David Joselit CV | Massachusetts Institute Of Technology | Museum

DAVID JOSELIT Curriculum Vitae Department of the History of Art Yale University PO Box 208272 New Haven, CT 06520

e-mail: david.joselit@yale.edu TEACHING POSITIONS Kirk Varnedoe Visiting Professor, Institute of Fine Arts, New York University, Spring 2010 Yale University, Department of the History of Art Carnegie Professor, 2009Chairman, 2006-2009 Professor, 2003-2009 University of California, Irvine, Department of Art History Associate Professor, 1999-2003 Assistant Professor, 1995-1999 Massachusetts Institute of Technology, Program in History, Theory and Criticism of Art and Architecture, Visiting Lecturer, 1995 Harvard University, Tutorial Instructor, 1995 MUSEUM POSITIONS The Institute of Contemporary Art, Boston, Curator, 1983-1989 EDUCATION Ph.D., Fine Arts, Harvard University, 1995 Massachusetts Institute of Technology, Program in History, Theory and Criticism of Art and Architecture, 1989-1991

phone: (212)645-8173 fax: (203)432-7456

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Joselit, page

A.B. magna cum laude, Fine Arts, Harvard College, 1981 HONORS AND FELLOWSHIPS Howard Foundation Fellowship, 2002 Clark Art Institute Fellowship, 2001-2 UCI Humanities Center Grant, 1998-9 UCI Humanities Grant, 1995-96 UCI Diversity Grant, 1995-6 Mellon Fellowship for Dissertation Completion, 1994-95 The Agnes Mongan Fellowship in Art History, 1993-94 Mellon Fellowship for Preliminary Dissertation Study, 1993 Mellon Fellowship for Dissertation Research, 1993 Certificate of Distinction in Teaching, Derek Bok Center, Harvard University, 1992, 1993 National Merit Scholarship, 1977-1981

PUBLICATIONS Single Author Books Feedback: Television Against Democracy (Cambridge: MIT Press, 2007) American Art Since 1945 (London: Thames and Hudson, World of Art Series, 2003) Infinite Regress: Marcel Duchamp 1910-1941 (Cambridge: MIT Press, October Books Series, 1998) Chapter 4, “The Self Readymade,” translated into Italian, as “L’io come readymade,” in Stefano Chiodi, ed, Marcel Duchamp (Milano: Electa, 2009)

editor. The Dada Seminars (Washington: The National Gallery of Art. 2009): 111-123 “The Artist Readymade: Marcel Duchamp and the Société Anonyme.” a special issue of OCTOBER magazine. second edition (London: Thames and Hudson. 2003): 44-58 “Voices. New York: D.” performed by Mary Ellen Carroll as her project. Communities of Sense: Rethinking Aesthetics and Politics (Durham: Duke University Press. 2005): 221-239.3 Joselit.. Vered Maimon. Bodies.” in Robert Whitman Retrospective..P. Reprinted in German in Susanne Leeb. page Multiple Author Books Contributing Author. “Being David Joselit. 33-60 “Eating and Dreaming: Robert Whitman’s 1960s Happenings. (New York: Dia Center for the Arts.” keynote speech for the conference. OCTOBER 138 (Fall 2011) “A Lecture on Reenactment. Germany: Hatje Cantz. Antimodernism. 2006): 33-43 “Dada’s Diagrams. ed.” April 30. William Kaizen. Art of Projection (Ostfildern. with Matthew S. 2011) Book Chapters “Citizen Cursor. 2009): 153-171 “Touching Pictures: Toward a Political Science of Video.” in Jennifer Gross.” principal essay in Jenny Holzer (London: Phaidon Press. and Seth McCormick. 2012). 13 Being David Joselit . Jaleh Mansoor. ed.” in Deborah Bright. and Spaces: The Art of Jenny Holzer. Witkovsky.” in Beth Hinderliter.” in Stan Douglas and Christopher Eamon. 1998): 42-77 “Mark Morrisroe’s Photographic Masquerade.” in Leah Dickerman. The Société Anonyme: Modernism for America (New Haven: Yale University Press.A. eds. The Passionate Camera (London: Routledge. 1998): 195-203 Collaborations Editor for “Digital Art. “No. which was described in Mary Ellen Carroll. Materialität der Diagramme: Kunst und Theorie (Berlin: b_books Verlag. “Our Literal Speed. Art Since 1900: Modernism. 2009. Postmodernism. eds. ed.

54-83 “Painting Travesty.). 50. ed. n. 2012).” in Sabine Breitwieser and steirischer herbst. n. 57-64 “Painting in and Out. “Introduction: Markets and Networks. 2011).” OCTOBER 125 (Summer 2008) “Late Night Legal Formalities. September 9-16. 62 (Summer 2009): 18-21 Editor of “International Television.” Whitney Biennial 2012 (New York: Whitney Museum of American Art. Global Visual Culture: An Anthology (Chichester. New York.” Artforum. 356-361. 21-23 .” in Jutta Koether: The Thirst (Stockholm: Moderna Museet. Art Lies no. 2012).4 Joselit. v. 2012). eds.” (with Gareth James).” [drawn from Feedback: Television Against Democracy] in Television. page (You don’t know how to ask a question or perhaps. Utopia and Monument (Vieena: Springer Wien/New York.” and Joselit and Rachel Harrison. 81-94. Joselit. distributed by Yale University Press. Elizabeth Dee Gallery.trans(Seoul: Nam June Paik Museum. 2006 [reviewed in artforum.inter. “Truth or Dare: The Art of Witnessing. London: Koenig Books. including. 186-193 “Signal Processing: On Abstraction Then and Now.com] Journal Articles and Essays “Nam June Paik’s video ecologies.” Artforum. XLIX. 2011). West Sussex: Wiley-Blackwell. 10 (Summer 2011). distributed by Yale University Press.” OCTOBER 138 (Fall 2011). “A Conversation with Peter Fend. Gentlemen. 2011). I just don’t know how to answer.1 (September 2011). v. 34-37 “Last Laugh. Sherrie Levine: Mayhem (New York: Whitney Museum of American Art.” in Johanna Burton and Elisabeth Sussman.” a special cluster of articles for OCTOBER magazine. de. 430 “Do Images Have a Gender?” in Zoya Kocur.161-165 “What to Do with Pictures. 312-317 “Jutta Koether: Demons for Ladies. and Children.

n. 4 (December 2008): 288-9 “Representative Governance.” Grey Room 35 (Spring 2009).” in Ingrid Schaffner.” Artforum v. 2011). 45.P. 2011). 2010). 108-115 “Profile. by Matthias Michalka. Myers. 47. 2010).” Artforum v. (Vienna: Museum Moderner Kunst Stiftung Ludwig. 2008): 81-84 “Speedily Dispatched: On Images and Sovereignty. 49-55. pp. Cologne: Verlag der Buchhandlung Walther König. reprinted in Terry R. page “Feedback. 218-223 “The Subjecters. reprinted in Thomas Hirschhorn: It’s Burning Everywhere (Mannheim: Kunsthalle. 78-80 “Institutional Responsibility: The Short Life of Orchard. Cai Guo-Qiang: I Want to Believe (New York: Solomon R. Cambridge: MIT Press. 266-273 “Touch to Begin…. Space: From MAXXI’s Collections of Art and Architecture (Milan: Electa. Guggenheim Museum. eds. 2009).” Texte zur Kunst (March 2009). 46. Artforum v. Manheim. 47.” in Thomas Krens and Alexandra Munroe. 2008). pp.5 Joselit. 14 “Painting Beside Itself. ed. Thomas Hirschhorn (Madrid: Casa Encendida.” Artforum v. Documents of Contemporary Art (London: Whitechapel Gallery.” OCTOBER 130 (Fall 2009).” in Stefano Chiodi and Domitilla Dardi. 125-134. OCTOBER 123 (Winter 2008): 86-89 “All Tomorrow’s Parties. n. n. 186-199 “Queer Voices.A.. n. 50-60 “Market Dissent” [response to a questionnaire regarding the Iraq War]. Painting. ed. 3 (November 2008): 99-100 “Image Explosion: Global Readymades. 2010). 67-78 “Platforms.” in Eric Banks. 6 (February.” in The Subjecters.” in Changing Channels: Art and Television 1963-87. Queer Voice (Philadelphia: Institute of Contemporary Art. 7 (March 2007): 89-90 . 2010). 141-144 “The Standards of Living” [on architectural exhibitions in 2008]. Rachel Harrison: Museum with Walls (New York: D.

” Artforum.” Grey Room #8 (Summer. 2003). 5 (January 2005). 43. page “No Exit: Video and the Readymade.” in Helen Molesworth. 42. Andy Warhol and 60s Media Politics. Art and the Moving Image: A Critical Reader (London: Tate in association with Afterall. 45. 49-51 “An Allegory of Criticism.. n. n.” in Thomas Eggerer Atrium (Braunschweig: Kunstverein Braunschweig. 7 (March 2004): 154-159 “Commanding View. Artforum. 49 “Inside the Light Cube: Pierre Huyghe’s Streamside Day Follies and the Rise of Video Projection. 220-227 “Into the Light: The Projected Image in American Art 1964-1977. v. n.” OCTOBER 119 (Winter 2007). Part Object Part Sculpture (Columbus: Wexner Center for the Arts and The Pennsylvania State University Press. v. n. 2008). v. and the Contemporary Mediascape. pp. 2002): 135-136 “Openings: Thomas Eggerer Artforum (October.6 Joselit. 170-175 “Public Image.. pp. 37-45 “Surface Vision. v. v. 2002): 62-79 “A Tale of the Tape: Radical Software. ed.” Artforum (May 2002): 152-155. 1 (September 2006).” Artforum. ed. Ltd. n. 43. Avatars.” Artforum. ed. 2006).” Artforum v. 42. anthologized in Tanya Leighton.” Artforum (January. 1 (September 2004). n. 2001): 148-149 . Super Vision (Cambridge: MIT Press.” in Nicholas Baume. 45-6 “Information Man [Jon Kessler’s ‘Global Village Idiot’]. 10 (Summer 2005): 276-279 “Terror and Form. 5 (January 2004): 45 “Thomas Eggerer’s Anti-Gravitational Painting.” October 103 (Winter 2003): 3-13 “Yippie Pop: Abbie Hoffman. 113-14 “Molds and Swarms.” Artforum. 43. 2005): 156-165 “Navigating the New Territory: Art. 196.

” Art in America." in Whitney Davis.” Art in America. Natural Rationalism” [exhibition brochure] (New York: Whitney Museum of American Art. ed.” in Glen Seator: Three (Los Angeles: Gagosian Gallery. page “Surface Histories: The Photography of James Welling. n. 107 “Neil Jenney.144 “Poetics of the Drain” [Robert Gober Installation at the Los Angeles Museum of Contemporary Art]. January 1997: 36-39 “Burroughs’s Virology.” Art Journal. Art in America. Gay and Lesbian Studies in Art History (New York: Harrington Park Press.” Art in America (May 2001): 136-143 “The Video Public Sphere.. May 1999: 142-145 “Moguls on Main Street [Disney Architecture].7 Joselit. Published simultaneously in The Journal of Homosexuality. der achtziger und Art of the 80s and 90s. volume 27. v. Kunst 1959-1999 in 1999): 166-173 “Of War and Remembrance [Simon Leung’s Surf Vietnam]. 1994): 271-284. number 2 (Summer 2000):47-53 * “Planet Paik. Art in America. volume 23. February 1996: 68-71.” Art History. November 1998: 86-91. volume 59.” Los Angeles Museum of Contemporary Art]. November 1996: 94-99 “Object Lessons” [on “Reconsidering the Object of Art: 19651975. number 1 (March 2000): 19-34 * “Kinesthetic Capital: Glen Seator’s Three.” Art in America. 6 (June 2000): 72-79 “Notes on Surface: toward a genealogy of flatness.” Art in America. December 1997: 64-71 “Exhibiting Gender. January 1999: 50-53 “Between Objects and Actions. 88. 1994): unpaginated "Looking for Love: A Reading of Apartment Zero. Flying Man: Amerikanische Basel (Basel: Offentliche Kunstsammlung. 1999): 33-36 “Bio-Collage in der amerikanischen Kunst neunziger Jahre [Bio-Collage in American in White Fire. numbers/2 1994 * .” Art in America.” Art in America.

NJ: Prentice Hall. November 1991 "The Postwar Product. Klein. 1993): 54-70 "Buying In: Politics. Winter 1992: 8-26 * "photograph . l990: Section 3. Tony Oursler and Ericka Beckman master the politics of art. Twentieth Century Art Theory." in Marysia Lewandowska (London: The Photographer's Gallery. reprinted in Social Control and the Arts: An International Perspective. September 7." Agni 31/32. September 1990: 180-183." Art in America. Ruth Perry and Carla Mazzio (Boston: Agni." in DISSENT: The Issue of Modern Art in Boston (Boston: The ICA. 1992): unpaginated "Independent Means. l990: Section 3. July 1990: 142-151. Urbanism. Art in America." Art in America. 183 "The Power of the Portraitist [Peter Hujar]. 1993): 137-144 "Marcel Duchamp's Monte Carlo Bond Machine. l990): 357-369 "Censorship is Regulation." Reading Things (London: SightWorks.self." Boston Phoenix. page "Mary Heilmann." Art in America." Boston Phoenix. 211 . 1990)]: 69-71 "Readymade Again: On Marcel Duchamp and Jasper Johns. The ICA's Department of Design in Industry. Apathy. Culture Lab 1 (New York: Princeton Architectural Press. Politics. distributed by Northeastern University Press.. 9 "Body (Im)Politic." October 59.12 "Public Art and the Public Purse. eds. August 10." in Mary Heilmann: A Survey (Boston: The Institute of Contemporary Art." in Brian Boigon." [essay on the Independent Group]. Reprinted in Richard Hertz and Norman M. October 1994 [Excerpt from "Mary Heilmann's Embodied Grids. Consumption. and Mass Culture (Englewood Cliffs. l985): 94-105.. Alice A.8 Joselit. Jardine. December 1991: 52-55 "Projected Identities. l990): 75-77 "Mind over matter." Flash Art. edited by Susan Rubin Suleiman. ed. 1.institution .

Mark Tansey. Clair Cemin. in THE BINATIONAL: American Art of the Late 80s (Boston: The ICA and the Museum of Fine Arts. Number 3. Tim Ebner. Stephen Prina.9 Joselit." Flash Art. Jeff Koons. ed." Art in America.. 1988): 19-21 "Investigating the Ordinary. l988): 68-81 “Robert Mapplethorpe’s Poses. Philip Taaffe.” in Janet Kardon. Housing Issue." Utopia Post Utopia (Boston and Cambridge: The ICA and MIT Press. The Perfect Moment (Philadelphia: The ICA. Living on the Border. Tishan Hsu. page “Africa Rising. May l988: 148-155 "The British Edge: In the Galleries. l986: 114-116 "The Post-War House. Mark Tansey." Parkett." Art in America. Robert Mapplethorpe. I. l987): 5-10 "Report from Lisbon. 1988) "Modern Leisure." in Endgame: Reference and Simulation in Recent Painting and Sculpture (Boston and Cambridge: The ICA and MIT Press. Lessons in Public Sculpture. Portugal: The Younger Generation. Volume 3. l986): 70-89 "Cumulus. May l987: 100-101 Interviews with St. Mike Kelley. December 1989: 120-135 "Saying the Unspeakable." Art in America." The British Edge (Boston: The ICA." Art in America. 1984: 34-37. Tony Labat. 80 . The Starn Twins." Art in America. Number 7. October 1990: 160-161 "[Jenny] Holzer: Speaking of Power. September 1987: 19-23 "Wrinkles in Time. Mark Innerst." Art in America. October 1990: 155-157 "Report from San Diego. Connie Hatch." Arts and Architecture. June l987: 106111 "Richard Milani. II.

and Mimi Yiengpruksawan. n. v.” Artforum. 2012). OCTOBER n. and Book and Exhibition Reviews “L’arte al tempo dei Media. A Special Issue (Spring 2002): 200-228 .” [review of Whitney Biennial. 1 (September 2006): 365 “Thomas Hirschhorn. n. 7 (March 2003): 206-211. “The Present Conditions of Art Criticism. 41. Christopher Wood. 45. 267-270 “Sam Durant. 7 (March 2010): 101 Panelist.” October 100. Institute of Contemporary Art.” Artforum. 44.” Artforum. 41.” Artforum v. 46. Art Bulletin. XLVIII.” Artforum. 3-19 “Open Question: Hans Haacke’s ‘Weather or Not’. 185-18= “Nicolás Guagnini’s The Panel Discussion. Obsolescence. n. 42.” [interview conducted by Francesco Casetti] in Francesco Casetti. Profili e tendenze della scena artistica italiana (Milano: Postmedia Srl. n. v. 3 (September 2003): 620-21 Moderator and Participant. Alessandra Russo. Alexander Nagle. Artforum. LXXXV. New York. v. 2004]. “Guggenheim Museum’s Asian Art Council Symposium. n. page Interviews. 7 (March 2006): 284-286 “Apocalypse Not. n. 4 (July 2008) “Richard Serra. Part 2: Asian Art in Context: A Nation-Based. New York. the Tennis Match. v. n.” Artforum. v. or International Paradigm?” Yishu: Journal of Contemporary Chinese Art. 9 (May 2004): 172-173. San Francisco Museum of Modern Art. 133 (Summer 2010). 2 (October 2007): 362-3 “Matthew Barney. 233 “Ann Reynolds. v. “The Mourning After: A Roundtable. Boston/Gladstone Gallery. Inter-Asia.1 (September 2011). v. v. n. Eugene Wang.10 Joselit. L’arte al tempo dei media. ed. 5 (January 2003): 131-2 Participant in a roundtable.” (editor and participant with Barry Flood. 87-88 “Roundtable: The Global Before Globalization. Robert Smithson: Learning from New Jersey and Elsewhere [book review]. and a Bodegón. Museum of Modern Art. v. 50. n. 7 n.” Artforum.

September 1994: 35-37 "Debra Bloomfield at the Matrix gallery. 1986-1993 by Jeremy Gilbert-Rolfe]. n. February 1992: 126-127 "Carlota Duarte at the Artists Foundation Gallery at CityPlace. volume 57. Art Journal. no. May 1996: 28-29 "Duchamp's Legacy" [book review of Postmodernism and the EnGendering of Marcel Duchamp by Amelia Jones]. 1 (September 2000): 173174 “Crow’s Nest” [Interview with Thomas Crow]. 10 (Summer 2000): 41-42 “Biocollage. Clark].11 Joselit." [exhibition review].J." [exhibition review]. Art in America.” [a symposium on biotechnology and art]. v. 59." [exhibition review]. Art in America. Artforum. v. 9 (May 1999): 31-32 “Ring of Fire: Interview with Joe Lewis and Yong Soon Min.” Artforum. January 1990: 153 "James Coleman at the List Visual Arts Center (MIT).” Artforum v. 3 (Fall 2000): 44-60 “Teaching Feminism: A Questionnaire. September l990: 201-202 "Jeff Wall at Marian Goodman." [exhibition review]. Artforum v. Art in America. Art in America. 6 (February 2000): 116 “Contingency Plan” [Review of Farewell to an Idea: Episodes from a History of Modernism by T.” Art Journal.” Documents (Winter/Spring 2000): 29 “Cildo Meireles. 38. 54. no. November 1989: 203 LECTURES AND CONFERENCES . n. University Art Museum. Art in America. page “Gabriel Orozco. v. Art + Text. n. number 4 (Winter 1998): 86-89 “Beyond Denial” [review of Beyond Piety: Critical Essays on the Visual Arts. 39. 38. 37. n.

12 Joselit. “States of Emergency: Objects as Agency circa 1970. 2011 (lecture. 2011 Co-organizer and Participant. Princeton University. May 22. April 12.” Yale University. 2011 Panelist. Canon: Critical Approaches to Art History After Levine. September 30. December 15. October 7-8. 2011 “Witness. Brooklyn. 2011 “What to do with Pictures. New York.” School of Architecture. March 29. Buenos Aires. 2011 Seminar for Graduate Students. 2011 “Touching Pictures. Abstraction Seminar II. 2012 “Populations. University of Connecticut. Museum of Modern Art. “Can Art Influence World Transformation?”. New York. 2011 . page Panelist. September 1516. April 5-6. November 18. Welterzeugung durch Bilder. 2011 “Nam June Paik and the Three Ages of Video.” Miami Art Museum. February 18. “Television De-Inter-Trans.” College Art Association Conference. March 2.” Whitney Museum of American Art. “Women Make Modern.” Guggenheim Museum. November 4. 2012 Organizer and Moderator. Rutgers University.” Mason Gross School of the Arts.” Triple Canopy.” Eikones Conference. 2012 “Culture Now: Thomas Eggerer and David Joselit. February 9. October 8) Participant. 2012 Panelist. April 16.” in “Mark Morrisroe: Photographic Process and Psychic Structure. Storrs. New York.” Nam June Paik Center International Symposium. “All A Are Not B: On Diagrams.” Artist’s Space. Critic. Argentina.” in the panel. “Artist.” keynote lecture. London. “The Crisis in Art History. New York. New York. Korea. University of Basel. Seoul. arteBA.” ICA. 2012 “Beyond Repetition: Marcel Duchamp’s Readymades. 2011 “The Scarce and the Saturated. October 27.

April 19. Rosen Lecture in Modern Art. March 13. Frankfurt/Main.” in Further Thoughts on the Twisted Pair. 2010 Response to Simon Leung on Duchamp’s Etant donnés. 2010.” September 11-12. “Plug-ins. Basel.” February 4. Slought Foundation.” The Stan Brakhage Symposium. and the Remake. Reuse. seminar with the Eikones Project. also given at the Bergen Kunsthall.” Goethe-Universität. The Cooper Union School of Art.” Cullinen Lecture Series. Norway. “Governing Images. 2010 “Falling… Matthew Barney.” Society for Contemporary Art. November 2. Houston. November 13. 2010 “Double Vision: Repetition.” March 3. 2010 “WITNESS: Spectatorship in Action. Museum of Modern Art. 2010 “Against Meaning. New York. 2009 . November 19. Cologne. Germany. June 24. 2010.” Issue Project Room. page “Painting Stripped Bare. Basel. 2010 “The Scarce and the Saturated. Institute of Fine Arts. New York.13 Joselit. University of Colorado. April 7. New York.” Schaulager. 2010. 2010.” February 16. 2010 “Info COMBAT” (panel talk). 2010 “Touch to Begin… Rachel Harrison and Contemporary Sculpture. March 22. Rice School of Architecture. a symposium at the Museum Moderner Kunst Stiftung Ludwig. 2011 “Art in an Age beyond Content: the Inevitability of Camp. Philadelphia. October 29. October 7. 2010. Boulder. 2010 STATES of FORM. Brooklyn. Bergen. NYU: “Against Meaning. November 17. Art Institute of Chicago.” The Interdisciplinary Seminar. a symposium at the Andy Warhol Museum to mark the exhibition “Twisted Pair: Marcel Duchamp/Andy Warhol. Switzerland June 23. Kirk Varnedoe Lectures. April 14.” in Das Feld der Malerei. Johns Hopkins University. and at “Artistic Practice and Theory in Modern Art. Vienna. 2010. March 31.” Cologne Conference. 2010 “Theoretical: David Joselit in Conversation with Jutta Koether. International Film & Fernesehfestival. Contemporary Photography Forum.

2009 Panelist.” Keynote Address. 2009 “Time Batteries. 2008 “Reenactment. 2008 . Whitney Humanities Center. a conference at the Drawing Center.” Yale University Art Gallery. 2009 “Recessional Aesthetics. Yale University. Yung Wing Lecturer. New York. University of Toronto. Yale Program at Peking University. Brooklyn.” in the symposium “Postwar Art and the New York Contemporary Art Market. 2008. page Invited Respondent.” Institute o Contemporary Art. 2009 “Platform. London. 2009 “States of Form. Judgment: Clement Greenberg and Harold Rosenberg Then and Now. 2009 “Mapplethorpe’s Beauty.” Keynote lecture for “Imperfect Moments: Mapplethorpe and Censorship 20 Years Later.” University of California. 2009 “Market as Medium.” Invited Speaker. April 8. July 11. Southeast College Art Conference (SECAC). 2008. 2009 “The Laws of Images. October 3-4. May 15. 10th Korean Association for History of Modern Art International Symposium: Methodologies of Art History in a Transcultural Era: Centering on Discussions between Art History and Visual Culture. New Orleans. “Identity. Engagement. October 22. Korea. Courtauld Institute Research Forum. 2009 Panelist. May 18. September 26. 2009 “Paik in Networks. Seoul. London. “Writing Art History: Reading and Writing.” Light Industry. November 21. 2008. November 12. “The Future is History. New York City. Korea.” The Jewish Museum. March 10. November 19.” The Courtauld Institute. New York. Philadelphia (University of Pennsylvania) February 12-13.” in The Power of Art.” Nam June Paik Center. November 13-14. December 9. Santa Barbara.” a conversation with Hal Foster at X space. March 26.” David Roberts Art Foundation. October 24. Seoul.14 Joselit. 2008. Center for the Study of the United States.

D. 2008 Panelist. April 28. Politics and the Avatar..” a panel at the Museum of Modern Art. Austria. 2007 “Touching Pictures. Craig Owens Memorial Lecture. 2007 “The Fluxus Bio-readymade. “Mirror. Mirror: Creative Self-Invention in a Televisual World. 2007 “Art and Life: Toward an Ethics of Images.” Yale University. 2007.” List Visual Arts Center. Eugene.J.” in “Jasper Johns: The First Decade. University of Rochester.C. Silberberg Lecture Series.15 Joselit. “The City as Artists’ Laboratory.” panel contributions at the Kunsthaus Bregenz. and paper.” Blanton Museum.” School of the Art Institute of Chicago. November 29.” a panel convened by T. London [Research Forum]. page “Feedback: Television Against Democracy: David Joselit in Conversation with Caroline Jones.” in “Between Object and Event: Beuys and Fluxus in Context. April 13. 2007. 2008 Interview with Tino Sehgal. Institute of Fine Arts. October 18.” in “Our Literal Speed. May 22. 2007 “Facing Pictures: Art. October 17. London [Big Ideas Series]. New York University.” Courtauld Institute of Art. November 4. Whitechapel Gallery. University of Oregon.” in “Virtualities: Contemporary Art between Fact and Fiction. 2007. 2008 Co-organizer and panelist.” Bryn Mawr Visual Culture Seminar. February 29-March 2. March 13.” Harvard University. January 25-26.” National Gallery of Art. March 19. 2007 “Picture Personae.” a symposium at Harvard University. Washington. University of Texas. 2007 “Markets and Media. Public Symposium.” a conference at the ZKM in Karlsruhe Germany. 2007 “Mirroring and Molds: The Johns Theory of the Readymade. Austin. November 9. Demos and Margaret . July 27-28. 2007 Moderator. October 3. 2008 “Barney’s Life: A Mythology of the 21st Century?” and “Object and Myth. MIT. 2007. March 8. “On Being a Readymade. “Building the Future: The University as Architectural Patron. July 12.

2005 Panel Participant. 2006 “Touching Pictures: Toward a Political Science of Video. Williamstown. Columbus OH. New York. October 27-29. 2006 “Dada’s Diagrams. University of Florida. Politics. “Citizen-Cursor. Dia: Beacon. 2005 Co-organizer and Moderator with Christopher Wood. 2005 “Tourism or Navigation?” talk in the panel.16 Joselit.” a colloquium convened by Richard Meyer and Michael Lobel. Harn Museum of Art. September 30.” Scorched Earth editorial offices.” March 9. “Art in a Networked Society: Conversations with Katherine Hayles. November 18.” New York. College Art Association Annual Conference. February 16. Television.” organized by Stan Douglas and Christopher Eamon. Lev Manovich and Bernhard Siegert. 2007 “Do Images Have a Gender?” The Feminist Future: Theory and Practice in the Visual Arts. 2006 Participant. New York City.” a conference at The Museum of Modern Art. “The Impulse to Abstraction. Yale University. University College. October 24. October 3. Wexner Center for the Arts. January 8.” Yale University.” in “The Art of Projection: A Symposium on the Cinematographic and Art. January 26-27. November 9. June 23-24. Hamburger Bahnhof and Kino Arsenal.” Part Object Part Sculpture Symposium. June 29. 2005 “Feedback: Art. MA. Berlin.” Philoctetes Center for the Multidisciplinary Study of Imagination.” March 6.” Center for the Humanities.” Work in Progress Talk. 2006. page Sundell. Wesleyan University. November 7. New York. “The Short History of Contemporary Art. 2005. Clark Art Institute. 2005 “Scanning Martin. 2007 “On Being a Readymade. “Identity or Standardization?” moderated by Serge Guilbaut in “New Policies . Gainesville.” Agnes Martin Symposium. 2006 “No Exit: The Readymade and Video. London: “Feedback: The Network Object. 2006 Tomás Harris Visiting Lectureship.

” at the symposium. Northwestern University.” “Art History and the Moving Image. May 30. Vienna. 2005. September 6. 2002 . 2003. March 28. and Material Culture Initiative. 2004 “Jasper Johns’s ‘Devices’: The Readymade in Pop. Whitney Independent Study Program. La Pedrera. 2002 “Split Screens: Duchamp’s Large Glass and Harry Smith’s Mahagonny.” Fundació Caixa Catalunya.” Princeton University. March 8. Visual. 2004 “Richard Hamilton and Pop. 2005 “The Artist Readymade. March 30. X-Screen Conference. 2004 Respondent. January 21-22. Yale University. Works In Progress Lecture.” Clark-Getty Colloquium.” in “Investigating Mahagonny.” British Art Center lunch-time talk. 2005 “Scanning History. 2004 Whitney Humanities Center. Museum of Modern Art. 2005 “Citizen-Cursor. November 11. Los Angeles. Barcelona.” a symposium at the Getty Research Institute. 2004 Participant. Getty Research Institute.17 Joselit. February 29. 2004.” The Literary. April 27. “Empire/Globe: Art in International Networks. March 9. Stanford University American Studies Colloquium. 2004 “Television Ecologies: Visual Culture and Commercial Art. Whitney Museum of American Art. May 27.” Yale School of Architecture. Architecture and Film in The First Pop Age. “Art. Clark Art Institute.” at the symposium. 2002 “Radical Software Revanant.” University of Michigan. 2004. November 5. Department of Art History. November 15-16. “Art in Revolution/Art after Revolution. Yale University. “Art History and the Moving Image.” The Johns Hopkins University. May 27. Yale University “Tuning Out: Psychedelia and Revolution.” April 9 and 10. Critical Studies Program Symposium. USC.” Part 2. March 8.” UCLA. October 21-22. page for Cultural Tourism. 2004 Primary Organizer.

Santa Barbara. April 7. Yale University. University of British Columbia.’ and ‘the spectacle. the Clark Art Institute.” Santa Monica Museum of Art. March 5.” a panel at Thread Waxing Space. 2001 and in “Systems Theory and the Visual Arts. “Media Pop.” Columbia University. 2000 “Notes on Surface: Toward a Genealogy of Flatness. also at the San Francisco Museum of Modern Art. 2000. 2001 Co-organizer of “Media Pop. ‘the ethical. San Diego. May 9. February 1-2. April 27. Brown University. 2000 “What is an Object? The Belated Career of the Readymade. February 24.” Baltimore Museum of Art.” delivered at Dartmouth College. Department of Art History.” delivered in “Art History and Art Criticism. 2001 “Yippie Pop: Abbie Hoffman. History Graduate Student Association Third Annual History and Theory Conference.” Anita Glass Lecture. June 20. November 14. Andy Warhol and 60s Media Politics. Harvard University. Los Angeles. 1999. January 20.” delivered at “Methods of Understanding in Art and Science: The Case of Duchamp and Poincaré. Williamstown. Art History Department. 2001 “Spectacle and Counter-Spectacle in 60s Media Activism. New York Exhibition Walkthrough for “The Perfect Moment. 2002.” Getty Research Institute.” delivered in “‘the political. November 4. 2000. January 9. November 10. February 12. 2003 Visiting Speaker.” a panel at the University of California. June 3.” Harvard University. Getty Research Institute Summer Seminar. University of California. 2002. April 6-7. 1999 . 2002.” Center for Literary and Cultural Studies. page “An Allegory of Criticism: The Strange Career of Michael Shamberg. March 17. MA. January 19.” a symposium at The Getty Research Institute. November 6. convened by Nancy Troy and Richard Meyer. 2000 Respondent.18 Joselit.” a two-day symposium at the Getty Research Institute. ‘the aesthetic.” delivered in “Robert Rauschenberg Combines: Painting + Sculpture. 1999 “Television as the Late Modern Object. 2001 “Blank Gestures. 2001 “Toward an Epistemology of Television.

” Stanford University. November 15.” Claremont Colleges. 1997 “Mensuration en abyme: Marcel Duchamp’s Cubism. Sydney. 1999 “Visual Studies in Formation. of “Identity and the Limits of Representation. February 11 and 13. March 22. March 13. 1996. Brecht. May 1-2.” delivered at “Marcel Duchamp and Rethinking the Creative Act. 1996 “Artists into Film.” Australian Center for Contemporary Art. 1998 “A Poetics of the Drain: Robert Gober’s Installation at the Museum of Contemporary Art. Space.19 Joselit. Melbourne. July 28. March 19.” presentation with Sally Stein and Anne Friedberg for the UCI Humanities Associates. July 25.” Rice University. Irvine.” delivered at “The Object Inside: Looking Within the Space of Art History. Los Angeles. 1998 “Some Notes on Surface. Occidental College.” The Getty Center. March 24. Museum of Contemporary Art.” University of Southern California. organized by the Power Institute of Fine Arts. March 2. 1997 “Mensuration en abyme: Marcel Duchamp’s Cubism. University of California. October 9. 1997 “Reflections on Gay Visuality.” a double panel at the College Art Association. page “Bio-collage in American Art of the 80s and 90s. University of Sydney. 1996. July 27. and Place.” Harvard University. 1997 “Gender. January 26. 1996 . 1997 “Video and the Public Sphere. 1999 Discussant for Brigid Doherty’s paper “Montage and the Mimetism of Psychotechnics: Berlin Dada. Queensland College of Art. Benjamin.” a contribution to a panel accompanying the Biennale of Sydney. July 31. Griffith University. 1999 Co-Chair with Richard Meyer.” Bag Lunch Series sponsored by Women’s Studies. Los Angeles.” Art Historians of Southern California Annual Meeting.

” The Getty Center.” Society for Photographic Education ." delivered in a panel titled "Motion Detectors" at the Culture Lab." Center for Literary and Cultural Studies.Western Regional Conference. Intersubjectivity. 1992 Panelist. Harvard University. February 22. page Chair. Politics and AIDS. the (Im)Material. September 22. The Institute of Contemporary Art. December 4. An International Perspective. Boston. October 21. 1996 “Video and the Public Sphere.” Cranbrook Humanities Symposium." Yale University. 1995 Panelist. l990 . April 21.20 Joselit. 1995 Respondent. “The Body as Experience: The Photographic Images of Arne Zane. Apathy. Apathy. “The Invisible Seventies. 1995 “Landscape as Media/Media as Landscape. Space.” a panel at the College Art Association. April 8. a symposium on the occasion of an exhibition by Gary Hill at the Harvard University Art Museums. Consumption. 1992 "Buying In: Politics. 1996 “Video and the Public Sphere. Cal Arts.” Museum of Contemporary Art. University of Toronto." MIT. Consumption." Trinity College. Hartford. March 2. "Social Control and the Arts. January 26. February 10. 1994 "Yves Klein. 1990 "Frozen Desire. 1995 “Space. Los Angeles. Boston." March 5. March 18. October 28. "Art in Physical and Mental Space.” delivered in “Generating Lines & Engendering Figures: A Symposium on and about Marcel Duchamp. and the Readymade in Marcel Duchamp." a panel in "Envisioning Harvard: Art. December 14. Harvard University.” Center for Literary and Cultural Studies. 1995 Co-Curator (with Ewa Lajer-Burcharth) and contributor to Body Sights. 1994 "Buying In: Politics. Thought. October 13. "Representation." Mapplethorpe and the Body [symposium]. l99l Panelist.

21 Joselit. National Gallery of Art. 1989 OTHER PROFESSIONAL ACTIVITIES Juror for the Visual Arts Category. Alpert Award in the Visual Arts. New York. 2009Member. Boston. August 10. February 17-18. Performance and Postmodernism." Hirshhorn Museum and Sculpture Garden. Asian Art Council. Washington. Historical Perspectives. Center for Advanced Study in Visual Art (CASVA). "The Social and Political Meaning of Montage: 1919-1936. OCTOBER. Visiting Committee. D. Courtauld Institute Resarch Forum International Advisory Committee. September 2007 . 2009-10 Member. Alpert Award in the Arts. 2012 Juror. February 16. 1990 "Gender and Identity in the Photography of Lucas Samaras. Editorial Board. Museum of Modern Art. October 15. Washington D. "Art and Controversy.." Museum of Fine Arts. “X” space.C. 2007 Juror. Advisory Council. 1990 Chair. 2010Counselor for the C-MAP program at the Museum of Modern Art. Committee on Drawings. 1989 Panelist. 2008Member.C. 2008Member. Guggenheim Museum. Smithsonian American Art Museum." a panel at the College Art Association. New York.. September. January 31 – February 1. 2010. 2012 Chair." a symposium at The Institute of Contemporary Art. "Feminism. April 7-8. Boston. Lucelia Artist’s Award. 2012 Board Member. page Guest Curator and moderator with Kathy O'Dell. Current Issues. Harvard Department of the History of Art and Architecture. New York City Member.

22 Joselit. page Juror. New York. 2004-05 Member. 2007 Member. Editorial Board. Editorial Board. 1996-2002 Member. Grey Room Member. Art in General Open Call. International Advisory Committee for the Prague Biennial. College Art Association Reader for: Princeton University Press Theater Journal Routledge Press Yale University Press Cultural Critique Callmann & King. Art Journal. Ltd Cambridge University Press The MIT Press Art Bulletin .

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