Dominic Johnson is a Professor of Performance and Visual Culture in our department of Drama. In his profile below, he discusses his research which engages with LGBTQIA+ histories and practices, his work with living artists and his connection with the Pathology Museum.
How long have you worked at Queen Mary?
I’ve been at Queen Mary as a permanent member of staff since 2006. I worked
here for a year before that whilst I was finishing my PhD at the Courtauld
Institute of Art on the artist Jack Smith,
who was a pioneer in queer theatre and performance art in New York in the 60s
and 70s.
Could you tell us about your involvement in LGBT+ History month?
My research engages with LGBTQIA+
histories and practices. I’ve been documenting and historicising the
relationship between performance and visual culture and sexual practices and
sexual identities. I’ve been looking at artists who identify as LGBTQIA+ and whose
work is critical to histories of sexuality and sexual practices. An
example of this is working on an artist who uses S&M practices in his work
and thinking about the ethics and politics of trafficking a sexual practice
into a performance.
I’ve also examined how representations of sexual practices invite contact
with the law. For example, in my book,
Unlimited Action: The Performance of Extremity in
the 1970s, there is a chapter on Genesis P-Orridge
who was arrested and convicted for indecency for producing and disseminating
collages featuring the Queen and commercially-produced pornography.
Describe your average day/week
I teach the bulk of the week so I am busy with my students. I set up and
convene the MA
Live Art and I also run postgraduate taught programmes in Drama.
I also do research, which might include working directly with artists for
example through studio visits, as well as work in archives and arts
organisations. I’m a co-founder of the Sexual Cultures Research Group
and we have put on some really exciting events. I’m also on the board of
directors of the Live Art
Development Agency.
In July I’ll be taking over as Head of Drama, so that will be a big change.
What’s the best thing about your job?
I enjoy working with students, especially the MA students as they really
focus in on their aspirations. Teaching works best when it is an active
co-creation of knowledge. When a class goes well, you go in and propose
something you haven’t fully articulated and through the process of presenting
and discussing it, something profound might come about.
I feel really privileged as a researcher as I get to work with and spend
time with artists. For example, I recently worked with the artist Skip Arnold in Marseilles. It was really
exciting to spend time with an artist who has been making important work for a
really long time and to collaborate together: we ended up organising an event
together in London at the Live Art Development Agency – I’m also publishing a
journal article on his work later this year. I find that exciting, thrilling
and joyful. I’ve had similar encounters with a lot of different artists and I
get to see performances all around the world: I recently went on research trips
to Mexico City, Los Angeles and Tokyo.
What do you see as your role in helping the University achieve its
Strategy 2030?
The key strategies in, but also around, the published one have to be about
continuing to increase Widening Participation. Universities such as this one
need to encourage diversity – especially in terms of race and ability – amongst
its staff and students. The other strategy I had a hand in shaping was the Arts
and Culture Strategy, which runs until 2022 and is about encouraging
wellbeing through the arts, enabling access to the arts, and how it enhances
life for all students – and not just those studying courses in the arts and
humanities.
What’s your favourite place on any of our campuses?
My favourite place is the Pathology
Museum. I’ve done a few events with Carla
Valentine, the Assistant Curator, including giving a lecture, and taking
students there on a second year drama module to learn about the archives. I’ve
been working with the Queen Mary archives to acquire live art collections. We
have recently acquired archives for Ian
Hinchliffe and Jon
John. Jon John’s archive includes huge amounts of blood-covered canvases,
piercing instruments, and other surprising materials that remind me of
the specialist artefacts in the Pathology Museum.
If you could tell a prospective student one thing about Queen Mary,
what would it be?
It’s in the East End and that is really crucial. It is such a rich and
diverse environment. Everything is on our doorstep, especially in terms of
performance and live art. You can go to the Whitechapel Gallery down the
road and access gems such as Live
Art Development Agency in Bethnal Green, Toynbee Studios in Aldgate, and Acme Studios across the Mile End Park.
Do you have any unusual hobbies, pastimes outside of work?
I box at a gym called Blok in Clapton twice a week. I’ve been boxing for a
couple of years. I just went to a class one day and totally loved it and I feel
like it’s great to do a form of exercise where you are constantly learning – at
the same time it clears your mind so intensely of all the things I otherwise
have to worry about. It feels deeply primal.
Who would you invite to your dream dinner party?
I published a book in 2015 called The Art of Living which included long
interviews with 14 artists or groups. I would invite them because the
conversations I had with them were totally thrilling and enjoyable. Three of
them have passed away since – each of them were friends – so it would be really
nice to talk to them again.
This interview was originally published on our staff website Connected.
