Tobaron Waxman’s work has been exhibited at such venues as Palais de Tokio, Videotage Hong Kong, Kunsthalle Vienna, Buddies in Bad Times Theatre, Toronto, COCCA Seattle, Madison MoCA, CEPA Buffalo, and Brooklyn College Conservatory of Music.

Waxman has taught his live art, collaboration and vocal techniques at the School of the Art Institute of Chicago and at the Hollins MFA Dance Extended Study Program. He has lectured at Parsons, SOAS University of London, Concordia University, SMFA Boston, UC Irvine and others.

His texts and photography have been published in various volumes including Carte Blanche (Magenta, 2006), The Ambiguous I: Photography, Gender, Self (UC Irvine, 2008), Post Porn Politics (bbooks, 2010), Shimmering: Towards a Trans-Erotic Film Aesthetic (Amsterdam School for Cultural Analysis, 2011); and in such publications as Fuse, Canadian Dimension, Times UK, GLQ and LTTR.

He has been the recipient of several awards, including: The Harvestworks/Van Lier Fellowship, Franklin Furnace Performance Art Award, Canada Council, Toronto Arts Council, Henry Moore Foundation for Sculpture, ACO Residency Hong Kong, Atlantic Center for the Arts Residency, and Kulturlabor ICI Berlin Research Fellowship. The project produced at ICI Berlin, Mechitza 7.1 was acclaimed one of the five best art experiences of 2010 (Globe and Mail, Canada). In 2010 Waxman was honored with the first ever Audience Award of the Jewish Museum of New York for his installation Opshernish.

My live art practice explores concepts of language, gender, nation, and embodiment, contextualizing physical experiences of time as systems of inscription. This practice includes elements of Diaspora experience by incorporating traditional Jewish texts, vocals, and philosophy, as well as contemporary politics and desire.  My strategies have included: performance, photography, video, voice, sound, tissue engineering, internet, biofeedback processing, and choreography. My work considers flesh to be a material with mutable meanings, beyond the apparent limitations of body, gender, and fixed notions of ‘home.’