American artist Jill Magid’s work is deeply ingrained in her lived experience, exploring and blurring the boundaries between art and life. Through her performance-based practice, Magid has initiated intimate relations with a number of organizations and structures of authority. She explores the emotional, philosophical and legal tensions between the individual and ‘protective’ institutions, such as intelligence agencies or the police. To work alongside or within large organizations, Magid makes use of institutional quirks, systemic loopholes that allow her to make contact with people ‘on the inside’. Her work tends to be characterized by the dynamics of seduction, the resulting narratives often taking the form of a love story. It is typical of Magid’s practice that she follows the rules of engagement with an institution to the letter – sometimes to the point of absurdity. Her work was most recently featured in The New Yorker, in the piece “The Architect Who Became a Diamond” by Bard College alumna Alice Gregory.
This Experimental Humanities event was made possible through a grant from the Andrew W. Mellon Foundation.