https://amberhawkswanson.com Amber Hawk Swanson Mon, 10 Nov 2025 19:16:25 +0000 https://amberhawkswanson.com en https://amberhawkswanson.com/Menu Mon, 26 Jun 2023 01:05:06 +0000 Amber Hawk Swanson https://amberhawkswanson.com/Menu Work IndexUpdates Projects Cooking Show with Ilana Harris-Babou and Kyla Wazana Tompkins in quori theodor’s installation Gnaw, 2024The Harmony Show, 2021–Present Bemis Center Installation, 2018 DOLLY / PETER, 2018 Fair, Medium, Light Tan, Tan, Cocoa, 2016–Present Dottie, 2015–2017 Dollstock / Dollpile, 2013–2017 Pieces, 2011–2015 Doll Closet, 2014 LOLITA: Penn Cove, 2013 &amp; 2017 Sidore (Mark II) / Heather &gt; LOLITA, 2013 Untitled Fucking, 2013 All That is Left of You / Everything You Are Now, 2012 TILIKUM: Pinup,&nbsp;2012 TILIKUM: Berufjörður and TILIKUM: SeaWorld, 2012 &amp; 2013 Amber Doll &gt; TILIKUM, 2011 Dig, 2010 Online Comments, 2011–2012 &amp; 2019 Amber Doll Project, 2005–2011 Feminism? Project, 2005–2006 &amp; 2013 About / CVAppearances Publications / Text https://amberhawkswanson.com/Portraits-by-Christa-Holka Thu, 10 Jan 2019 07:13:23 +0000 Amber Hawk Swanson https://amberhawkswanson.com/Portraits-by-Christa-Holka <img width="3840" height="3100" width_o="3840" height_o="3100" data-src="https://freight.cargo.site/t/original/i/89f4421fbfb3ca44c8da2534f82ffc232a693d3e571f16dd32246ddf712385aa/amberhawkswanson.com_portrait_by_christa_holka_2012.jpg" data-mid="32350505" border="0" src="https://freight.cargo.site/w/1000/i/89f4421fbfb3ca44c8da2534f82ffc232a693d3e571f16dd32246ddf712385aa/amberhawkswanson.com_portrait_by_christa_holka_2012.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/207eb3b0b032d3546b6b70f590b6601cfaed0dc0df5670e7d56cdf7ad750dc87/amberhawkswanson.com_portrait_by_christa_holka_2013.jpg" data-mid="32350512" border="0" src="https://freight.cargo.site/w/1000/i/207eb3b0b032d3546b6b70f590b6601cfaed0dc0df5670e7d56cdf7ad750dc87/amberhawkswanson.com_portrait_by_christa_holka_2013.jpg" /><img width="2000" height="1323" width_o="2000" height_o="1323" data-src="https://freight.cargo.site/t/original/i/4b7d0e61e7164169cf7509879e0bf74e530cdc76cde6e8f3c6f0af233f039b66/amberhawkswanson.com_portrait_by_christa_holka_2013.jpg" data-mid="32349397" border="0" src="https://freight.cargo.site/w/1000/i/4b7d0e61e7164169cf7509879e0bf74e530cdc76cde6e8f3c6f0af233f039b66/amberhawkswanson.com_portrait_by_christa_holka_2013.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/01c26ef08e69619e79bac37e55b44f39a5c7fa49c0613c1a3a2d04394edebf95/amberhawkswanson.com_portrait_by_christa_holka_2014.jpg" data-mid="32349400" border="0" src="https://freight.cargo.site/w/1000/i/01c26ef08e69619e79bac37e55b44f39a5c7fa49c0613c1a3a2d04394edebf95/amberhawkswanson.com_portrait_by_christa_holka_2014.jpg" /><img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/fb303284a80bed2c6ddd7392faac3354a69ec7eeba1bddd8bdfb655ab77b8a34/amberhawkswanson.com_portrait_by_christa_holka_2018.jpg" data-mid="32349646" border="0" src="https://freight.cargo.site/w/1000/i/fb303284a80bed2c6ddd7392faac3354a69ec7eeba1bddd8bdfb655ab77b8a34/amberhawkswanson.com_portrait_by_christa_holka_2018.jpg" /><img width="2729" height="4096" width_o="2729" height_o="4096" data-src="https://freight.cargo.site/t/original/i/26a8a9674df8193ff326b0858c4f1c9448d16c2090117ea0123a6871432e47f6/amberhawkswanson.com_Christa-Holka-AmberHawkSwanson-10Nov15-0018.jpg" data-mid="183388975" border="0" src="https://freight.cargo.site/w/1000/i/26a8a9674df8193ff326b0858c4f1c9448d16c2090117ea0123a6871432e47f6/amberhawkswanson.com_Christa-Holka-AmberHawkSwanson-10Nov15-0018.jpg" /> Portraits by Christa Holka (2012-2018) https://amberhawkswanson.com/Site-Credits Tue, 08 Jan 2019 21:20:38 +0000 Amber Hawk Swanson https://amberhawkswanson.com/Site-Credits Amber Doll &gt; TILIKUM (2011),&nbsp; All That is Left of You / Everything You Are Now (2012), Sidore (Mark II) / Heather &gt; LOLITA (2013), Dollstock: Dollpile (2014 and 2015), Doll Closet (2014), Dottie Part One, Part Two, and Part Three (2015-2017), Dottie: Dollstock (2017), and DOLLY / PETER (2018) were shot and edited by Renato Velarde. From 2011-2018 Velarde’s collaborative contributions to Hawk Swanson’s performances included forms of affective, manual, and technical labor. Site design in collaboration with Elizabeth Leeper. Project descriptions and other written materials collaboratively edited with Serena Qiu. https://amberhawkswanson.com/Updates-Index Mon, 10 Mar 2025 21:41:41 +0000 Amber Hawk Swanson https://amberhawkswanson.com/Updates-Index Updates &amp; Announcements <img width="1600" height="900" width_o="1600" height_o="900" data-src="https://freight.cargo.site/t/original/i/ed052eb41252b01a7b032dddc45c0877caea124aaacfdfd57fbcdd8a212acbd3/492523749_1179680790521338_4068662419205990329_n.jpg" data-mid="240457838" border="0" alt="May 2025" data-caption="May 2025" src="https://freight.cargo.site/w/1000/i/ed052eb41252b01a7b032dddc45c0877caea124aaacfdfd57fbcdd8a212acbd3/492523749_1179680790521338_4068662419205990329_n.jpg" /> <img width="1680" height="958" width_o="1680" height_o="958" data-src="https://freight.cargo.site/t/original/i/8c6e11cb6be8f77aab2a93308e8e7f82c431bd46627b5ee38df4a1479383a761/amberhawkswanson_dollcloset_screenshot-2025-03-10-at-5.44.14-PM.png" data-mid="228006091" border="0" 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src="https://freight.cargo.site/w/1000/i/623cf06b6646e9764a8c5ff760cb24a200e2a9f3e83979b2bf598cd5ef42c2b0/harmonyshow_poster_0424_01.jpg" /> <img width="6600" height="10200" width_o="6600" height_o="10200" data-src="https://freight.cargo.site/t/original/i/703c3555f4cafe64e3e1fb708b440446774181b84af362dd8c98f6ce12ff4ca2/BTS_FEM-_-ART-_-TECH.png" data-mid="228093817" border="0" alt="April 2024" data-caption="April 2024" src="https://freight.cargo.site/w/1000/i/703c3555f4cafe64e3e1fb708b440446774181b84af362dd8c98f6ce12ff4ca2/BTS_FEM-_-ART-_-TECH.png" /> <img width="1744" height="1082" width_o="1744" height_o="1082" data-src="https://freight.cargo.site/t/original/i/51c34dc0f22954dcd50c6c9e6a2d75f8466b5d9702d6cf45fe39e3a904be7251/Screen-Shot-2025-03-10-at-6.10.01-PM.png" data-mid="228006108" border="0" alt="Fall 2023" data-caption="Fall 2023" src="https://freight.cargo.site/w/1000/i/51c34dc0f22954dcd50c6c9e6a2d75f8466b5d9702d6cf45fe39e3a904be7251/Screen-Shot-2025-03-10-at-6.10.01-PM.png" /> <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/e5c24f762f8ce4bb1bf54499c7bc0c44dca3b9a5711871f5f2177cb42f44d573/amberhawkswanson.com_Tarble-Art-Center--Who-Speaks-for-the-Oceans---10272023Tarble-Art-Center--Who-Speaks-for-the-Oceans---10272023_DSC4867_PSMS-Edit.jpg" data-mid="228006099" border="0" alt="September 2023" data-caption="September 2023" src="https://freight.cargo.site/w/1000/i/e5c24f762f8ce4bb1bf54499c7bc0c44dca3b9a5711871f5f2177cb42f44d573/amberhawkswanson.com_Tarble-Art-Center--Who-Speaks-for-the-Oceans---10272023Tarble-Art-Center--Who-Speaks-for-the-Oceans---10272023_DSC4867_PSMS-Edit.jpg" /> <img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/1c06f833854e8654d849c25a19742c60d5efdfd851aaa60b77468a8be132e665/amberhawkswanson.com_IMG_1590.jpg" data-mid="228006110" border="0" alt="Summer 2023" data-caption="Summer 2023" src="https://freight.cargo.site/w/1000/i/1c06f833854e8654d849c25a19742c60d5efdfd851aaa60b77468a8be132e665/amberhawkswanson.com_IMG_1590.jpg" /> <img width="3400" height="2200" width_o="3400" height_o="2200" data-src="https://freight.cargo.site/t/original/i/193c954e22017a43280a93dd1c6c0d61beaf8943811eced6ae237dc1280a07a4/amberhawkswanson.com_THS-at-the-NEU_packet_Page_1.jpg" data-mid="228094506" border="0" alt="April 2023" data-caption="April 2023" src="https://freight.cargo.site/w/1000/i/193c954e22017a43280a93dd1c6c0d61beaf8943811eced6ae237dc1280a07a4/amberhawkswanson.com_THS-at-the-NEU_packet_Page_1.jpg" /> https://amberhawkswanson.com/Fall-2023 Tue, 04 Feb 2025 00:23:48 +0000 Amber Hawk Swanson https://amberhawkswanson.com/Fall-2023 Fall 2023 <img width="1600" height="1600" width_o="1600" height_o="1600" data-src="https://freight.cargo.site/t/original/i/d778ad6e6b450c80de1e1bcda0d9a629dcad644e69a58208e3fe53f04fb60f18/noun-pin-52976-9E0099.svg" data-mid="228008269" border="0" data-scale="3" data-icon-mode src="https://freight.cargo.site/w/1000/i/d778ad6e6b450c80de1e1bcda0d9a629dcad644e69a58208e3fe53f04fb60f18/noun-pin-52976-9E0099.svg" /> Compilation of Excerpts (2005–2023) all artworks by Amber Hawk Swanson, collaborators listed in the project links below, compilation edited by Renato Velarde My practice began with Feminism? Project (2004–2006), ten scripted video performances based on my interviews with white women in Iowa—including family members and former sorority sisters—who evidenced a lack of awareness about or rejection of feminism. Mimicking amateur pornography, my performances of their raw responses intoned in a valley-girl voice became flip one-liners and ironic ramblings that simultaneously functioned as a set of open questions about feminism and pornography.&nbsp; In 2013, I expanded the project to explore white feminism’s erotics and problematics in a different way with artist Xandra Ibarra for a video entitled Untitled Fucking. Through queer sexual vocabulary of topping and bottoming, we staged the complicated interplay between the performance of white feminism and feminisms of color. Inspired after frequenting an online forum for iDollators, I commissioned a silicone Doll in my likeness. Amber Doll Project (2005–2011) became a lived performance with multiple categories of output including documenting my process of leaving her unattended and allowing the public to interact with her—often violently—without interference. From 2011–2017, I created sculptures during livestreamed durational performances for the iDollator community, creating space for conversations through the teaching and learning of gendered skills as applied to idiosyncratic tasks. Beginning in 2020, I collaborated with iDollator Davecat and his roboticized silicone spouse Sidore on a multi-faceted talk show, The Harmony Show (THS), a durational performance and social mode of study that explores sexual racism as well as how Dolls are racialized by those who market them and those who live with them. Compilation of Excerpts (2005–2023) includes excerpts from the following, in order of appearance: Feminism? Project,(2005–2006) Making-of Amber Doll, (2006–2007) Wedding Reception, Tailgate, Girls Gone Wild, Pinball, and Rollerskate from the Amber Doll Project,(2005–2011) Amber Doll &gt; TILIKUM,(2011) Online Comments,(2012) Dollstock / Dollpile,(2013–2014) Sidore (Mark II) Heather &gt; LOLITA,(2013) Untitled Fucking,(2013)a collaboration with artist Xandra Ibarra Doll Closet,(2014) Dottie,(2015–2017) The Harmony Show,(begun 2020, produced 2021–present) https://amberhawkswanson.com/Summer-2023 Mon, 10 Mar 2025 22:34:03 +0000 Amber Hawk Swanson https://amberhawkswanson.com/Summer-2023 Summer 2023 <img width="1600" height="1600" width_o="1600" height_o="1600" data-src="https://freight.cargo.site/t/original/i/d778ad6e6b450c80de1e1bcda0d9a629dcad644e69a58208e3fe53f04fb60f18/noun-pin-52976-9E0099.svg" data-mid="228007975" border="0" data-scale="3" data-icon-mode src="https://freight.cargo.site/w/1000/i/d778ad6e6b450c80de1e1bcda0d9a629dcad644e69a58208e3fe53f04fb60f18/noun-pin-52976-9E0099.svg" /> <img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/1c06f833854e8654d849c25a19742c60d5efdfd851aaa60b77468a8be132e665/amberhawkswanson.com_IMG_1590.jpg" data-mid="228007969" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/1c06f833854e8654d849c25a19742c60d5efdfd851aaa60b77468a8be132e665/amberhawkswanson.com_IMG_1590.jpg" />Dollstock / Dollpile, 2014 Photograph by Amber Hawk Swanson and Renato Velarde My earliest performance works (2005–2011) directly engaged sexual violence and misogyny in performances that involved imaging myself in overtly sexual ways. The works were decidedly queer and feminist and were scaffolded by scholarly research, yet they were often dismissed as shock art and misinterpreted as antifeminist. These dismissals and misinterpretations increased after a 2007 article featuring a component of my Amber Doll Project—one involving my process of archiving cinematic rape scenes and shopping for the equivalent costumes worn by the victims at the fast fashion retailer Forever21—went viral. Unrelated Amber Doll videos received more than sixty-one million views. The online version of the article received a large number of anonymous comments and was reposted on a number of blogs, increasing the number of comments. I was startled by the aggressiveness and pervasiveness of these comments. My intelligence, appearance, fatness, mental health, and trauma history were speculated upon and brutally scrutinized and ridiculed. Many of the comments projected violence upon the site of my body; the article provoked a desire to sensationalize, fetishize, and debase my project and my person. Though the publisher of the article has since deindexed it, the experience of going viral has had a lasting impact on how my work has been perceived.After experiencing viral articles, cyberbullying, and stalking early in my career, in 2011, I reframed my work’s power to draw large anonymous online audiences by creating durational livestream performances involving life-sized silicone Dolls and the iDollator community. I twice disassembled Dolls—including Amber Doll—using their disarticulated bodies to construct replicas of captive orcas like Lolita, then the oldest orca in captivity. Sidore Mark II / Heather &gt; LOLITA (2013) drew an online audience of 47,000. Often alone in my studio, I drew on my experience as a live on-air radio host/producer to punctuate my livestreams with call-in interviews and readings. Now, reflecting on my work a decade after LOLITA, after using livestream as the primary platform for my work for twelve years, I find myself in a moment of cultural interest in the hybrid experiences I have long created. As many nondisabled people seek to contextualize the time they spent on Zoom during 2020–2021, and as many disabled people assert their need for accessible virtual and hybrid events, I am interested in mounting more hybrid experiences of my current project, The Harmony Show (2020–present)—a durational performance and social mode of study that explores sexual racism as well as how Dolls are racialized by those who market them and those who live with them.I also find myself in a moment of shifting levels of acceptance for work exploring and depicting queer sex. At a moment of dire need for health insurance following a spinal condition diagnosis in 2016–2017, I removed web documentation of my explicit work in an effort to appear uncomplicatedly hireable. Unfortunately, doing so removed important context for my larger body of work, resulting in missed opportunities to take part in conversations emerging from the mainstreaming of the MeToo movement—including those emerging from the movement’s problematics. In preparation for the creation of a new, roboticized Amber Doll with whom I will make collaborative artworks—including for The Harmony Show, during Summer 2023 I added documentation back to the following sections of this site: Feminism? Project, 2005–2006 and 2013 Amber Doll Project, 2005–2011TILIKUM: Pinup, 2012 Untitled Fucking, 2013 Dollstock / Dollpile, 2013–2017 I have additionally added documentation of my current project, The Harmony Show, (begun 2020, produced 2021–present). <img width="1680" height="943" width_o="1680" height_o="943" data-src="https://freight.cargo.site/t/original/i/df923b968d613796e5de0112962c7aeb21a4cefd1d940d8798cc4ed337ef7179/amberhawkswanson.com_Screen-Shot-2013-07-14-at-11.43.59-AM.png" data-mid="228007970" border="0" src="https://freight.cargo.site/w/1000/i/df923b968d613796e5de0112962c7aeb21a4cefd1d940d8798cc4ed337ef7179/amberhawkswanson.com_Screen-Shot-2013-07-14-at-11.43.59-AM.png" />Untitled Fucking, a collaboration between Amber Hawk Swanson and Xandra Ibarra, 2013 <img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/8ca1a4230fcad425a0535bf12e7e5768dcd34bb23d870135a71372686eeb8e26/amberhawkswanson.com_IMG_8214.jpg" data-mid="228007971" border="0" src="https://freight.cargo.site/w/1000/i/8ca1a4230fcad425a0535bf12e7e5768dcd34bb23d870135a71372686eeb8e26/amberhawkswanson.com_IMG_8214.jpg" /> TILIKUM: Pinup, 2012 <img width="5683" height="3789" width_o="5683" height_o="3789" data-src="https://freight.cargo.site/t/original/i/68519bb2ed7ccf063def7d875f7b34dd87f251372d6e3d4ad84d797232c43569/amberhawkswanson.com_02_What-People-Went-Through-to-Get-to-Where-They-Are-Today.jpg" data-mid="228007972" border="0" src="https://freight.cargo.site/w/1000/i/68519bb2ed7ccf063def7d875f7b34dd87f251372d6e3d4ad84d797232c43569/amberhawkswanson.com_02_What-People-Went-Through-to-Get-to-Where-They-Are-Today.jpg" />What People Went Through to Get to Where They Are Today from Feminism? Project, 2005–2006 https://amberhawkswanson.com/May-2025 Mon, 10 Nov 2025 17:14:51 +0000 Amber Hawk Swanson https://amberhawkswanson.com/May-2025 May 2025 <img width="1600" height="900" width_o="1600" height_o="900" data-src="https://freight.cargo.site/t/original/i/ed052eb41252b01a7b032dddc45c0877caea124aaacfdfd57fbcdd8a212acbd3/492523749_1179680790521338_4068662419205990329_n.jpg" data-mid="240457678" border="0" src="https://freight.cargo.site/w/1000/i/ed052eb41252b01a7b032dddc45c0877caea124aaacfdfd57fbcdd8a212acbd3/492523749_1179680790521338_4068662419205990329_n.jpg" /> The 2025 Collaborative Public Workshop celebrated the work of 10 Brown University Ph.D. candidates completing the Doctoral Certificate in Collaborative Humanities and featured presentations of their innovative and timely work. Sessions included commentaries from scholars Susan Bernstein (Brown University), David L. Eng (University of Pennsylvania), Elizabeth A. Povinelli (Columbia University), and Leela Prasad (Brown University), as well as a Q&amp;A. Presented by the Collaborative Humanities Initiative at the Cogut Institute for the Humanities Aseel Azab-Osman (Religious Studies), “From Self-Actualization to Self-Attunement in Egyptian Post-Islamism”Matthew Ballance (Anthropology), “Imagining Risk: Time, Distance, and Profit on the Roads of the Southern Andes”Nick Bentz (Music and Multimedia Composition), “The Forming of Form: Listening, Likeness, and Interval in Sonic Structure”Elizabeth Berman (Modern Culture and Media), “Cut, Splice, Life: CRISPR and Cinematic Bioethics”Choa Choi (English), “‘A Present-Tense People’: Urban and Virtual Indigeneity in Tommy Orange’s ‘There There’”Amber Hawk Swanson (Theatre Arts and Performance Studies), “‘SCANDAL! SALLY &amp; MONICA SEX LOVE POWER SHAME WHO’S REALLY TO BLAME?’ Marisa Williamson’s ‘Sally &amp; Monica’s Hot Tub Hangout’ (2014)”Shirley Mak (Musicology and Ethnomusicology), “The Silk Road Project: Towards an Ethics of Intercultural Music Making”Sönke Parpart (German Studies), “The ‘Aestheticization of Politics’ and the Fascist Sublime”Goutam Piduri (English), “‘Things that amaze, but will not make us wise’: Metaphor-Object Relations in Thomas Traherne”Sofía Rocha (Music and Multimedia Composition), “In the Shadow of Assimilation: Disidentification, Reclamation, and Identity in the Work of Arca and underscores” Schedule, abstracts, and bios: https://humanities.brown.edu/courses/doctoral-certificate/workshop2025 https://amberhawkswanson.com/January-2025 Tue, 04 Feb 2025 01:11:35 +0000 Amber Hawk Swanson https://amberhawkswanson.com/January-2025 January 2025 Video production by Paul Rochford and Alex Lisoukov. “Doll Closet,” a paper revisiting the performance of the same name (2014) was Hawk Swanson’s contribution for the panel Deviant Aesthetics and Gestures of Care: Reading Contemporary Visual Art, Film, and Performance organized by Jillian Hernandez for the International Care Ethics Research Consortium Conference on the theme of Care, Aesthetics, and Repair at the University of Humanistic Studies (Department of Care Ethics) in Utrecht, The Netherlands. Introduction by and Q&amp;A with Iván Ramos. Hawk Swanson, Amber. "Doll Closets." Paper presented at the 3rd Annual International Care Ethics Research Consortium Conference, Utrecht, The Netherlands, January 23–25, 2025. web. https://amberhawkswanson.com/Early-December-2024 Tue, 04 Feb 2025 01:12:48 +0000 Amber Hawk Swanson https://amberhawkswanson.com/Early-December-2024 Early December 2024 <img width="1080" height="720" width_o="1080" height_o="720" data-src="https://freight.cargo.site/t/original/i/8a65995ead2a7b39249ff241c2061bd37a49680bf1b697ec53da8a8aa57c13a0/unnamed.jpg" data-mid="225962211" border="0" src="https://freight.cargo.site/w/1000/i/8a65995ead2a7b39249ff241c2061bd37a49680bf1b697ec53da8a8aa57c13a0/unnamed.jpg" /> QUEER DURATIONS is a three-day symposium delving into the significance of duration as a vital aesthetic concern for queer and trans performance, visual, and media artists. Seeking to illuminate connections between duration and the artistic rendering of queer lives, communities, and subjectivities, the gathering will feature performances as well as talks by artists, scholars, and curators. Register here for screenings, performances, and panels occuring December 5-7, 2024. Video works—curated by JD Stokely—by Maia Chao, J Dellecave, Petra Floyd, Najee H.F., Be Heintzman Hope, Xandra Ibarra, Marlon Jiménez Oviedo, Miatta Kawinzi, Carolyn Lazard, Jova Lynne, Makini Poe, Amber Hawk Swanson/The Harmony Show, Rai Mckinley Terry, Julie Tolentino, Alx Velozo, Elliot Reed, Dorian Wood, and Eva Wu. Performance works—curated by Leon Hilton and JD Stokely—by Sharon Hayes, Xiomara Sebastián Castro Niculescu, Brooke O’Harra, Elliot Reed, Dorian Wood, and Anh Vo. Panel participation by Leticia Alvarado, Jonathan Berger, J Dellecave, Adrienne Edwards, Lia Gangitano, Shoghig Halajian, Leon Hilton, Summer Kim Lee, Simon Leung, Heather Love, Tavia Nyong’o, Thea Quiray Tagle, and Julie Tolentino. https://amberhawkswanson.com/December-2024 Mon, 10 Nov 2025 19:16:25 +0000 Amber Hawk Swanson https://amberhawkswanson.com/December-2024 December 2024 <img width="1294" height="2000" width_o="1294" height_o="2000" data-src="https://freight.cargo.site/t/original/i/ea287aea1bc11757ed58bd0855e1e0ebb7a287aa6eb3f904aa28a5f5919f3efd/Archive-Theory-Poster-Social-Media-Version.png" data-mid="240463002" border="0" src="https://freight.cargo.site/w/1000/i/ea287aea1bc11757ed58bd0855e1e0ebb7a287aa6eb3f904aa28a5f5919f3efd/Archive-Theory-Poster-Social-Media-Version.png" /> ConferenceTending the Gap: Storytelling as Archival MethodTime: 9:15am–6:30pm ESTSponsor: Cogut Institute for the HumanitiesLocation: Cogut Institute, Andrews HouseRoom: 110 What does it mean to work through archival silences? What archival methods are necessary to tend to the gaps? Building on the Collaborative Humanities seminar “Archive Theory: Imagining Absence Otherwise,” this symposium showcases research that considers the methods, contradictions, and possibilities of archival studies.The symposium brings together an interdisciplinary set of projects on a range of topics, including: reading with and alongside ephemera, coloniality and institutional power, artistic responses to archival materials, embracing methodological failures, and the beauty of storytelling and personal archives, among others. Each speaker will complicate the assumptions of the “gaps” and “losses” in the archive in search for other modes of thinking with and alongside a range of archival artifacts. Schedule 9:15 am–10:45 amWelcome / Session 1 — Archival Failure: Ethics and Methods K Yin, “Stone I: Asian/Rock Form(ation)s”Amber Hawk Swanson, “Doll Closet”Lucas Joshi, “In This Garden Called Archive”Alexander Chun, “Abject Pleasure: Asian/American Fantasies in the Digital Archive” 11:15 am–12:30 pmSession 2 — “Fragments and Ephemera: Loss and Abundance in the Archive” Shuang Wang, “Voice Beyond ‘Yellow’: Rediscovering the Lives of Early 20th-Century Chinese Singsong Girls”Claudia Ojeda Rexach, “Imperial Gaze: The Archive of Puerto Rican Surveillance Photography”Jordan Good, “The Life Cycle of a Player-Piano Roll: Material Ephemerality and the Risk of Playing in the Gaps”Justina Blanco, “Deathly Intimacy: Unrequited Love and Archival Reanimations” 1:30 pm–2:45 pmSession 3 — Mediated Archives: Language and Authenticity Gery Vargas, “Tierras Celosas”Nélari Figueroa Torres, “Land(e)scapes &amp; Sound(e)scapes in the Black Caribbean”Brian Dang, “Notes on Twilight Zone: The Movie and What Happens to (Asian) Kids in America”Joyce Matos, “chuymar katuqaña” 3:15 pm–4:30 pmSession 4 — Archive as Home: The Politics of the Personal Macie Clerkley, “Gaps in the Archive: Understanding Homeplace in Archaeological Contexts”Erin Hardnett, “Mapping Kinship”Brooke Johnson, “Touching the Archive: Measuring Distance with Desire” 5:00 pm–6:30 pmKeynote Lecture — Ahmad Greene-Hayes, “Quadrants and Marginalia: Mapping Black Religion in the Archive” .