Gender & Women's Studies

Jill H. Casid

Position title: Professor of Gender & Women's Studies, and Art History

Website: Jill's website

Image of Professor Jill H. Casid. She wears black framed glasses and red lip stick. She is against a black background with a black jacket on. Her hair is dark with blond in front.

Photo by Allison Michael Orenstein

A widely published artist-theorist and historian, Jill H. Casid holds the position of Professor of Visual Studies with a cross-appointment in the Departments of Art History and Gender and Women’s Studies. Casid pursues a research practice across writing, photography, and film that is dedicated to queer, crip, trans*feminist, and decolonial interventions. Casid is the author of Sowing Empire: Landscape and Colonization (Minnesota, 2005) which received the College Art Association’s Millard Meiss award and Scenes of Projection: Recasting the Enlightenment Subject (Minnesota, 2015) — now in Spanish translation (Metales Pesados, 2022). Casid also co-edited the collection Art History in the Wake of the Global Turn (Yale, 2014). Casid exhibits their artwork nationally and internationally, including in recent exhibitions at the steirischer herbst festival in Austria and Documenta fifteen. Casid is the honored recipient of numerous awards for research and teaching, including the Kellett Mid-Career Award, the Chancellor’s Inclusive Excellence in Teaching Award, the Vilas Research Investigator Award, the Romnes Faculty Fellowship, and Hamel Faculty Fellowship. Casid was the Clark-Oakley Fellow at the Clark Art Institute and the Oakley Humanities Center at Williams College and will be a visiting scholar at Harvard’s Dumbarton Oaks. Casid is also a Senior Fellow at the Institute for Research in the Humanities.

Publications by Jill H. Casid

  • Book cover for Scenes of Projection by Jill Casid
    Casid, J. H. Scenes of Projection. University of Minnesota Press, 2014.

    Theorizing vision and power with the histories of psychoanalysis, media, scientific method, and colonization, Scenes of Projection poaches the prized instruments at the heart of the so-called scientific revolution. It demonstrates that the scene of projection is neither a static diagram of power nor a fixed architecture but rather a pedagogical setup that operates as an influencing machine of persistent training.

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