Julia Bryan-Wilson

Julia Bryan-Wilson is an associate professor in the Department of History of Art at the University of California, Berkeley, 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. Her book, Art Workers: Radical Practice in the Vietnam War Era was published by the University of California Press in 2009. She edited Robert Morris (October Files), published by the Massachusetts Institute of Technology in 2013. Art in the Making: Artists and their Materials from the Studio to Crowdsourcing (1st Edition), to be published by Thames and Hudson in June 2016, is co-authored by Bryan-Wilson and Glenn Adamson.
Bryan-Wilson received her B.A. from Swarthmore College in 1995 and her Ph.D. from the University of California, Berkeley in 2004. Prior to teaching at the University of California, Berkeley, Bryan-Wilson has taught at the Rhode Island School of Design, California College of the Arts, the University of California, Irvine and The Courtland Institute of Art, London.

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.
• 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

• "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.

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.
• 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.

• "UC Irvine - Faculty Profile System". Faculty.uci.edu. Retrieved 2014-02-01.