Ryan Tacata, PhD is a performance maker, educator, and scholar living in San Francisco. He has a BFA from the School of the Art Institute of Chicago (2007) and received his PhD in Performance Studies from Stanford University. His recent work in performance includes Lolas (2017, a performance installation in honor of Filipino grandmothers, Asian Art Museum); For You, (2016–) with Erika Chong Shuch (a series of dedicated performances for audiences of 12); and dancing in Doggie Hamlet (2015–) by Ann Carlson (a site-specific dance with four human performers, sheep herding dogs, and 30+ sheep). He is currently devising an archive-based performative response to Goat Island’s When Will the September Roses Bloom? Last night was only a comedy (commissioned for the company’s upcoming retrospective, goat island archive—we have discovered the performance by making it, Chicago Cultural Center, 2019). He has collaborated with Leslie Hill and Helen Paris of Curious on a number of performance and teaching projects, including Writing Desires, Performing Hope (2012) with women from Hope House in Redwood City (a six-month residential alcohol and drug treatment program for women who are released from the California Department of Corrections or are homeless). He received the Diane Middlebrook Prize (2013) in recognition of his feminist pedagogy with the Hope House Scholar Program. His academic research plays critical thought in the keys of creative practice, and engages alternative methods of archival research, performance art historiography, and experimental spatial practice. His dissertation "La Mamelle: Bay Area Conceptual Performance Art and The Alternative Art Archive" undertakes the La Mamelle/Art Com archive and various histories of West Coast conceptualism. He is currently writing on the occasion of art with a focus on performance art history and occasional literature. As an educator, his workshops and university classes cover a range of topics, including histories and theories of conceptual art, practice-based research in performance, social practice, body art, automobiles in the avant-garde, and the sporting event. As a Visiting Faculty member, he taught in the department of History and Theory of Contemporary Art at the San Francisco Art Institute and in the MFA Theater and Performance Making Program at the California Institute of Integral Studies (SF) and University of Chichester (UK). In 2018, he was a Visiting Lecturer for the Abandoned Practices Institute (Lin Hixson, Matthew Goulish, and Mark Jeffery) with Erin Manning. He is currently Lecturer in the Immersion in the Arts: Living in Culture (ITALIC) program at Stanford University.
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