independent Study Program Critical Studies Symposium: Critical Perspectives on Visual Culture - Whitney Museum of American Art". Whitney Museum of American Art. Retrieved 30 May 2018.
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