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I. NAME
D. Emily Hicks, Ph.D.
Chicana/o Studies
English and Comparative Literature
San Diego State University
5500 Campanile Dr.
San Diego, California 92182
(619) 702-9409 (home)
http://www.rohan.sdsu.edu/~marquesa (official faculty)
http://www.aznet.net/~marquesa (personal)
II. EDUCATION
A. Degree, Institution, Date.
Ph.D., Comparative Literature, Department of Literature, University of California,
San Diego. La Jolla, California. 1979.
Participant, Study Group on Aesthetics directed by Herbert Marcuse. La Jolla, California,
1978-79.
Graduate studies, Yale University. New Haven, Connecticut. 1977. Audited seminar on
Heidegger with Jacques Derrida.
C. Phil., Comparative Literature, Department of Literature, University of California,
San Diego. La Jolla, California. 1976.
Graduate studies, Ecole Pratique des Hautes Etudes. Paris, France. 1976. Semiotics,
Latin American Literature and Sociology of Literature.
B.A., Spanish, Department of Literature, University of California, San Diego. La Jolla,
California. 1975.
Undergraduate studies, Universidad de Barcelona. Gerona, Spain. 1974. Spanish Literature.
Undergraduate studies. University of California, Berkeley. Berkeley, California. 1972-73.
Undergraduate studies. San Francisco Art Institute. San Francisco, California. 1969-70.
Postgraduate Study
Study of microtonal music and harmonic theory with Jonathan Glasier and Joe Monzo.
Sonic Arts Gallery. San Diego, California. 1998-present.
Studied microtonal music and Pythagorean theory with Karlheinz Stockhausen student
Drew Lesso. Los Angeles, California. 1982-84.
Studied Computer Animation with John Whitney, University of California, Los Angeles,
1983-84.
B. Title of Dissertation.
Philosophy and Literature: Negativity and Praxis in Dante, Genet, Sartre, Cortázar.
Committee: Michel De Certeau, Chair. Page DuBois, Saul Steier, Aaron Cicourel and
Carlos Blanco-Aguinaga.
III. TEACHING AND ADMINISTRATIVE POSITIONS AND RANKS HELD
Date, Positions Held, and Institutions
2003-present Professor, English and Comparative Literature
2002-present Director, BIAS-NES (Border Institute for Advanced
Studies in Non-linear Events and Structures
2000-2003 Professor, Chicana/o Studies;
English and Comparative Literature (joint appointment)
San Diego State University, San Diego, California.
1994-2000 Associate Professor, Chicana and Chicano Studies;
English and Comparative Literature. Joint Appointment.
San Diego State University, San Diego, California.
1990-1994 Associate Professor, English and Comparative Literature.
1990-1995 San Diego State University. San Diego, California.
1984-1990 Assistant Professor, English and Comparative Literature.
San Diego State University. San Diego, California.
1993 Visiting Faculty. Department of Studio Art. University of
California, Irvine. Irvine, California.
1992 Visiting Faculty. Department of Studio Art. University of
California, Irvine. Irvine, California.
1990 Summer Head, Art Studio, Banff Centre for the Arts.
Banff, Ontario, Canada.
1986-87 Assistant Professor, School of the Humanities, Universidad
Autónoma de Baja California. Tijuana, B.C., Mexico.
1983-84 Post-doctoral Fellow, Freshman Writing Program and
Department of Film, University of Southern California, Los Angeles,
California.
1978-79 Visiting Lecturer. Student Selected Faculty. Department
of English and Comparative Literature. University of California, Irvine.
Irvine, California.
IV. TEACHING EFFECTIVENESS
A. Teaching Awards.
Outstanding Faculty Award. College of Arts and Letters. 2002.
Outstanding Faculty Award. College of Arts and Letters. San Diego State University.
1987.
Department of English and Comparative Literature Nominee, Best Teacher at San Diego
State University Award. 1986.
Student Selected Faculty. University of California, Irvine. 1978-79.
V. PROFESSIONAL GROWTH
A. Scholarly Books
Ninety-five Languages and Seven Forms of Intelligence: Multicultural Education in the
Twenty-first Century. Counterpoints: Studies in the Postmodernist Theory of Education
Series. No. 72. New York: Peter Lang Publishing Company, 1999. Peter Lang is a
leading publisher in the field of critical pedagogy. Author list includes Paulo Freire, Peter
McLaren and Henry Giroux.
Border Writing, The Multidimensional Text. Theory and History of Literature Series.
No. 80. Minneapolis: University of Minnesota, Press, 1991. The Theory and History of
Literature Series is the most prestigious literary theory series. Authors in the series
include Deleuze and Guattari, De Man, Jameson and Bakhtin.
B. Scholarly Books in Progress
The Multicultural Mosh Pit. Will be submitted to University of Arizona Press at the
request of Yvonne Reineke, Acquiring Editor. University of Arizona Press has published
many of the most important writers and research in my border studies and Chicana
feminist literature. It is the leading publisher for cultural studies in the Southwest. 2002.
This book will include chapters on traditional Chicana/o and Mexican music, particularly
the corrido, the narcorrido and electronica (Nortec) in the context of digital culture,
interactive telecommunications. The contribution of Mexican microtonalists Julian
Carrillo will be recognized. This book will address debates about cyberspace in the field
of cultural studies.
Magna Carta and the Multiethnic State. Signed contract with Edward Mellen Press.
Mellen Press publishes specialized research scholarship and is associated with Mellen
University. Unlike other university presses, its market is primarily research libraries.
Mellen has published many scholarly works in the fields of philosophy and medieval
studies. Mellen Press is international, with offices in Canada, United States, Great Britain
and Austria.
C. Articles in Refereed Journals
Note:
First chapter of Magna Carta book will be published in Aztlan (forthcoming, 2003)
(Special issues edited by Adelaida R. del Castillo)
"Felipe Ehrenberg." Art and Performance. (Special issue on Fluxus edited by Ken Friedman).
2003 (forthcoming).
"Nietzsche at the Crossroads." Voices in Italian Americana. 3.1 (1992): 111-17.
"The Artist as Citizen." High Peformance. 9.3 (1986): 32-38. Trans., as "La artista
como ciudadano." La Comunidad (weekly cultural supplement of La Opinión), 22 Mar, 1987.
"The Artist as Citizen." High Performance. 9.3 (1986): 32-38.
"That Which Resists: The Code of the Real in Luisa Valenzuela’s "He Who Searches."
The Review of Contemporary Fiction. 6.3 (1986): 55-61.
"The Epistemology of the Oppressed, A Theoretical Analysis." The Writing Instructor.
5.1 (1985): 19-29.
"What Good is Architecture if We’ve Blown up the Planet?" Arts and Architecture. 4:37
Fall (1983): 37-39, 68.
"After the Revolution, Cuba in Photography." Journal. (Los Angeles Institute of
Contemporary Art) 4.37 (1983): 56-59.
"Guy de Cointet’s Plays." Art and Architecture. Fall 1983.
Collins, Dan and Emily Hicks. "Meaning through Disparity." (Review of David Salle).
Artweek. May 9, 1981. (cover article)
"William Carlos Williams at the Whitney." Social Text. 1.2 (1980): n.p.
D. Chapters in Refereed Books (Selected)
Hicks, Emily. "Deterritorialization and Border Writing" Deleuze and Guattari: Critical
Assessments in Three Volumes, ed., London: Routledge. Series: Critical Assessments of
Leading Philosophers and Political Philosophers. 2000. The two Critical Assessments
series (Philosophers and Political Philosophers) assemble the most important critical
literature on selected philosophers, providing scholars and students with ready access to
key articles, which are often difficult or impossible to obtain. (Article originally published
in 1988).
Hicks, Emily. "The Artist as Citizen." In The Citizen Artist: 20 Years of Art in the
Public Arena. Ed. Linda Frye Burnham and Steven Durland. Gardiner, NY: Critical
Press. Thinking Politically: The New Era of Public Art Series, 1998. (Revised, originally
published 1987.)
Hicks, Emily. "Excerpts from ‘Examining the Taboo.’" In Rachel Rosenthal. Ed. Moira
Roth. PAJ Books: Art + Performance Series. Baltimore and London: Johns Hopkins
University Press, 1997. (Originally published in 1981.)
Hicks, Emily. "La Marquesa se mete en ProzacLa Marquesa Goes on Prozac." Vidas
fronterizas: la crónica en la frontera Mexico-Estados Unidos/Border Lives: Personal
Essay on the United States Mexico Border. Ed. Harry Polkinhorn. Border Series no. 7.
Mexicali/Calexico: Binational Press, 1996. (Performance text.)
Hicks, Emily. "Nationalism, History, the Chicano Subject and the Text." Teaching the
Humanities: Essays from the ACLS Elementary Schools Teacher Curriculum
Development. No. 23. 1994. 69-79.
Hicks, Emily. "What is the Broken Line?" Politics of Everyday Fear. Ed. Brian
Massumi. Minneapolis: University of Minnesota, 1994.
Hicks, Emily. "La novela negra de Luisa Valenzuela." Literatura Fronteriza, de acá y
de allá. Ed. Guadalupe Beatriz Aldaco. Hermosillo: Instituto Sonorense de Cultura,
1994.
Hicks, Emily. "Deterritorialization and Border Writing." Ethics/Aesthetics, Postmodern
Positions. Ed. Robert Merrill. New York: Maisonneuve, 1988. 47-58.
Hicks, Emily. "Non-synchrony and Feminist Practice," In Women and Revolution, A
Discussion of the Unhappy Marriage of Marxism and Feminism.South End Press Political
Controversies Series #2. Ed. Lydia Sargent. Boston: South End Press, 1980.
219-237.
Hicks, Emily and Stephen Eric Bronner. "Expressionist Painting and the Aesthetic
Dimension." In Passion and Rebellion, the Expressionist Heritage. Ed. Stephen Eric
Bronner and Douglas Kellner. New York: Bergin & Garvey, 1983. Rpt. New York:
Columbia University Press, 1988.
E. Articles in Refereed Proceedings
"Robo-raza at the Crossroads." RLA (Romance Language Association). 3.
(1992). 468-74.
"Deterritorialization and Border Writing."Literatura de Frontera Mexico/Estados
Unidos. Mexican/American Border Writing. Conference Proceedings of the First
Encounter of Writers of the Californias. SEBS-DAC/San Diego State University,
Mexicali, April 30-May 2, 1986. 80-89.
F. Articles in Data Bases
"Epistemology of the Oppressed." Workplace Literacy: Essays from the Model Literacy
Project. ERIC database. ED. 286 068 and CE 048. 1988.
G. Art Catalogues:
"Boundaries to which One is Tied and From Which One is Restrained from Traversing."
Catalogue essay. Counterweight: Alienation, Assimilation, Resistance. Santa Barbara
Contemporary Arts. Forum. Curated by Joan Hugo, 1993. 13-24.
"Trevor Gould, Looking Awry." Trevor Gould: Looking Awry. Continuum:
Contemporary Canadian Sculpture Series. Lethbridge: Southern Alberta Art Gallery,
Canada. 1993.
"Lo que la línea quebrada no es."Segunda Bienal Internacional de Poesía Visual y
Alternativa en Mexico-1987-88. Universidad Veracruzana. Galeria Ramon Alva de la
Canal. Veracruz, Mexico. 1988. 4-5.
"Ellen Lampert."American Dreaming. Triton Museum of Art. Santa Clara. 1983.
H. Published Refereed Interviews:
"La Palabra Enferma, Una Charla con María Luisa Valenzuela." La Opinión. June 22,
1986.
"Guy de Cointet, Interview by Emily Hicks." Summer 1985. The Museum of
Contemporary Art, Los Angeles. 1985.
"Cortázar, Entrevista Exclusiva para Imágen." Imágen. May 14,1980.
I. Unpublished Refereed Papers Before Professional Conferences
"The State, the Citizen, and Affective Labor in the Borderlands: Towards a New Theory
of Value." XIV World Congress of Sociology. International Sociological Association.
Montreal, Canada. July 26-August 1, 1998.
"From Adorno to Deleuze: Denial, the Affirmative Character of Culture and
Affirmation." Multimedia performance/paper. Crossroads in Cultural
Studies Conference. Tampere, Finland. June 28-July 1, 1998.
"The Good City and the Multicultural Classroom." Multimedia
performance/paper/presentation of artist’s book Ecotina and the Kids at Perkins. AERA
(American Education and Research Association) Conference. San Diego, California.
March, 1998.
"MALA’s Offspring." With Elizabeth Colwill. Multimedia performance/paper. Summer
1997 Colloquium: Science, Humanities and the Arts. San Diego State University. San
Diego, California. July 2, 1998.
"The Militarization of the Border." Frontline Feminisms: Conference on Women, War &
Resistance. University of California, Riverside. Riverside, California. January 16-18,
1997.
"Chaos Theory: New Paradigms for Understanding Genetic Engineering, Reproductive
Technologies and the Reproduction of Information." Dialogue Between Cultures and
Changes in Europe and the World. XXXII International Institute of Sociology Congress.
Trieste, Italy. July 3-7, 1995.
"Foucault’s Ventiloquism: Can the Subaltern Speak?" Contested Boundaries and Shifting
Solidarities. XIIth World Congress of Sociology. International Sociological Association.
Bielefeld, Germany. July 16-23, 1994.
"Cultural Studies and the Invasion of the Borderlands." Performance/lecture. Culture
Studies Conference. University of California, Santa Cruz. Santa Cruz, California.
October 22-24, 1993.
"The Dionysian in Luisa Valenzuela’s Black Novel (Novela Negra)." XIII Simposio
Internacional de Poesía y Narrativa de Hispanoamerica. Montevideo, Uruguay.
August, 1993. (Presented in Spanish.)
"Border Writing." Multimedia performance/paper. The Border and Film Conference.
Eotvos Lorand University. Budapest, Hungary. March 26, 1993.
"Ese pinche vato Spinoza: Peace and Freedom in the Borderlands." Institute on
Gender/Cultural Studies. University of California, Berkeley. Berkeley, California.
March 16-18, 1993.
"Nietzsche: Border Subject," PAPC (Philological Association of the Pacific Coast)
Annual Conference. University of California, San Diego. San Diego, California.
November 13-15, 1992.
"Textual Migrations: Issues for Chicano/American Cultures." Multimedia
performance/paper. Translating Culture: The Future of Multiculturalism Conference.
Institute of the Humanities. University or California, Santa Barbara. Santa Barbara,
California. November 11-14, 1992.
"Nietzsche: Estilo Latino/Stilo Latino." Romance Language Association Conference.
Purdue University. Lafayette, Indiana. October 15-18, 1992.
"Textual Migrations: Issues for Chicano/American Culture." Performance text.
Postmodernism and Cultural Tendencies in Latin America Colloquium. San Francisco
State University. September 3, 1992.
"Textual Migrations: Issues for Chicano/American Culture." LASA (Latin American
Studies Association.) XVIII International Congress. Los Angeles, California. September
24-27, 1992.
"Nomadic Subjects: Wax Bodies for the Dead to Inhabit." Performance/Lecture with
Larry McCaffery. Novel of the Americas Symposium. Critical Studies of the Americas
Committee/University of Colorado at Boulder. Boulder, Colorado. September 8-23,
1992.
"Textual Migrations: Issues for Chicano/American Culture." Theory, Culture & Society
Conference (X Anniversary). University of Pittsburgh, Pennsylvania. Pittsburgh,
Pennsylvania. August 15-19, 1992.
"The Border Muck." Ecology and the Latino Imagination Conference.
Cornell University. Ithaca, New York. May 1-3, 1992.
"Nietzsche at the Crossroads: Peter Carravetta’s Prefaces to the Diaphora, Rhetorics,
Allegory and the Interpretation of Postmodernity.’" Per sons, Passions Conference
(Originally organized as annual conference of International Association of Philosophy
and Literature.) University of California, Berkeley. Berkeley, California. April 30-May 2,
1992.
"Rethinking the Border." Rethinking Borders Lecture Series. San Diego Museum of
Contemporary Art. Series included Jean Baudrillard, Elena Poniato wska, Kathy Acker
and James Clifford. La Jolla, California. October 9, 1991.
"Robo-Raza at the Crossroads." Critical Voices in the Arts Lecture Series. Meyers/Blum
Gallery. Los Angeles, California. September 1991.
"Deterritorialized Cultures: The Question of Borders." ACLA (American Comparative
Literature Association) Annual Convention. San Diego, California. March 7-9, 1991.
"Valenzuela: The Imaginary Body." Latin American Studies Association. XX Annual
Congress. Washington, D.C. November 12, 1990.
"Literary Voice and Appropriation." Sources of a Distinct Majority. San Francisco Art
Inst itute. San Francisco, California. October 13-15, 1989.
"Border Writing: From Aztlán to Nicaragua." Simposio conversos y otras minorías.
Literatura Hispánica. San Diego State University. San Diego, California. April 12-14
1989.
"Narrative." Conclave Cultural Latino Americano. Massachusetts College of Art/Villa
Victoria Cultural Center. Boston: Massachusetts. September 25-27, 1987
.
"Latin American Postmodern?" The Cultural Politics of Postmodernism, Mass Cult
Conference. City University of New York, Graduate Center. New York, New York.
May 14-16, 1987.
"Desterritorialización y la literatura fronteriza." First Encounter of Writers. Border
Literature Conference. SEBS-DAC/San Diego State University. Mexicali, Baja
California. April 30- May 2, 1987.
"Is the Border in Your Mind, on the Ground or in the Media?" In collaboration with
BAW/TAF (Border Art Workshop/Taller de Arte Fronterizo.) Society for Photographic
Education. Annual Convention. San Diego, California. April 13, 1987.
"The Return of he Gaze: Luisa Valenzuela’s Cambio de armas." Tercer Simposio
Internacional. San Diego State University. San Diego, California. April 10, 1986.
"Latin American Literature and Popular Culture: the Appropriation of the Comic Book by
Julio Cortázar and the Sandinista Cultural Workers in Nicaragua." The Pacific Coast
Council on Latin American Studies. 31st Annual Meeting. Las Vegas, Nevada. October
17-20, 1985.
"Theoretical Analysis of Workplace Literacy." Conference on College Composition and
Communication Convention. Minneapolis, Minnesota. March 21-23, 1985.
"Modernism, Post-modernism, and Nicaraguan Poetry." Philological Association of the
Pacific Coast. Vancouver, British Columbia. 82nd Annual Meeting. November 9-11,
1984.
"That Which Resists: The Code of the Real in Luisa Valenzuela’s Como en la Guerra."
Primer Simposio Internacional de Poesía y Narrativa de Hispanoamerica, Siglo XX.
Instituto Literario y Cultural Hispánico. Chapman College. Orange, California. October
7-9, 1982.
"’Le Puit et la pyramide’ of Jacques Derrida." Aesthetik und Kommunikation, New
German Critique and Social Text Conference. University of Wisconsin. Madison,
Wisconsin. 1979.
"The Absence of Marx in the Derridean Paradigm." Marxist Literary Group Conference.
St. Cloud, Minnesota. November. August 1976. Other participants included Fredric
Jameson and Terry Eagleton.
J. Conference Sessions Chaired
ACLA (American Comparative Literature Association) Annual Convention. Section:
"Borders." Cal State San Marcos, California. 2002.
CAA (College Art Association) Annual Conference. Section: "The Construction of the
Deterritorialized Self and Representations of the Other in the Borderlands." University of
California, Los Angeles. Los Angeles, California. February 10-13, 1998.
ACLA (American Comparative Literature Association) Annual Convention. Section:
"Deterritorialized Culture: The Question of Borders." San Diego, California. March 7-9,
1991.
ALTA (American Literary Translators Association) Thirteenth Annual Convention.
Moderator. Section: "Translation and Transculturation." San Diego, California.
November 14-19,1990.
K. Conferences Organized:
Cross-dressing Columbus. Co-directed with William A. Nericcio. University of
California, Irvine. Irvine, California. 1992.
Women, Culture, Theory Conference. Director. Over 250 participants and 30 panel
discussions. Speakers included Juliet Mitchell, Suzanne Lacy and other leading feminist
artists, writers, anthropologists and sociologists. Reviewed in Bay Area publications
including The Berkeley Barb and in The New Indicator. University of California, Irvine.
Irvine, California. April 5-7, 1979. Grants and funding from Department of History,
Women’s Studies and College of Art and Letters, $8,000.00.
L. Co-Sponsor Joint Request to CAL Lectures and Colloquia Committee:
San Diego State Zarathustra Centenary Lecture Series. San Diego State University. San
Diego, California. October-November 1985.
M. Faculty Sponsor
Ventana Latina, A Contemporary Latin American Film Series. San Diego State
University. San Diego, California. 1984-85.
N. Externally Critiqued Performances (including multimedia installations and
videotapes)
"Lorax." Performance at Hot Monkey Love Café. San Diego, California. October 11,
2003.
"The Chymical Wedding." Division of Literature and Arts performance (special event)
held in conjunction with Performance Art I: Performance Art and the Production of New
Knowledges and Performance Art II: "Reading" Performance Art. MLA (Modern
Language Association). New York. December 26-28, 2002.
"Lorax." Performance with two ska punk/rap bands including Samadhi. The Back Door.
San Diego State University. San Diego, California. 2002.
"The Chymical Wedding." Sexuality and Knowledges Conference. University of
California, Riverside. Riverside, California. February 22-24, 2002.
"The Marquesa Scale of Color." Multimedia performance with sound piece performed
live. CAA (College Art Association) Annual Conference, University of California, Los
Angeles. Los Angeles, California. February 10-13, 1999.
"Emily’s Boxes." Included performance, "La Marquesa Goes on Prozac," and installation
with mannequin of The Wrestler Bride, vargueño (collaboration with David Fobes) and
altar (collaboration with Tijuana artist Felipe Almada) seven artist’s books, Le Petomane
and I Couldn’t Reveal My Identity. La Marquesa Gallery. San Diego, California. May-
June 1998.
Le Petomane. Film. Dir. Igor Vamos. 58 mins. Color. Played role of feminist
professor. Showings at University of California, San Diego, La Jolla, California and
California Institute of the Arts, Valencia, California. February, 1998. Now listed on
movies.com
"La Marquesa Goes on Prozac." Performance with poet Alurista and musician Fred
Lanuza. The Back Door. San Diego State University. San Diego, California. March 10,
1997.
"Emily’s Boxes." Installation and performance with slides of artist’s books (The Book of
Generations and Emily’s Boxes) and projected computer-generated images of artist’s
books. Intersection Gallery. San Diego, California. November 1996.
"Emily’s Boxes." Installation with artist’s book. Performed as La Marquesa Casati."
Curated by Jennie Klein. Simay Space. San Diego, California. November 5-January 5,
1995.
"La Marquesa Casati." Center for Culture and Ethnic Studies. National University. San
Diego, California. November 29, 1993.
"La Marquesa Casati." Performance Text. Reading with Cherríe Moraga, Monica
Palacios and Francisco X. Alarcon. University of California, Berkeley. March 16-18,
1993.
"La Marquesa Casati." Performance Text. San Francisco State University. September
30, 1992.
"La Marquesa Casati." Performance Text. Latin Fest. San Diego State University. San
Diego, California. August 29, 1992.
"Border Writing." Reading/performance. McGill University. Montreal, Canada. January
1992.
"Aids/sida." Educational/art bilingual videotape on AIDS for children in the Latino
community. With Rocío Weiss and Angel Cosmos. Produced at Banff Center for the
Arts, Banff, British Columbia, Canada. Summer. 1990.
"Border Boda." Dir. Laura Esparza. With Las Comadres. Performed as The Wrestler
Bride. Centro Cultural de la Raza, San Diego, California and The Bridge, El Paso, Texas.
Reviewed in High Performance and by art historians Joanne Berolowitz and
Shifra Goldman. 1990.
"The Wrestler Bride Gets Divorced, Berlin Wall Crumbles and Santa Frida Gets Busted
for Shoplifting." Performance. Banff Center for the Arts. Banff, British Columbia.
Canada. December. 1989.
"Santa Frida, Our Lady of the Border." Installation. Border Axes. Capp St. Project.
San Francisco, California. July-August. 1989.
"Santa Frida, Our Lady of the Border." Performance/installation. With Rocío Weiss and
David Fobes. Border Realities V. Centro Cultural de la Raza. June. 1989.
"Santa Frida, Our Lady of the Border." Installation. Part of Vidas Perdidas/Lost Lives.
With Rocío Weiss and (BAW/TAF) Border Art Workshop/Taller de Arte Fronterizo.
Artist’s Space. New York, New York. January 19-February 18, 1989.
"Tijuana/Niagara." An interdisciplinary art project that includes fourteen site-specific
performance pieces, a multimedia installation. Art Park. Lewiston, New York. Reviewed
in Toronto Globe and Mail. July 16-August 1, 1988.
"Mask contra mascara." With Robert Sanchez, Berta Jottar and BAW/TAF (Border Art
Workshop/Taller de Arte Fronterizo). Border Realities IV: Casa de Cambio." Centro
Cultural de la Raza. San Diego, California. June-July 1988.
"I Couldn’t Reveal My Identity." Video Installation and text with Berta Jottar.
With (BAW/TAF) Border Art Workshop/Taller de arte fronterizo. "Borders, Myths and
Maps." ProArts. Oakland, California. April 28-May 28, 1988.
"Califas." Intersection Gallery for the Arts. San Francisco. November 13-14, 1987.
"Califas." In conjunction with "911: The House Gone Wrong, 1987." Parameters 8
Gallery. La Jolla Museum of Contemporary Art. San Diego, California. June 1987.
"Tijuana/Niagara." Performed as The Wrestler Bride. Yellow Springs Institute for
Contemporary Studies and the Arts. Yellow Springs. Pennsylvania. June 15-21, 1987.
"Documented/Undocumented." University of California, Irvine. Irvine, California. May
28, 1987.
"Califas." Newport Harbor Art Museum. Newport Beach, California. May. 1987.
"Califas." Cornell University. Ithaca, New York. May. 1987.
"Documented/Undocumented." Co-written by Emily Hicks and Guillermo Gómez-Peña.
Part of Border Realities II at the Centro Cultural de la Raza. Performed as The Wrestler
Bride. This piece toured throughout the southwest (including Prescott College, Prescott,
Arizona) and Northern Mexico. In various forms, it was also performed at the Newport
Harbor Art Museum, University of California, Irvine, The University of Texas at
Arlington, performance spaces and schools in Miami, Florida, The Yellow Springs
Institute, Pennsylvania and the La Jolla Museum of Contemporary Art, Parameters
Downtown Space. 1987-88. Premiered at the Centro Cultural de la Raza. San Diego.
April 17, 1987.
"Is the Border in Your Mind, on the Ground or in the Media." Performance. With
BAW/TAF (Border Art Workshop/Taller de arte fronterizo). Society for Photographic
Education. 24th National Conference. San Diego. April 14, 1987.
"Libro Altar Book" and "English, the Official Language." Border Realities III. With
BAW/TAF (Border Art Workshop/Taller de arte fronterizo). Centro Cultural de la Raza.
San Diego. March. 1987.
"I Couldn’t Reveal My Identity." Performance documented by Berta Jottar. Crossed
U.S.-Mexico border at San Ysidro dressed as a masked wrestler bride. November 1,
1986.
"El terremoto vive." Videotape documentary with filmmaker and musician Darryl
Charles. Filmed on location in Nicaragua on the occasion of the fifth anniversary of the
Sandinista revolution. Includes interview with political activist Margaret Randall.
Narrated by actress C.C.H. Pounder (starred in Café Baghdad; many television
appearances). Screenings held in Los Angeles, Vancouver, Minneapolis and San Diego.
1986.
"The Peoples of Los Angeles." Co-directed with Daniel J. Martínez. USC Atelier
Gallery. Santa Monica, California. Multimedia exhibition with holographic portraits shot
on location and sound installation. Reviewed Los Angeles Times. Summer. 1984.
"Death of Manifest Destiny: Birth of a New Human Race." Multimedia installation with
stereoscopic images and mannequins. With Werkgruppe. Chapman College. Orange, California.
October. 1983. Reviewed in Walt by Abbe Don.
"Carnal Commandos." Co-directed with Daniel J. Martinez. Installation with
stereoscopic (3-D) photographs. USC Atelier Gallery. University of Southern California.
Los Angeles, California. 1983.
"I’m a Little Bitch Boy." Color. 3 mins. Sound. Computer graphics. Programmed in C.
University of California, Los Angeles Computer Lab of John Whitney. Lhasa Club.
1983.
"Rear Entry." Videotape. Color. 27 mins. Video Installation. Espace DBD. Los
Angeles, California. Reviewed in Artweek. 1982.
"You are Entering a Hazardous Area" Installation with stereoscopic (3-D) photographs.
LACE (Los Angeles Contemporary Exhibitions). 1982.
"Return to Naxos." Dir. Rachel Rosenthal. With Rachel Rosenthal. The Downtown
Gallery. Los Angeles, California. 1981.
"Flush and Brush." Mixed media. Bedtime Stories. Group exhibition on the topic of
incest. Women’s Building. Traveling exhibition. Los Angeles, California. 1979.
O. Commissioned Work:
"Emily’s Boxes." Performed as La Marquesa Casati. Site-specific work performed in Los
Angeles at the home of Julie Kemper Gilliam, art collector and founder of MOCA
(Museum of Contemporary Art). October 1, 1994.
P. Book Art
Saire de Quincey, Signatory of the Magna Charta. To be viewed with 3-D glasses. Image
and text. Multimedia. Accordion binding with adhesive. 1998. 78 pages.
Eleanor of Aquitaine. Image and text. Multimedia on paper. To be viewed with 3-D
glasses. Folded accordion binding with no adhesive. 1998. 20 pages.
Cornwall. Illuminated manuscript. To be viewed with 3-D glasses. Multimedia. Glue and
hand sewn binding. 1998. 10 pages.
From Saluzzo to Rugguri (in progress). Illustrated text. Cover to be viewed with 3-D
glasses. Hand-sewn binding with no adhesive. 1998. 20 pages.
Ecotina and the Kids at Perkins. Image and text. Bilingual. To be viewed with 3-D glasses. Multimedia,
color Xerox, laminated pages, 3-ring binding. 1997. 40 pages.
The Book of Generations. Image and text. To be viewed with 3-D glasses. Multimedia and color
Xerox, unbound, 1996. 66 pages.
Emily’s Boxes. Image and text. To be viewed with 3-D glasses. Multimedia. Color
Xerox. Unbound in metal case. 1995. 60 pages.
The Wrestler Bride Gets Divorced, Berlin Wall Crumbles and Santa Frida Gets Busted for
Shoplifting. Graphic novel. 1990. 15 pages.
Q. Book and Art Reviews
Book Reviews
Hicks, D. Emily. "Review of Toril Moi, Sexual Textual Politics." Fiction International.
18:1. 173-79.
Art Reviews (Selected)
Hicks, D. Emily. "Event for Obsolete Body#3-Espace DBD." Art review reprinted in
Obsolete Body Suspension, ed. James P Pefrath. Davis: J.P. Publications, 1984. Bilingual
edition: Japanese-English.
Hicks, D. Emily. "Kitsch’s Revenge: Warhol/Nieman at LAICA." LA Weekly.
November 20-26, 1981. 27, 45.
"Target L.A." Artcom. 5:17 (1982): 13, 50-51.
R. Citation Indexes: Arts & Humanities Citation Index and Social Science Index
(Selected):
Border Writing (1991)
1996
Reimer D. Journal of Canadian Studies, Vol. 30, p. 129
Friedman, S. S. Tulsa Studies of Women, Vol. 15, p. 13.
Lavie, S. Cultural Studies, Vol. 10, p. 154.
Villanueva. Educa Urban, Vol. 29, p. 13.
1995
Wyatt, J. Tulsa Studies of Women, Vol. 15, p. 243.
Fast, R.R., Contemporary Literature, Vol. 36, p. 508
Alvarez, Annual Review of Anthropology, Vol. 24, p. 447. R
Gutierrez ,C. Diacritics, Vol. 25, p. 99, 1995. R
Friedman, S.S. Signs, Vol. 21, pg. 1.
McMaster, G.R. Critical Studies, Vol. 9, p. 74.
Arts and Humanities Citation Index 1988 Subject Index #5
Border Art Workshop
Taller de Pincus, RL +
Arts and Humanities Citation Index 1988 #1
Hicks, E
Artweek 1031 12 4 1981
Prinz, J. Genre
SSCI Source Index #13 Five Year Cumulation 1981-5.
"Non-synchrony and Feminist Practice" (1980)
Hicks, E
(GE) Cultural Marxism - Nonsynchrony and Feminist Practice
Argument 25 (March): 197-209 83 3R
Hartman, H. 81
Mitchell, J. 71
Wynter, S. 79
S. Book Reviews
(Border Writing) (Selected)
Carravetta, Peter. "Review of Border Writing." Differentia. 1993.
Córdoba, Enrique. Border Writing: The Multidimensional Text." El
Mexicano. 1992.
Costantino, Roselyn. "Book Review: D. Emily Hicks, Border Writing: The
Multidimensional Text." Studies in 20th Century Literature. 19:1 (1995). 141-43.
Girven, Tim. "Culture without Nation." American Book Review. 14.3 (1992). 11, 29.
Larson, Neil. "Response to Tim Girven’s Review of Border Writing: ‘Culture without
Nation.’" American Book Review. 15.1 (1993).
Perez-Torres, Rafael. American Studies International. 31-1. April 1993.
Romero, Rolando. "Postdeconstructive Space." Siglo XX/20th Century (1993): 225-34.
Waller, Marguerite. "Review of Emily Hicks, Border Writing." College English. 1995.
Book Reviews
(Literatura de fronteras Mexico-Estados Unidos)
Hocksema, Thomas. New Mexico State University. Journal of Borderland Studies 3.1.
94.
T. References to Books (Border Writing)
Clifford, James. Routes: Travel and Translation in the Late Twentieth Century. Boston:
Harvard University Press, 1997.
Fregoso, Rosalinda. The Bronze Screen, Chicana and Chicano Cinema. Minneapolis:
University of Minnesota Press. 1993.
Jay, Paul. Contingency Blues, the Search for Foundations in American Criticism. Madison:
University of Wisconsin. 1997.
Michaelsen, Scott and David E. Johnson. Border Theory: The Limits of Cultural Politics. Minneapolis:
University of Minnesota Press, 1997.
Saldívar, Jose David. Border Matters: Remapping American Cultural Studies. Los Angeles:
University of California Press, 1997
Vélez-Ibañez, Carlos. Border Visions: Mexican Cultures of the Southwest United States. Los Angeles:
University of California, Press, 1997.
U. References to Writing on Art and Performance
Lippard, Lucy. Mixed Blessings. New York: Pantheon, 1990.
V. Radio Interviews of Hicks:
"La Marquesa Goes to Budapest." With Dan Erwine. On Air. KPBS. April. 1993.
W. Published Interviews of Hicks:
"Interview with Emily Hicks." With Peter McLaren. International Journal of Educational
Reform. 2000. Peter McLaren is a leader theorist in the field of critical pedagogy along with
Henry Giroux.
Fusco, Coco. "The Border Art Workshop/Taller de Arte Fronterizo." Interview with
Guillermo Gómez-Peña and Emily Hicks. Third Text. No. 7. Summer, 1989. 53-76.
X. Art Reviews (Selected)
Snyder, Joel. "Crossing Boundaries-Where Artists and Art Forms Meet." Art Forms.
National Endowment of the Arts. http://24.178.35.192 /artforms/presenting/joel2.html.
AltaVista. August 15, 1999.
Klein, Jennie. New Art Examiner. Full color reproduction on cover. Dec. 1994. Review of
Emily’s Boxes, artist’s book, "The Reading Room," part of La Vecindad, Border Boda, San
Diego Museum of Contemporary Art, essay "Boundaries to which One is Tied and From
Which One is Restrained from Traversing" written for exhibition catalog Counterweight:
Alienation, Assimilation, Resistance.
Trageser, James. "Seeks to Build Cultural Bridge Between U.S. and Mexico." The Star-News.
May 15, 1988.
Finz, Stacy. "Border Their Crossing to Bear." Los Angeles Times. March 22, 1988.
Pincus, Robert L. BAW/TAF at the Centro Cultural de la Raza and the Jolla MCA. Art
in America. January 1988.
Hurwitt, Robert. "Theater Review: ‘Califas.’" San Francisco Examiner. November13, 1987.
"Califas." The San Francisco Bay Guardian. 22.4 (1987).
Martin, Hugo. "Multimedia ‘Califas’ Crosses Borders of Art, Culture and Politics." Los Angeles Times. 1987. 12-13.
Rozo-Moorhouse, Teresa. "Califas: Problemática en la Zona Fronteriza." La Opinión. 1987.
Allen, Mike. "Neighbor: Breaking Images of Border." The Star-News. April 19, 1987.
Eva Cockcroft. "The Border from Both Sides." Artweek. March 21, 1987.
Pincus, Robert L. "Art on the Border: Fencing with Reality." The San Diego Union. March 15, 1987.
Keledjian, Chris. "The New Technology." Artweek. August 25, 1984.
Solomon, Charles. "9 Portraits Shown in 3 Dimensions." Los Angeles Times. July 11, 1984.
Askey, Ruth "Holography at Santa Monica Place Adds Dimension to Art." Evening Outlook. July 6, 1984.
Drohojowska, Hunter. "Holograms Document the Faces of America." Los Angeles Herald Examiner. June 29, 1984.
"Opening June 25." Centerpiece Supplement. Los Angeles Times. June 7, 1984.
Don, Abbe. "Werkgruppe within a Werkplace." Walt, Politics, Theory and Criticism.
3:2 (1983): 18-20. Abbe Don is a leading theorist of narrativity and digital culture.
Y. Funded Research Grants
1998-99 John and Jane Adams Humanities Mini-grant. With Isidro Ortiz, Professor, Chicana
and Chicano Studies. "Música sin Fronteras/Music Without Borders Archive." $4,462.28.
This is the Rock en Español archive that allows students to check out CDs from the Media
Center in the library.
1997 Centro Cultural de Tijuana. Grant for border art and technology project, "Ecotina and
the Kids from Perkins," at the Centro Cultural, Tijuana, and Perkins Elementary, San Diego.
Festival de la frontera ‘97/’97 Border Festival, May 8-12, 1997. Tijuana, San Diego,
Mexicali, Ensenada, Tecate. $1,000.00 (See Service for the Community.)
1992-95 American Council of Learned Societies (ACLS) Grant Recipient,
K-12. Curriculum Project with University of California, San Diego, University of California,
Los Angeles, the University of Minnesota and Harvard University. (One year release time for
research.)
1991-1992 "Border Culture Projects." Mini-grant. College of Arts and Letters. $1,000.00.
1988 NEA/CITY/COMBO (Combined Arts and Education Council of San Diego County.)
Grants for publication of The Broken Line/La Línea Quebrada, issue #4. With Harry
Polkinhorn, et. al. $2,500.00
1987 NEA/CITY/COMBO (Combined Arts and Education Council of San Diego County)
Grants for publication of The Broken Line/La Línea Quebrada, issue #3. Co-edited.
$2,5000.
1979 College of Arts and Letters. Grants for Women, Culture, Theory Conference from
Department of History, Women’s Studies and College of Arts and Letters. University of
California, Irvine. Irvine, California. $8,000.00
Z. Participation in Professional Organizations (Selected)
College Art Association (1998-99).
Modern Language Association (1979-1999) (2001-present)
International Institute of Sociology (1994-95).
International Sociological Association (1993-94, 1997-98).
Philological Association of the Pacific Coast (1992-93).
Latin American Studies Association (1992-93).
American Comparative Literature Association. 1989-90.
CCCC (College Composition Conference) (1984-85).
Pacific Coast Latin American Studies (1984-85).
Instituto Literario y Cultural Hispanico (1982-83, 1993-94).
Southern California Art Writers. 1981-82.
VI SERVICE FOR THE UNIVERSITY AND THE COMMUNITY
A. Service for the University
1. Committee Assignments
Member, RTP (Retention, Tenure and Promotion) Committee. College of Arts and Letters.
San Diego State University. 2001-present.
Member, Research Committee. College of Arts and Letters. San Diego State University.
2001-present.
Member, Chicana and Chicano Studies Department Part-Time Hiring Committee. San Diego
State University. 1998-present.
Member, Interdisciplinary Education Curriculum Committee. San Diego State University.
1997- present.
San Diego State University Binational Press. 1994-present. Responsible for reading
manuscripts and making recommendations regarding revisions and publication.
Member, Comparative Literature Committee, English and Comparative Literature Department.
San Diego State University. 1984-present.
Member, Search Committee. English and Comparative Literature Department. San
Diego State University. 1990-91.
Member, Liaison Committee for Tenure and Promotion. English and Comparative Literature Department.
San Diego State University. 1990-91.
Member, Sabbatical Committee. English and Comparative Literature Department. San Diego
State University. 1990-91.
Member, Graduate Advisory Committee. English and Comparative Literature Department. San
Diego State University. 1989-91.
Member, Ad Hoc Committee on Foreign Language Requirement in Graduate Program. English and
Comparative Literature Department. San Diego State University. 1989-90.
Member, Ad Hoc Hiring Committee. English and Comparative Literature Department. San Diego
State University. 1988-89. Prepared detailed report about enrollment over the preceding five
years in Comparative Literature courses in order to determine hiring needs and priorities.
Member, Research Committee. Model Literacy Program. University of Southern California.
1983-84.
Member, Advisory Committee. Freshman Writing Program. University of Southern California.
1983-84.
Member, Research Committee. Freshman Writing Program. University of Southern California.
1983-84.
Member, Curriculum Committee. Third College Writing Program. University of California,
San Diego. 1976-77.
2. Service Learning
Attended 1997 Summer Service Learning Faculty Institute at California State University, San
Marcos. San Marcos, California. June 26-28, 1997. I have included a service learning
component in all of my courses from Fall 1997 to the present.
3. Large Enrollment
Attended 2003 Spring Large-enrollment Workshop at San Diego State University.
B. Service for the Community
1. Memberships on Boards
Board Member, BLEI (now BLCI, Barrio Logan College Institute), 1997-98. Responsible
for mission statement, budget approval, fund-raising activities, meetings with parents and mentors
and event planning.
2. External Reviews
External Reviewer. College of Arts and Sciences. University of Michigan-Flint. 1996.
3. Manuscript Reader
Reader. University of Arizona Press. 2002.
Reader. Federico Campbell. Tijuana. University of California Press. 1997.
4. Editorial
Co-editor. The Broken Line/La Línea Quebrada. 1986-88.
Writer/Contributing editor. Artweek. 1981-86.
Member, Editorial Board. U-Turn (formerly The Dumb Ox) a tri-quarterly journal of art and critical theory, 1983-84.
Member, Editorial Board. Social Text, a quarterly journal of critical theory. 1978-79.
5. Speeches
"English, the Official Language." Performance and workshop. Spring 1999 CSU English
Council. Sacramento, California. April 28-30, 1999.
"La Marquesa." Latina Career Seminar Day. Emerson/Bandini Elementary School. San
Diego, California. June 28, 1996.
"Border Writing: The Multidimensional Text." Multimedia performance/reading. Ilan-Lael
Foundation. San Diego, California. May 30, 1992.
"Border Writing: The Multidimensional Text." Performance/reading. City University of New
York, Queens. Queens, New York. April 30, 1992.
"Border Writing: The Multidimensional Text." Living Writer’s Series. San Diego State
University. February 11, 1992.
"Border Writing: The Multidimensional Text." Reading. Organized by Professor Deborah
Chaffin, San Diego State University. The Blue Door Bookstore. San Diego, California. November 15, 1991.
"Latin America: Fact and Fiction."" Lecture and screening of "El Terremoto Vive," a documentary about the
Nicaraguan revolution. Crisis Areas of the World Lecture Series. A New Age For Learning. SDSU Extension.
San Diego, California. October 1, 1985.
"Orpheus Meets Sandino: The Voice of the Love-Poet in Contemporary Nicaragua." Lecture and screening of "El Terremoto Vive,"
a documentary about the Nicaraguan revolution. Presented by Program in Comparative Literature and Department of Spanish and
Portuguese. University of California, Irvine. Irvine, California. March 8, 1985.
"Narrative Structure in Video and Film." Multi-cultural Art Center. San Diego. California.
May 5, 1983.
"The Scarlet Letter, A Semiotic Analysis of the Artist-in-Residence Code." Los Angeles Chapter of Artist’s Equity Association.
Los Angeles Municipal Art Gallery Theatre. Los Angeles. March 20, 1985.
"Post-structuralism and Art." Space Gallery. Los Angeles. October 12, 1982.
"Women and the University." Noon Lecture Series. University of California, Irvine.
September 15, 1979.
6. Community-related Projects
Co-founder/member. Binational, bicultural feminist art collective, Las Comadres. Exhibition
at the Museum of Contemporary Art. Catalogue. 1989-present. (Group inactive for
several years; we now meet as a group when possible and communicate on line through an e-group
service.)
Co-founder. La Marquesa Gallery. Community-based gallery in North Park. Exhibitions held
of work by local, community artists. Three solo exhibitions held in 1998; two group exhibitions
planned for 1999.
"Ecotina and the Kids at Perkins." Frontera ’97. Binational project at Centro Cultural in
Tijuana and Perkins Elementary in Barrio Logan. Collaboration with Tracy Eno Stearns.
Received $1,000 grant for multimedia project that included bilingual artist’s book (see artist’s
books), performance, computer-generated overhead projections, educational materials,
videotape. Global chat room on Internet connected Oaxacan orphans at Centro Cultural in
Tijuana and students at Perkins Elementary in Barrio Logan, San Diego. Tijuana, Baja
California, Mexico and San Diego, California.
Member. BAW/TAF (Border Art Workshop/Taller de Arte Fronterizo), binational, bicultural
art collective. Based at the Centro Cultural de la Raza. Members of the group include Chicano
artist/activists David Avalos and Victor Ochoa. San Diego, California. 1986-1989.
Co-founder. Werkplace, non-profit center for cultural research. Werkgruppe, a group
of artists and musicians, was also co-founded at this time (with artist Daniel J. Martinez).
Members included musicians Mark Deutrom and Lori Black, both of whom became members of the band
The Melvyns. Los Angeles, California. 1981-84.
7. Research Institutes
Director. Border Institute for Advanced Studies in Nonlinear Events and Structures (BIAS-NES) Instituto
fronterizo para estudios avanzados en eventos y estructuras no-lineal (IFEA-EEN)
The Institute is associated with the Musica sin Fronteras archive, an archive of interviews with
musicians who have performed at events sponsored by the institute, the journal SNL (Studies
in Nonlinearity), a book series, Multiple Positions, a Monograph Series in Non-linear Studies,
and the emerging graduate program in the Department of Chicana/o Studies at San Diego State
University. The Institute is located in the College of Arts and Letters at San Diego State
University. 2003.
Co-founder with Wanda Dressler Holohan, France, Shoji Ishitsuka, Japan and Pirrkoliisa
Ahponen, Finland. Research Institute of Social Theory: Political and Cultural Change.
Research areas include border culture, Eastern Europe, the multi-ethnic nation, national
movements and nation, modernity and postmodernity. 1997.
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