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Publications by José Esteban Muñoz

Books

A Punk Rock Commons: The Los Angeles Punk Scene (in progress)

The Sense of Brown. Durham and London: Duke University Press, Forthcoming.

Cruising Utopia: The Politics and Performance of Queer Futurity. New York: NYU Press, 2009.

Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: University of Minnesota Press, 1999.

Edited books

Women and Performance, A Journal of Feminist Theory: Between Psychoanalysis and Affect: A Public Feelings Project, Vol. 19, No. 2, 2009.

With Celeste Fraser Delgado. Everynight Life: Culture and Dance in Latin/o America. Durham: Duke University Press, 1997.

With Jennifer Doyle and Jonathan Flatley. Pop Out: Queer Warhol. Durham: Duke University Press, 1996.

With David L. Eng and Judith Halberstam. Social Text: What’s Queer about Queer Studies Now? 84/85, Vol. 23, Nos. 84-86, Fall/Winter 2005.

With Phillip Brian Harper and Anne McClintock. Social Text: Queer Transexions of Race, Nation, and Gender. 52/3, Vol. 15, Nos. 3 and 4, Fall/Winter 1997.

With Amanda Barrett. Women and Performance, A Journal of Feminist Theory: Queer Acts. Vol. 8:2, No. 16, 1996.

Chapters in books


“Our Emotional Situation:  The Art of Bad Sentiment,” Arco Madrid Catalog, (Madrid: ARCOmadrid/ Ifema Feria de Madrid, 2009).

“Queerness as Horizon: Utopian Hermeneutics in the Face of Gay Pragmatism,” A Companion to Lesbian, Gay, Bisexual, Transgender, and Queer Studies, ed. Molly McGarry and George Haggerty, (Malden/Oxford: Wiley-Blackwell, 2008).

“Just Like Heaven: Queer Utopian Art and the Aesthetic Dimension,” in I Remember Heaven: Jim Hodges and Andy Warhol (New York: Distributed Art Publishers, 2007).

“Queerness’ Labor, or the Work of Disidentification,” in Normal Love, ed. Renate Lorenz (Berlin: B_Books, 2007).

"Stages: Queers, Punks, and the Utopian Performative" in The Sage Handbook of Performance Studies, ed. Madison, D. Soyini and Judith Hamera. (Thousand Oaks: Sage, 2006).
 
“Reaching the Open: Isaac Julien’s True North” w. Michael B. Wang. Isaac Julien: True North Los Angeles: MAK Center for Art and Architecture, 2006).

“Meandering South: Isaac Julien and The Long Road to Mazatlán” in Isaac Julien. Ed. Sean Kissane, (Dublin: Irish Museum of Contemporary Art, 2005).

"Utopia's Seating Chart: Ray Johnson, Jill Johnston, and Queer Intermedia as System" in After Criticism: New Responses to Art and Criticism. Ed. Gavin Butt. (Malden/Oxford: Blackwell, 2005).

“Performing Greater Cuba: Tania Brugera’s Burden of Guilt.” In Holy Terrors: Latin American Women Perform.  eds. Diana Taylor and Roselyn Constantino. (Durham and London: Duke University Press, 2004).

“Gesture, Ephemera and Queer Feeling: Approaching Kevin Aviance,” in Choreographing Desire, ed. Jane Desmond (Hanover and London: Wesleyan University Press, 2001).

“The Future in the Present: Sexual Avant-Gardes and the Performance of Utopia,” in The Future of American Studies, eds. Donald Pease and Robyn Weigman (Durham and London: Duke University Press, 1999).

“Latino Theatre and Queer Theory,” in Queer Theatre, ed. Alisa Solomon (New York: New York University Press, 1999).

“Luis Alfaro’s Memory Theatre,” in Corpus Delecti, ed. Coco Fusco (New York and London: Routledge, 1999).

“The Autoethnographic Performance: Reading Richard Fung’s Queer Hybridity,” in Performing Hybridity, eds. May Joseph and Jennifer Natalya Fink (Minneapolis: University of Minnesota Press, 1999).

“Pedro Zamora’s Real World of Counterpublicity: Performing an Ethics of the Self,” in Homosexuality and Hispanisms, eds. Sylvia Molloy and Robert Irwin (Durham and London: Duke University Press, 1998).

“Rough Boy Trade: Queer Desire/Straight Identity in the Photography of Larry Clark,” in The Passionate Camera, ed. Deborah Bright (New York and London: Routledge, 1998).

“Pedro Zamora’s Real World of Counterpublicity: Performing an Ethics of the Self,” in Living Color: Race and Television, ed. Sasha Torres (Durham and London: Duke University Press, 1998).

“Photographies of Mourning: Ambivalence and Melancholia in Mapplethorpe, Van der Zee and Looking for Langston,” in Race and the Subject(s) of Masculinity, eds. Harry Stecopoulos and Michael Uebel (Durham and London: Duke University Press, 1997).

“Famous and Dandy Like B. ‘n’ Andy: Race, Pop and Basquiat,” in Pop Out: Queer Warhol, eds. Jennifer Doyle, Jonathan Flatley and José E. Muñoz. (Durham and London: Duke University Press, 1996).

“Ghosts of Public Sex: Utopian Longings, Queer Memories,” in Policing Public Sex: Queer Politics and the Future of AIDS Activism, ed. Dangerous Bedfellows     (Boston: South End Press, 1996).

“Flaming Latinas: Ela Troyano’s Carmelita Tropicana: Your Kunst is Your Waffen,” in The Ethnic Eye: Latino Media, eds. Chon A. Noriega and Ana M. López (Minneapolis: University of Minnesota Press, 1996).

Articles

“The Queer Social Text.”  Social Text 100 Vol 27, No. 3 (Fall 2009): 215-218.

“From Surface to Depth, between Psychoanalysis and Affect, Women and Performance: A Journal of Feminist Theory. Vol. 19, No 2 (July 2009): 123-129.
 
 “Hope and Hopelessness: A Dialogue,” with Lisa Duggan, Women and Performance: A Journal of Feminist Theory. Vol. 19, No 2 (July 2009): 275-283.

“Performing the State of Exception: Coco Fusco’s Operation Atropos and A Room of One’s Own,” TDR: The Drama Review, Vol. 52, No. 1 (Spring 2008): 136-139.

“The Sense of Watching Tony Sleep,” South Atlantic Quarterly, Vol 106, No. 3 (Summer 2007): 543-551.

“Cruising the Toilet: Leroi Jones, Amiri Baraka, Radical Black Traditions and Queer Futurity,” GLQ, Vol. 13, No. 2-3 (2007): 353-367.

 “The Vulnerability Artist: Nao Bustamate and the Sad Beauty of Reparation,” in Women and Performance: A Journal of Feminist Theory. Vol. 16, No. 2, (July 2006): 191-200.

“Forum: Conference Debates: The Antisocial Thesis in Queer Theory,” PMLA, Vol. 121, No. 3 (May 2006): 819-828.

“Feeling Brown, Feeling Down: Latina Affect, the Performativity of Race, and the Depressive Position” in Signs: Journal of Women in Culture and Society. Vol. 31, No 3 (2006): 675-688.

 “What’s Queer about Queer Studies Now” w. David. L. Eng and Judith Halberstam in Social Text: What’s Queer about Queer Studies Now? 84/85, ed. with David L. Eng and Judith Halberstam. Vol. 23, Nos. 84-86 (Fall/Winter 2005): 1-18.

“Impossible Spaces: Kevin McCarty’s The Chameleon Club.” GLQ Vol. 11, No. 3 (2005): 427-436.

“Teaching, Minoritarian Knowledge, and Love” Women and Performance: A Journal of Feminist Theory: 20th Anniversary Issue, Vol. 14, No. 2 (2005): 117-121.

“Queer Minstrels for the Straight Eye, Race as Surplus in Gay TV” GLQ Vol. 11 No. 2 (2005): 101-102.

“Performing Greater Cuba: Tania Brugera’s Burden of Guilt.” Women and Performance: A Journal of Feminist Theory, eds. Diana Taylor and Roselyn Constantino. Vol, 11, No. 2 (2002): 251-266.

‘”The Onus of Seeing Cuba: Nilo Cruz’s Cubanía.” The South Atlantic Quarterly, Vol. 9, No. 2/3 (2000): 455-459.

“Feeling Brown: Ethnicity and Affect in Ricardo Bracho’s The Sweetest Hangover (And Other STDs).’” Theatre Journal, Vol 52, No. 1 (Mar 2000): 67-79.

“Dead White: Notes on the Whiteness of the New Queer Cinema.” GLQ Vol 4: No. 1 (1998): 127-138.

“The White to Be Angry: Vaginal Davis’s Terrorist Drag.” Social Text, Vol. 52, No. 3 (Fall/Winter 1997): 801-103.

“Ephemera as Evidence: Introductory Notes to Queer Acts.” Queer Acts: Women and Performance, A Journal of Feminist Theory, eds. José E. Muñoz and Amanda Barrett, Vol. 8, No. 2 (1996): 5-18.

“No es fácil: Notes on the Negotiation of Cubanidad and Exilic Memory in Carmelita Tropicana’s Milk of Amnesia.” TDR, Vol. 39, No. 3 (T147) Fall 1995: 76-82.

“Choteo/Camp Style Politics: Carmelita Tropicana’s Performance of Self Enactment.” Women and Performance: A Journal of Feminist Theory, Vol. 7, No. 2, (1995): 39-52.

“The Autoethnographic Performance: Reading Richard Fung’s Queer Hybridity,” Screen, Vol 36, No. 2 (1995): 83-99.