Amanda Boetzkes is a theorist of contemporary art and aesthetics. She is the author of Plastic Capitalism: Contemporary Art and the Drive to Waste (MIT Press, 2019), The Ethics of Earth Art (University of Minnesota Press, 2010), and a forthcoming book titled Ecologicity: Vision and the Planetarity of Art. Edited books include Artworks for Jellyfish (Noxious Sector, 2022), Heidegger and the Work of Art History (Routledge, 2014), and a forthcoming volume on Art’s Realism in the Post-Truth Era (2023). Her research focuses on the relationship between perception and representation, theories of consciousness, and ecology. She has analyzed complex human relationships with the environment through the lens of aesthetics, patterns of human waste, and the global energy economy. Her current project, At The Moraine, considers modes of visualizing environments with a special focus on Indigenous territories of the circumpolar North.
She has published in the journals South Atlantic Quarterly; Afterimage; Postmodern Culture; E-flux; La Furia Umana and Stasis among others. Recent book chapters appear in The Posthuman Pandemic (Bloomsbury, 2022); Nervous Systems: Art, Systems, and Politics Since the 1960s (Duke UP); Climate Realism: The Aesthetics of Weather and Atmosphere in the Anthropocene (Routledge, 2021); and Art in the Anthropocene: Encounters Among Politics, Aesthetics, Environments and Epistemologies (Open Humanities Press, 2015).
Amanda Boetzkes is Professor of Contemporary Art History and Theory at the University of Guelph. She lives in T’karonto (Toronto, Canada) which is covered by Treaty 13 with the Mississaugas of the Credit.