Join the Bureau and NOGO Arts for an evening with Holly Hughes and David Román. Hughes and Román will discuss the history of LGBTQ art and performance over the past 40 years to highlight the idea of Critical Generosity. In addition to talking about their own work as performers, writers, and professors, they will also talk about ways we can engage historical and contemporary work from a queer point of view to allow for an empathic experience as viewer/audience member/critic. Come hear these two important figures and share in a conversation about how we might respond to aesthetics in a different way. Limited seating!

David Román is Professor of English and American Studies at the University of Southern California. He is the author of two books: Acts of Intervention: Performance, Gay Culture, & AIDS and Performance in America: Contemporary US Culture and the Performing Arts, and several edited volumes. Professor Román’s research focuses on theatre and performance studies, with an emphasis on contemporary US culture, and American studies, with an emphasis on race, sexuality, and the performing arts. His current projects include an edited volume of essays on the plays of Tarell Alvin McCraney, Tarell Alvin McCraney: Theatre, Performance, Collaboration (Northwestern UP, 2020) and an edited volume of essays on the career of Taylor Mac, The MacBook (University of Michigan Press, 2021). He is also currently working on two book-length projects, Reviving Broadway, on the cultural politics of Broadway from the 1930s to the present, and Remembering AIDS, on the early AIDS years in the United States. He is a former editor of Theatre Journal and a founding editorial member of GLQ. He’s served as the scholar-in-residence at the Mark Taper Forum in Los Angeles under the leadership of founding artistic director Gordon Davidson and he was the chair of the board of directors at Highways Performance Space in Los Angeles under the leadership of founding artistic director Tim Miller. He has previously taught at Macalester College, Pomona College, the University of Washington-Seattle and Yale University. He’s won multiple awards for his scholarship, teaching, and service.

Holly Hughes is an internationally acclaimed performance artist whose work maps the troubled fault lines of identity. Her combination of poetic imagery and political satire has earned her wide attention and placed her work at the center of America’s culture wars. Hughes was among the first students to attend The New York Feminist Art Institute, an experiment in progressive pedagogy launched by members of the Heresies Collective. While there, she worked with feminist artists such as Miriam Schapiro and Mary Beth Edelson and participated in performance work at A.I.R. gallery. In the early ’80s, Hughes became part of the Women’s One World Café, also known as the WOW Café, an arts cooperative in the East Village established by an international group of women artists. As the Village gradually became a magnet for the avant-garde art world, WOW served as an incubator for a generation of artists. Hughes has performed at venues across North America, Great Britain and Australia including the Walker Art Center, the Wexner Center, the Guggenheim Museum, the Yale Repertory, the Drill Hall in London, and numerous universities. She has published two books: Clit Notes: A Sapphic Sampler and O Solo Homo: The New Queer Performance, co-edited with Dr. David Roman. In addition, her work has been widely anthologized and has served as foundational material for performance studies, queer studies and feminist performance studies. Hughes has received funding from the National Endowment for the Arts, the New York State Council, the Ford Foundation, and the Rockefeller Foundation, among others. She is the recipient of two Village Voice Obie awards, a Lambda Book Award, a GLAAD media award, and a Distinguished Alumni Award. In addition to teaching at the University of Michigan, Hughes is co-editing Memories of the Revolution: The First Ten Years of the WOW Café, with Alina Troyano for the University of Michigan Press, and is creating a new solo piece entitled The Dog and Pony Show (Bring Your Own Pony). She has also been commissioned by the U-M Institute for Research on Women and Gender to create a new performance piece in celebration of the organization’s tenth anniversary.