Julia Bryan-WilsonAssociate Professor, Art History Director of the Ph.D. Program, Visual Studies |
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Research Interests |
Contemporary art, feminist and queer theory, craft history, performance, video art, artistic activism, coalitional politics | |
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Academic Distinctions |
Center for Craft, Creativity, and Design Craft Research Fund Grant, 2009 School of the Humanities Excellence in Undergraduate Teaching Award, UC Irvine, 2009 International Center for Writing and Translation Faculty Associate Grant, 2008 Creative Capital/Andy Warhol Foundation Arts Writers Grant, 2007 John Frazier Award for Excellence in Teaching, Rhode Island School of Design, 2006 J. Paul Getty Postdoctoral Fellowship in the History of Art, 2006-2007 O'Keeffe Museum Research Center for American Modernism Postdoctoral Fellowship, 2006 Smithsonian Institute Archives of American Art Predoctoral Fellowship, 2003 UC Berkeley Townsend Center for the Humanities Predoctoral Fellowship, 2002-2003 Luce/ACLS Predoctoral Fellowship, 2001-2002 |
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Research Abstract |
Julia Bryan-Wilson joined the UC Irvine faculty in fall 2007 after teaching for three years at the Rhode Island School of Design. Her research focuses on the intersection of art and politics since the 1960s; she has published on topics such as the visual culture of the nuclear age, the impact of AIDS on contemporary art, and the professionalization of institutional critique. In her 2009 book Art Workers: Radical Practice in the Vietnam War Era, she explores the politicization of artistic labor in the U.S. in the late 1960s and early 1970s, particularly within the Art Workers' Coalition and the New York Art Strike. Through case studies of Carl Andre, Lucy Lippard, Robert Morris, and Hans Haacke, this book investigates how artists and writers embraced a polemical identification of themselves as workers in relation to the social movements of the New Left. As a frequent contributor to Artforum, she is especially committed to feminist, queer, and collaborative art, and has written on Sadie Benning, Carrie Moyer, and Sharon Hayes, among others. Her writing has also appeared in Art Bulletin, Art Journal, ArtUS, Bookforum, Cabinet, Camera Obscura, Frieze, Modern Painters, the Journal of Modern Craft, Oxford Art Journal, and Technology & Culture. Her current project examines queer craft and debates about the politics of handmade art since 1970. Bryan-Wilson is affiliated with women's studies and queer studies at UCI. She has taught classes on performance art in the 20th century, methodology, historiography, authenticity and fraudulence in the digital era, public art since 1965, and the history of video art. She recently offered a lecture course on sexualities in art since Stonewall, as well as a seminar on the rhetoric of apocalypse in recent art and theory. Upcoming courses include a survey of Latin American art since 1920 and a seminar on gender and craft. |
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| Publications |
Books: Art Workers: Radical Practice in the Vietnam War Era. University of California Press, 2009. http://www.ucpress.edu/books/pages/10899.php Editor, OCTOBER Files: Robert Morris. Under contract, MIT Press. Co-Editor, with Barbara Hunt. Bodies of Resistance. Hartford, CT: Real Art Ways/Visual AIDS. July 2000. Articles: "Queerly Made: Harmony Hammond's Floorpieces." The Journal of Modern Craft, vol. 2, no. 1, March 2009: 59-80. "Grit and Glitter." Octopus: A Visual Studies Journal. Volume 4: Surface, Fall 2008: 19-30. “Hard Hats and Art Strikes: Robert Morris in 1970.” The Art Bulletin, June 2007, vol. 89, no. 2: 333-359. “Mirror, Mirror.” Cabinet: A Quarterly Magazine of Art and Culture, issue 24, Winter 2006/2007: 90-92. “Building a Marker of Nuclear Warning.” Monuments and Memory, Made and Unmade. Ed. Margaret Olin and Robert Nelson. University of Chicago Press. Fall 2003: 183-204. “A Curriculum for Institutional Critique, or the Professionalization of Conceptual Art.” New Institutionalism. Ed. Jonas Ekeberg. Office of Contemporary Art, Norway. Fall 2003: 89-109. Reprinted, Beck’s Futures catalog. Institute of Contemporary Art, London. Summer 2004: 8-19. “Remembering Yoko Ono’s Cut Piece.” Oxford Art Journal, vol. 26, no. 1. Spring 2003: 99-123. Co-author, with Barbara Hunt. “Beyond Prescription: Bodies, Art, AIDS.” Bodies of Resistance. Hartford, CT: Real Art Ways/Visual AIDS. July 2000: 9-24. Interviews: "The Nuclear Naive: An Interview with Lisi Raskin." Lisi Raskin: Mobile Observation. Bard Center for Curatorial Studies/Riccardo Crespi Gallery, forthcoming fall 2009. "We Have a Future: An Interview with Sharon Hayes." Grey Room, forthcoming Fall 2009. “The Political Problem of Luck: An Interview with Steve Kurtz.’” Plazm, Spring 2006: 25-32. “Some Kind of Grace: An Interview with Miranda July.” Camera Obscura 55. Spring 2004: 180-197. Book Reviews: Mignon Nixon’s Fantastic Reality: Louise Bourgeois and a Story of Modern Art. The Art Bulletin, December 2007: 823-826. “Split Decisions: W.E.B. Du Bois’s ‘Double Consciousness’ Informs Three Recent Books.” Bookforum. Dec./Jan. 2005: 34-35. Jeff Kelley’s Childsplay: The Art of Allan Kaprow. Bookforum, Dec. 2004: 57-58. Oliver Grau’s Virtual Art: From Illusion to Immersion. Technology and Culture, July 2004: 670-671. “Pictures at a Deposition: Richard Meyer’s Outlaw Representation.” Art Journal, Summer 2003: 102-104. “Lost and Found: Lucy Lippard’s I See/You Mean.” Tin House, October 2002: 111-115. Selected Criticism: "Paul Shambroom: Picturing Power." Artforum, Summer 2009: 330. "Warhol's Jews: Ten Portraits Reconsidered." Artforum, March 2009: 250. "Best Book of 2008: Zoe Strauss, America." Artforum, December 2008: 94. "Signs and Symbols: On billboard projects in Los Angeles." Artforum, October 2008: 165-168. "Phantom Sightings: Art after the Chicano Movement." Artforum, June 2008: 432-433. "The Politics of Craft: A Roundtable," Modern Painters, February 2008: 78-83; reprinted in Choosing Craft: The Artist's Viewpoint, ed. Vicki Halper and Diane Douglas (University of North Carolina Press, 2009), p. 296-300. "Sounding the Fury: Kirsten Forkert and Mark Tribe." Artforum, January 2008: 95-96. "Changing the Subject: 9 Scripts from a Nation at War." Artforum, October 2007: 123-124. Openings: Lisi Raskin. Artforum, May 2007: 356-357. Eva and Franco Mattes at Postmasters. Artforum, May 2007: 370-371. Carrie Moyer at Canada Gallery. Artforum, April 2007: 278-279. “Josephine Meckseper—Display: the female form and protest culture.” Frieze, March 2007: 166. “Flat Out: Sadie Benning.” Artforum, January 2007: 59-60. Fernanda Gomes at Baumgartner. Artforum, December 2006: 307-308. Esko Männikkö at Yancey Richardson. Artforum, November 2006: 300. Juan Muñoz at Marian Goodman. Artforum, September 2006: 373-374. “Repetition and Difference: LTTR.” Artforum, Summer 2006: 109-110. Openings: Sharon Hayes. Artforum, May 2006: 278-279. Beyond Green: Toward a Sustainable Art at the Museum of Arts and Design. Frieze, May 2006: 180. David Hammons: The Unauthorized Retrospective at Triple Candie. Frieze, April 2006: 157-158. Ellen Lesperance and Jeanine Oleson at Monya Rowe. ArtUS, Winter 2005: 52. Martin Kippenberger at Luhring Augustine. ArtUS, Summer 2005: 46. Steve McQueen at Marian Goodman. ArtUS, Spring 2005: 49. Catalogue Essays: "Allyson Mitchell: Shame on Her." Fierce: Women's Hot-Blooded Film/Video. McMaster Museum of Art, forthcoming 2009. "Cristóbal Lehyt's Dissociative States." Cristóbal Lehyt: Dramaprojektion. Künstlerhaus Stuttgart, forthcoming 2009. "Lisa Anne Auerbach's Canny Domesticity." Lisa Anne Auerbach. University of Michigan Museum of Art, forthcoming 2009. "562 (Where California Meets Chile.)" Cristóbal Lehyt: El Penúltimo Paisaje. Santiago: Fundación Telefónica Chile, 2009, p. 103-113. "Unruliness, or When Practice isn't Perfect." Mixed Signals: Artists Consider Masculinity in Sports. Curated by Christopher Bedford. New York: Independent Curators International, 2009, p. 58-63. “A Modest Collective: Many People Doing Simple Things Well.” Learning to Love You More, ed. Harrell Fletcher and Miranda July. New York: Prestel, 2007, 144-146. “Six Words About Helen Mirra, or the Six Basic Factors of Camouflage.” Formulismus, Moderne Kunst. Kunstverein Hamburg. October 2004: 115-123. Work Ethic, curated by Helen Molesworth. Baltimore Museum of Art/Penn State Press. Fall 2003. Eva Hesse, curated by Elisabeth Sussman. San Francisco Museum of Modern Art/Yale University Press. Spring 2002. |
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Professional Societies |
College Art Association American Studies Association Queer Caucus for Art |
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| Graduate Programs |
Visual Studies |
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| Link to this profile | http://www.faculty.uci.edu/profile.cfm?faculty_id=5439 | |
| Last updated | 10/21/2009 | |