Jill H. Casid is Professor of Visual Studies at the University of Wisconsin-Madison where she founded and served as the first director of the Center for Visual Cultures. A historian, theorist, and practicing artist, her contributions to the transdisciplinary field of visual studies include her monographs Sowing Empire: Landscape and Colonization (Minnesota, 2006) which received the College Art Association’s Millard Meiss award and Scenes of Projection: Recasting the Enlightenment Subject (Minnesota, 2015) and the edited collection Art History in the Wake of the Global Turn (Yale, 2014) co-edited with Aruna D’Souza. Recent articles have appeared in the L.A. Review of Books, Women and Performance, TDR, and the Journal of Visual Culture and she has contributed essays to, among other volumes, Environmental Aesthetics after Landscape (Diaphanes/Johns Hopkins, 2018), Migration and the Contemporary Mediterranean (Oxford, forthcoming), The Philosophical Salon (Open Humanities Press, 2017), Architecture is All Over (Columbia, 2017), The Princeton Companion to Atlantic History (Princeton, 2015), A Handbook to the Reception of Ovid (Wiley-Blackwell, 2014), Environmental Criticism for the Twenty-First Century (Routledge, 2011), and Landscape Theory (Routledge, 2007). She is currently completing the two-book project Form at the Edges of Life. She serves on the governing board of the International Association of Visual Culture and on the editorial board of the Journal of Visual Culture. She has been the recipient of numerous awards for her research and teaching, including the Chancellor’s Inclusive Excellence in Teaching Award (2015), the Vilas Research Investigator Award (2014), the H. I. Romnes Faculty Fellowship (2011), and the Hamel Faculty Fellowship (2009). In 2018-19, she she is in residence as the Clark-Oakley Fellow at the Clark Art Institute and the Oakley Humanities Center at Williams College in Williamstown, Massachusetts.
Doing Things with Being Undone
Mis-hear the “cene” in Anthropocene and we are not beholders of an epoch or witnesses to a prospect of distancing projection onto a deep past or lost future but, rather, in the scene of our undoing. In this scene I call the Necrocene, there are still ways of doing things with being undone. My new work in progress proposes what we might call a new ars moriendi to make contestatorily palpable the necropolitical conditions of Necrocene crisis by demonstrating with something like a living our dying through a practice of transversal vulnerability. What I am putting on scene is the queering question of how dying is used as material medium to agitate for livable life by insisting that to make death count it matters crucially how we live our dying.