Julia Bryan-Wilson

Julia Bryan-Wilson is an associate professor at the University of California, Berkeley,^[1] who studies feminist and queer theory, craft histories, and questions of artistic labor, as well as photography, video, collaborative practices, and visual culture of the nuclear age.^[1] Her book Art Workers: Radical Practice in the Vietnam War Era was published by the University of California Press in 2009.^[2] Bryan-Wilson received her Ph.D. from the University of California, Berkeley in 2004.

Selected publications

Books

• Crafting Dissent: Handmade Art and Activism since 1970. Under advance contract, University of Chicago Press.
• Art Workers: Radical Practice in the Vietnam War Era. University of California Press, 2009. Named a "best book of 2009" by Artforum magazine.^[2]
• 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.^[3]

Articles

• "Questionnaire on 'the contemporary,'" October 130, fall 2009: 4-6.
• “Art versus Work.” Art Work: A National Conversation about Art, Labor, and Politics, ed. Temporary Services. Chicago: The Plain Dealer Press, 2009: 4-5.
• "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; reprinted, translated into Spanish, Brumaria: Artistic, Aesthetic, and Political Practices, special issue on the Art Workers' Coalition, 2010: 81-99.
• “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, 2010: 9-17.
• "We Have a Future: An Interview with Sharon Hayes." Grey Room, Fall 2009: 78-93.
• “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:

• "Inside Job: The Art of Carey Young." Artforum, October 2010: 240-247.
• "Cristóbal Lehyt at the Carpenter Center." Artforum, May 2010: 255.
• "Forum versus Content: On the Creative Time Summit." Artforum, January 2010: 63.
• "500 Words: Julia Bryan-Wilson on Art Workers" (as told to Lauren O'Neill Butler). Artforum.com, October 2009.
• "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): 296-300; and The Craft Reader, ed. Glenn Adamson (Berg, 2010): 620-628.
• "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

• "Sites of Material Production.” Anne Wilson: Wind/Rewind/Weave. Knoxville Museum of Art, forthcoming spring 2011.
• “Cristóbal Lehyt’s Dissociative States.” Cristóbal Lehyt: Dramaprojektion. Künstlerhaus Stuttgart, 2010: 9-15.
• “Lisa Anne Auerbach’s Canny Domesticity.” Lisa Anne Auerbach. University of Michigan Museum of Art, 2010: 5-15.
• "Civic Lessons: The Values of Public Art." Art Makes Place. Nashville Cultural Arts Project, 2010: 3-6.
• “Our Bodies, Our Houses, Our Ruptures, Ourselves.” Ida Applebroog: Monalisa. Hauser and Wirth, 2010: 13-38.
• “Allyson Mitchell: Shame on Her.” Fierce: Women’s Hot-Blooded Film/Video. McMaster Museum of Art, 2009: 32-33.
• "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.

References