Amelia Groom is an art writer and researcher who is currently a Visiting Assistant Professor in Feminist Studies at the University of California, Santa Cruz, on the unceded, stolen territory of the Awaswas-speaking Uypi Tribe.

Groom has published essays on topics including Mariah Carey’s refusal to acknowledge time; Scheherazade and the possibilities of “oblique parrhesia”; queer, feminist, and antiracist practices of gossip and “grapevine epistemologies”; mud and swamps and decolonial ecologies; and (co-authored with M. Ty), rust. As part of the Afterall One Work series, Groom published a book on the Marsh Ruins (1981), a swampy environmental sculpture by the artist Beverly Buchanan, who made secretive and ruinous monuments to Black history in the Deep South of the US. Groom is currently working on a monograph that looks at the art and antifascist activism of Claude Cahun and Marcel Moore through the lenses of queer and trans ecologies.

PhD in Art History & Theory (University of Sydney, 2014). Postdoctoral Fellow at ICI Berlin Institute for Cultural Inquiry, as part of the “environs” focus (2018–2020). Postdoctoral Researcher at the Royal Danish Academy of Fine Arts in Copenhagen (2021-2022). Teaching theory and writing on various MFA programs at the Sandberg Institut in Amsterdam (2014–2025).

Together with Rachael Rakes, Groom co-edited the online journal No Linear Fucking Time (published by BAK, basis voor actuele kunst, Utrecht). Groom’s research has often returned to questions of time: its nonlinear undercurrents, its blockages and trickling detours, and the urgent need for its collective re-routing.

She/they.

My email is my first name followed by my last name at gmail dotcom.