Julia Bryan-Wilson
Biographic Data
| ID | 1150419 |
|---|---|
| NAME | Julia Bryan-Wilson |
| GIVEN NAMES | Julia |
| FAMILY NAME | Bryan-Wilson |
| SIGNATURE | BRYAN-WILSON J |
| AFFILIATIONS | Institute of Contemporary Art |
| VERIFIED | No |
| TOTAL WORKS | 17 |
| TOTAL CITATIONS | 13 |
| AUTHOR COUNT | 16 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2004 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
Julia Bryan-Wilson
Maria Stavrinaki: Julia, a theme that has structured your writing from the outset is that of ambivalence, but it seems to me that the status and the function of it have changed over the years. In your work on Art Workers (2011), you studied the practices of Lucy R. Lippard, Robert Morris, Carl Andre and Hans Haacke in the 1960s through the theme of their understanding and their discursive and material uses of "labor" and "value" in their artistic…
Speaking of Lotty Rosenfeld
This dialogue centers on the artwork and legacy of Chilean artist Lotty Rosenfeld, including such solo projects as One Mile of Crosses on the Pavement and her collaborations with CADA (Colectivo Acciones de Arte). It argues for a queer feminist reading of Rosenfeld as it considers her anti-dictatorship spatial practices, her intimacies with the writer Diamela Eltit, and her political and aesthetic commitments
Amateurism
‘The amateur’ is an unstable figure across geographic contexts that have shaped an extraordinary range of activity, from non-remunerated, self-organised, non-official, anti-ruling class, insurgent artistic efforts, to programmatic State efforts to marshal ‘folk’ production into national narratives of authentic belonging. With this special issue, the authors argue that an examination of this topic will benefit from the adoption of a global perspec…
Keeping House with Louise Nevelson
Journal Article Keeping House with Louise Nevelson Get access Julia Bryan-Wilson Julia Bryan-Wilson Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 40, Issue 1, March 2017, Pages 109–131, https://doi.org/10.1093/oxartj/kcx015 Published: 10 May 2017
Fabrications
Peut-on dire que nous sommes tous des experts en textiles, et que signifierait pareille déclaration ? L’article examine plusieurs œuvres-clefs réalisées dans les années 1970 par des artistes américaines de couleur qui représentent ou utilisent des pièces de tissu afin de mettre en évidence la place centrale qu’occupent les textiles dans les questions de race, de genre et de travail. À travers un souvenir personnel – la rencontre avec The Dinner P…
Time Zones
Exploring the emergence of the rubric "time-based art" across several disciplinary formations, including performance and visual art, this editors' introduction outlines some historical theories of duration across the arts and argues for a contextual approach that accounts for both medium and institutional location
A Questionnaire on Materialisms
Recent philosophical tendencies of "Actor-Network Theory," "Object-Oriented Ontology," and "Speculative Realism" have profoundly challenged the centrality of subjectivity in the humanities, and many artists and curators, particularly in the UK, Germany, and the United States, appear deeply influenced by this shift from epistemology to ontology. October editors asked artists, historians, and philosophers invested in these projects-from Graham Harm…
Simone Forti Goes to the Zoo
In 1968, choreographer and dancer Simone Forti moved from the United States back to Italy. During her brief stay in Rome, she spent time observing animals in the zoo, as well as working and performing among Arte Povera sculptures. This article investigates how Forti's encounters in Italy with new methods of movement and materiality, including models of collaboration between animate subjects and inanimate objects, became pivotal to her procedures …
Out to See Video”
July 01 2014 “Out to See Video”: EZTV's Queer Microcinema in West Hollywood Julia Bryan-Wilson Julia Bryan-Wilson Julia Bryan-Wilson is Associate Professor of Modern and Contemporary Art at the University of California, Berkeley. She is the author of Art Workers: Radical Practice in the Vietnam War Era (University of California Press, 2009) and editor of Robert Morris, October Files (MIT Press, 2013). She is working on two books, one on questions…
Occupy Response
In Oakland, where I live, and at UC Berkeley, where I teach, Occupy has been defiant, fractious, exhausting, exhilarating.The zone of possibilities it promised was threatened by ruthlessly violent state and administrative pushback and the repressive criminalization of dissent.Cops wielding batons, rubber bullets, and pepper spray: these are searing images.But other scenes persist-a port closed by thousands of anti-capitalist demonstrators; tents …
Occupational Realism
Since the 1970s, some artists have self-consciously inhabited their workaday jobs as art; this “occupational realism” invokes questions about the performance of labor and the value of art-making. What does it mean to be (emotionally, physically, mentally) “occupied” by one's work? And what does it mean to “occupy” labor as a strategic artistic operation
Practicing Trio A
Dirty Commerce
From 1974 to 1976, artists in a range of contexts produced works that drew connections between performance and prostitution. This article examines how these projects, by artists such as Carlos Ginzburg and Suzanne Lacy, speak to the wider political discourses and feminist attitudes toward prostitution in the 1970s, as well as to the economic shifts that saw the growth of service-oriented and intimate labor. In the 1970s, female performance artist…
Art Workers
During the late 1960s and early 1970s, in response to the political turbulence generated by the Vietnam War, an important group of American artists and critics sought to expand the definition of creative labor by identifying themselves as “art workers.” In the first book to examine this movement, Julia Bryan-Wilson shows how a polemical redefinition of artistic labor played a central role in minimalism, process art, feminist criticism, and concep…
We Have a Future
October 01 2009 We Have a Future: An Interview with Sharon Hayes Julia Bryan-Wilson Julia Bryan-Wilson Julia Bryan-Wilson is Associate Professor of Contemporary Art and Director of the Ph.D. Program in Visual Studies at the University of California, Irvine. She is the author of Art Workers: Radical Practice in the Vietnam War Era (University of California Press, 2009). Search for other works by this author on: This Site Google Scholar Author and …
Virtual Art
Reviewed by: Virtual Art: From Illusion to Immersion Julia Bryan-Wilson (bio) Virtual Art: From Illusion to Immersion. By Oliver Grau, trans. Gloria Custance. Cambridge, Mass.: MIT Press, 2003. Pp. xiv+416. $45. Virtual reality is revolutionary! The world has never seen anything like it! It will change everything! Well, no; such manifestos of futurity now clang with a retro quaintness. As the gushing pronouncements of virtual reality's newness ha…
Some Kind of Grace
Julia Bryan-Wilson, an early supporter of Joanie 4 Jackie, is now a graduate student in art history at the University of California, Berkeley. Her writing has appeared in Art Journal, the Oxford Art Journal, and Technology and Culture. She is finishing a dissertation about artistic labor in US minimalism and conceptualism
A Questionnaire on Materialisms
Recent philosophical tendencies of "Actor-Network Theory," "Object-Oriented Ontology," and "Speculative Realism" have profoundly challenged the centrality of subjectivity in the humanities, and many artists and curators, particularly in the UK, Germany, and the United States, appear deeply influenced by this shift from epistemology to ontology. October editors asked artists, historians, and philosophers invested in these projects-from Graham Harm…
Amateurism
‘The amateur’ is an unstable figure across geographic contexts that have shaped an extraordinary range of activity, from non-remunerated, self-organised, non-official, anti-ruling class, insurgent artistic efforts, to programmatic State efforts to marshal ‘folk’ production into national narratives of authentic belonging. With this special issue, the authors argue that an examination of this topic will benefit from the adoption of a global perspec…
Keeping House with Louise Nevelson
Journal Article Keeping House with Louise Nevelson Get access Julia Bryan-Wilson Julia Bryan-Wilson Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 40, Issue 1, March 2017, Pages 109–131, https://doi.org/10.1093/oxartj/kcx015 Published: 10 May 2017
Occupational Realism
Since the 1970s, some artists have self-consciously inhabited their workaday jobs as art; this “occupational realism” invokes questions about the performance of labor and the value of art-making. What does it mean to be (emotionally, physically, mentally) “occupied” by one's work? And what does it mean to “occupy” labor as a strategic artistic operation
We Have a Future
October 01 2009 We Have a Future: An Interview with Sharon Hayes Julia Bryan-Wilson Julia Bryan-Wilson Julia Bryan-Wilson is Associate Professor of Contemporary Art and Director of the Ph.D. Program in Visual Studies at the University of California, Irvine. She is the author of Art Workers: Radical Practice in the Vietnam War Era (University of California Press, 2009). Search for other works by this author on: This Site Google Scholar Author and …
Some Kind of Grace
Julia Bryan-Wilson, an early supporter of Joanie 4 Jackie, is now a graduate student in art history at the University of California, Berkeley. Her writing has appeared in Art Journal, the Oxford Art Journal, and Technology and Culture. She is finishing a dissertation about artistic labor in US minimalism and conceptualism
Virtual Art
Reviewed by: Virtual Art: From Illusion to Immersion Julia Bryan-Wilson (bio) Virtual Art: From Illusion to Immersion. By Oliver Grau, trans. Gloria Custance. Cambridge, Mass.: MIT Press, 2003. Pp. xiv+416. $45. Virtual reality is revolutionary! The world has never seen anything like it! It will change everything! Well, no; such manifestos of futurity now clang with a retro quaintness. As the gushing pronouncements of virtual reality's newness ha…
Some Kind of Grace
Julia Bryan-Wilson, an early supporter of Joanie 4 Jackie, is now a graduate student in art history at the University of California, Berkeley. Her writing has appeared in Art Journal, the Oxford Art Journal, and Technology and Culture. She is finishing a dissertation about artistic labor in US minimalism and conceptualism
Art Workers
During the late 1960s and early 1970s, in response to the political turbulence generated by the Vietnam War, an important group of American artists and critics sought to expand the definition of creative labor by identifying themselves as “art workers.” In the first book to examine this movement, Julia Bryan-Wilson shows how a polemical redefinition of artistic labor played a central role in minimalism, process art, feminist criticism, and concep…
We Have a Future
October 01 2009 We Have a Future: An Interview with Sharon Hayes Julia Bryan-Wilson Julia Bryan-Wilson Julia Bryan-Wilson is Associate Professor of Contemporary Art and Director of the Ph.D. Program in Visual Studies at the University of California, Irvine. She is the author of Art Workers: Radical Practice in the Vietnam War Era (University of California Press, 2009). Search for other works by this author on: This Site Google Scholar Author and …
Occupy Response
In Oakland, where I live, and at UC Berkeley, where I teach, Occupy has been defiant, fractious, exhausting, exhilarating.The zone of possibilities it promised was threatened by ruthlessly violent state and administrative pushback and the repressive criminalization of dissent.Cops wielding batons, rubber bullets, and pepper spray: these are searing images.But other scenes persist-a port closed by thousands of anti-capitalist demonstrators; tents …
Occupational Realism
Since the 1970s, some artists have self-consciously inhabited their workaday jobs as art; this “occupational realism” invokes questions about the performance of labor and the value of art-making. What does it mean to be (emotionally, physically, mentally) “occupied” by one's work? And what does it mean to “occupy” labor as a strategic artistic operation
Practicing Trio A
Dirty Commerce
From 1974 to 1976, artists in a range of contexts produced works that drew connections between performance and prostitution. This article examines how these projects, by artists such as Carlos Ginzburg and Suzanne Lacy, speak to the wider political discourses and feminist attitudes toward prostitution in the 1970s, as well as to the economic shifts that saw the growth of service-oriented and intimate labor. In the 1970s, female performance artist…
Out to See Video”
July 01 2014 “Out to See Video”: EZTV's Queer Microcinema in West Hollywood Julia Bryan-Wilson Julia Bryan-Wilson Julia Bryan-Wilson is Associate Professor of Modern and Contemporary Art at the University of California, Berkeley. She is the author of Art Workers: Radical Practice in the Vietnam War Era (University of California Press, 2009) and editor of Robert Morris, October Files (MIT Press, 2013). She is working on two books, one on questions…
Simone Forti Goes to the Zoo
In 1968, choreographer and dancer Simone Forti moved from the United States back to Italy. During her brief stay in Rome, she spent time observing animals in the zoo, as well as working and performing among Arte Povera sculptures. This article investigates how Forti's encounters in Italy with new methods of movement and materiality, including models of collaboration between animate subjects and inanimate objects, became pivotal to her procedures …
Fabrications
Peut-on dire que nous sommes tous des experts en textiles, et que signifierait pareille déclaration ? L’article examine plusieurs œuvres-clefs réalisées dans les années 1970 par des artistes américaines de couleur qui représentent ou utilisent des pièces de tissu afin de mettre en évidence la place centrale qu’occupent les textiles dans les questions de race, de genre et de travail. À travers un souvenir personnel – la rencontre avec The Dinner P…
Time Zones
Exploring the emergence of the rubric "time-based art" across several disciplinary formations, including performance and visual art, this editors' introduction outlines some historical theories of duration across the arts and argues for a contextual approach that accounts for both medium and institutional location
A Questionnaire on Materialisms
Recent philosophical tendencies of "Actor-Network Theory," "Object-Oriented Ontology," and "Speculative Realism" have profoundly challenged the centrality of subjectivity in the humanities, and many artists and curators, particularly in the UK, Germany, and the United States, appear deeply influenced by this shift from epistemology to ontology. October editors asked artists, historians, and philosophers invested in these projects-from Graham Harm…
Keeping House with Louise Nevelson
Journal Article Keeping House with Louise Nevelson Get access Julia Bryan-Wilson Julia Bryan-Wilson Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 40, Issue 1, March 2017, Pages 109–131, https://doi.org/10.1093/oxartj/kcx015 Published: 10 May 2017
Amateurism
‘The amateur’ is an unstable figure across geographic contexts that have shaped an extraordinary range of activity, from non-remunerated, self-organised, non-official, anti-ruling class, insurgent artistic efforts, to programmatic State efforts to marshal ‘folk’ production into national narratives of authentic belonging. With this special issue, the authors argue that an examination of this topic will benefit from the adoption of a global perspec…
Speaking of Lotty Rosenfeld
This dialogue centers on the artwork and legacy of Chilean artist Lotty Rosenfeld, including such solo projects as One Mile of Crosses on the Pavement and her collaborations with CADA (Colectivo Acciones de Arte). It argues for a queer feminist reading of Rosenfeld as it considers her anti-dictatorship spatial practices, her intimacies with the writer Diamela Eltit, and her political and aesthetic commitments
Julia Bryan-Wilson
Maria Stavrinaki: Julia, a theme that has structured your writing from the outset is that of ambivalence, but it seems to me that the status and the function of it have changed over the years. In your work on Art Workers (2011), you studied the practices of Lucy R. Lippard, Robert Morris, Carl Andre and Hans Haacke in the 1960s through the theme of their understanding and their discursive and material uses of "labor" and "value" in their artistic…
Art (14 works) · Art, Politics, and Modernism (9 works) · Sociology (8 works) · Visual arts (8 works) · Aesthetics (6 works) · Art history (5 works) · Computer Science (5 works) · Cultural Industries and Urban Development (5 works) · History (5 works) · Philosophy (5 works)