Ph.D. Theater & Performance Studies, Stanford University
M.A. Performance Studies, New York University
M.A. Experimental Humanities and Social Engagement (Concentration: Gender Politics), New York University
B.A. English & Creative Writing, Colorado College
Raegan Truax is a performance artist and scholar working broadly across the disciplines of performance studies, dance, gender and sexuality studies, art history, and visual culture. Her research explores questions about time, memory, territory, affective exchange, and labor—particularly in regard to queer feminist histories of subversive art and protest.
Truax is working on her first book Durational Performance: Temporalities of the Untimely Body which focuses on global women artists who bend, suspend, and manipulate time as a political material.
Truax’s durational performances have been included within The Marina Abramović Institute’s Immaterial archive and presented at Zentrum für Kunst und Urbanistik (ZK/U) in Berlin, SOMarts in San Francisco, grüntaler9 in Berlin, The Northern California Performance Platform, Stanford University’s Department of Art and Architecture, Berlin Art Week, Performance Studies International, and Artist's Television Access (ATA) in San Francisco. She has additionally performed at Centro Negra with AADK in Blanca Spain, Dance Theatre Workshop in New York City, the Performance Arts Institute in San Francisco, and The New Museum in New York City as collaborator to Carlos Motta’s international art project We Who Feel Differently. More recently, Truax performed Citation for 37 consecutive hours at CounterPulse in San Francisco, and choreographed Sloughing, which included 35 performers and occurred across 19 different locations in the Bay Area over 28-days. In 2019, Truax was invited to participate in HERstory, an international archive project centered on interviewing current feminist artists about making feminist work (Truax's interview).
Motta, Carlos, Cristina Motta, Jiwon Lee, Pedro Lama, and Raegan Truax. 2011. We Who Feel Differently. New York: Ctrl+Z Publishing.
Articles and Reviews
2019. Review of Performing Endurance: Art and Politics since 1960, by Laura Shalson. Modern Drama 62, no. 4:
2019. Review of Back to the Dance Itself: Phenomenologies of the Body in Performance, by Sondra Fraleigh (ed). Dance Research Journal 51, no. 2: 87-89.
2015. "Queer Divestment: A Response to This is What I Want” in “Baywatch,” edited by The Dance Studies Working Group, UC Berkeley. June 13.
Scholarship About Truax
Bobel, Chris and Breanne Fahs. 2019. “The Messy Politics of Menstrual Activism.” In Nevertheless, They Persisted: Feminisms and Continued Resistance in the U.S. Women's Movement, edited by Jo Reger, 151-169. New York: Routledge, Taylor & Francis Group.
- 2020. “The Messy Politics of Menstrual Activism.” In The Palgrave Handbook of Critical Menstruation Studies edited by Chris Bobel, Inga T. Winkler, Breanne Fahs, Katie Hasson, Elizabeth Arveyda Kissling, and Tomi-Ann Roberts. Palgrave Macmillan.
Fahs, Breanne and Ela Przybylo. 2018. “Feels and Flows: On the Realness of Menstrual Pain and Cripping Menstrual Chronicity.” Feminist Formations 30, no 1: 206-229.
Johnson, Alexis Bard. 2020. “Summoning Ghosts: Reflections on Raegan Truax’s Citation.” In “Gender and Sexuality” edited by David Mason. Special Issue, Ecumencia: Journal of Theatre and Performance 13.1.