Director of Graduate Studies, Film and Visual Studies
Carrie Lambert-Beatty is an art historian with a focus on art from the 1960s to the present, and a special interest in performance in an expanded sense. Her 2008 book Being Watched: Yvonne Rainer and the 1960s was the first critical study of this signal member of the avant-garde, bringing together new research on minimalism, dance, performance documentation, theories of spectatorship, and the American avant-garde's response, often at the level of the political unconscious, to the period's burgeoning media culture. Published by MIT Press, Being Watched was awarded the de la Torre prize for dance studies and was a finalist for the CAA's Rufus Morey prize. Lambert-Beatty's more recent work has focused on hybrids of art and activism such as Women on Waves and The Yes Men. Her essay on recuperation--both neurological and ideological--in the work of the art team Allora + Calzadilla accompanied their representation of the United States at the 2011 Venice Biennale. Lambert-Beatty's writing appears in journals such as Artforum and October, of which she is an editor. She is at work on a book for University of Chicago Press related to her 2009 essay "Make-Believe: Parafiction and Plausibility" (October 129), exploring deception, confusion, and states of doubt in contemporary art and culture.
Image: Carrie Lambert-Beatty, Being Watched: Yvonne Rainer and the 1960s (MIT Press, 2008). Reproduced with permission of MIT Press.
lambert2 [at] fas.harvard.edu