UC Berkeley History of Art Department

People / Faculty


  • Julia Bryan-Wilson

    Associate Professor

    Modern and Contemporary Art

    Ph.D., University of California, Berkeley, 2004
    B.A., Swarthmore College, 1995

  • Bio

    Associate Professor Julia Bryan-Wilson teaches modern and contemporary art, with a focus on art since 1960 in the US, Europe, and Latin America. Her research interests include theories of artistic labor, feminist and queer theory, performance, craft histories, photography, video, visual culture of the nuclear age, and collaborative practices. She is the author of Art Workers: Radical Practice in the Vietnam War Era (University of California Press, 2009), and editor of OCTOBER Files: Robert Morris (MIT Press, 2013). With Glenn Adamson, she co-wrote Art in the Making: Artists and Their Materials from the Studio to Crowdsourcing (Thames & Hudson, 2016). Her book on textiles since the 1970s, Fray: Art and Textile Politics, is forthcoming from the University of Chicago Press, and she is working on a project about Louise Nevelson. With Andrea Andersson, she is the co-curator of Cecilia Vicuña: About to Happen, which opens at the Contemporary Arts Center New Orleans in 2017.

    A scholar and a critic, Bryan-Wilson has written articles that have appeared in Art Bulletin, Art Journal, Artforum, Bookforum, Cabinet, Camera Austria, Camera Obscura, differences, Frieze, Grey Room, October, Parkett, the Journal of Modern Craft, and Oxford Art Journal, and many other venues. Her article “Invisible Products” received the 2013 Art Journal Award from the College Art Association. Bryan-Wilson has held fellowships from the Clark Art Institute, the Henry Moore Institute, the Smithsonian Archives of American Art, and the Getty. She was a recipient of a Creative Capital/Andy Warhol Foundation Arts Writers Grant, and has won several awards for her teaching. She was the Terra Foundation Visiting Professor of American Art at the Courtauld Institute of Art in Spring 2014, and from fall 2014 to spring 2015 she was a Townsend Center for the Humanities Associate Professor Fellow. In 2017 she will be a Visiting Senior Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery in Washington, DC.

    Bryan-Wilson is an affiliate of the Art Practice Department, the Arts Research Center, the Designated Emphasis in Critical Theory, and the Designated Emphasis in Gender, Women, and Sexuality. Before coming to UC Berkeley in fall 2011, she taught at the Rhode Island School of Design and at UC Irvine.

  • Books

  • Select publications

    “Keeping House with Louise Nevelson,” Oxford Art Journal, March 2017: 109-131. (Download as PDF)

    OCTOBER questionnaire on materialisms, vol. 155, winter 2016: 16-18. (Download as PDF)

    “No Time to Wait” (on Susan Cahan, Mounting Frustration), Artforum, Summer 2016: 113-114. (Download as PDF)

    "Dry Goods and Sundries: On the Filmic Still Life," Routine Pleasures, curated by Michael Ned Holte, Schindler House, 2016: 33-50. (Download as PDF)

    “Fabrications: Race, Genre et Travail du Textile,” Perspective: actualité en histoire de l’art (2016): 210-215. Translated into French. (Download as PDF)

    Julia Bryan-Wilson, Jennifer González, Dominic Willsdon, "Editors' Introduction: Themed Issue on Visual Activism," special issue, Journal of Visual Culture (Spring 2016): 5-23. (Download as PDF)

    Shannon Jackson and Julia Bryan-Wilson, editors, Time Zones: Durational Art in its Contexts, special issue of Representations 136 (Fall 2016); with co-authored editors' introduction, pp. 1-20.

    “’By the Power of Signs and Wonders’: Corita Kent, IBM, and Political Design,” Corita Kent and the Language of Pop, curated by Susan Dackerman, Harvard Art Museums, 2015: 234-243. (Download as PDF)

    “Implicated: Feminist Art Histories and Affective Pasts.” Caderno Videobrasil: An Alliance of Vulnerable Bodies, ed. Miguel López, translated into Portuguese [Brazil], fall 2015: 50-67. (Download as PDF)

    “Living Room, Classroom, Studio, Museum: The Cultural Versatility of Textiles,” in Art_Textiles, curated by Jennifer Harris, Whitworth Art Gallery, Manchester, UK, 2015, 18-22. (Download as PDF)

    "Seth Siegelaub's Material Conditions," in Seth Siegelaub: Beyond Conceptual Art, ed. Leontine Coelewij and Sara Martinetti (Amsterdam: Stedelijk Museum, 2015), 30-43. (Download as PDF)

    "Andrea Büttner's Little, Queer Things," Parkett 97 (2015): 20-31. (Download as PDF)

    “The Present Complex: Lawrence Alloway and the Currency of Museums." In Lawrence Alloway: Critic and Curator, ed. Lucy Bradnock, Courtney Martin, and Rebecca Peabody. Getty Research Institute, 2015: 166-187. (Download as PDF)

    “Gay Semiotics Revisited: An Interview with Hal Fischer," Aperture 218, 2015: 32-29. (Download as PDF)

    "Simone Forti Goes to the Zoo," OCTOBER 152 (Spring 2015): 26-52. (Download as PDF)

    “Aftermath: Two Queer Artists Respond to Nuclear Spaces.” Critical Landscapes, ed. Kristen Swenson and Emily Scott. University of California Press, 2015, p. 77-92. (Download as PDF)

    “Sharon Hayes Sounds Off.” Afterall: A Journal of Art, Context, and Enquiry, issue 38, spring 2015: 16-27. (Download as PDF)

    “For Posterity: Yoko Ono,” in Yoko Ono: One Woman Show 1960-1971, Museum of Modern Art, New York, 2015, p. 21-30. (Download as PDF)

    "Posing by the Cloud: US Nuclear Test Site Photography in Process," in Camera Atomica, ed. John O'Brian (London: Black Dog Publications, 2015), p. 107-123. (Download as PDF)

    “Opening: Robert Hodge.” Artforum, March 2015: 270-271. (Download as PDF)

    “Dress Codes: A Queer History of Fashion.” Artforum, January 2014:85.  (Download as PDF)

    “Figure it Out: On the Political Possibilities of Figuration.” Take it or Leave It: Image, Institution, Ideology. Curated by Anne Ellegood and Johanna Burton. Hammer Museum of Art, 2014: 222-227. (Download as PDF)

    “Out to See Video”: EZTV’s Queer Microcinema in West Hollywood, Grey Room 56, Summer 2014, pp. 56–89. (Download as PDF)

    “Mika Rottenberg’s Video Spaces.” Mika Rottenberg. Rose Museum of Art, Brandeis, curated by Christopher Bedford, 2014, 113-123. (Download as PDF)

    “Draw a Picture, Then Make it Bleed.” Dear Nemesis: Nicole Eisenman, curated by Kelly Schindler. Contemporary Art Museum, St. Louis, 2014, 96-107.  (Download as PDF)

    “Roundtable,” with Jack Halberstam, John Holloway, and TV Reed. Disobedient Objects, edited by Catherine Flood and Gavin Grindon. Victoria and Albert Museum, 2014: 130-134. (Download as PDF)

    “Against the Body: Interpreting Ana Mendieta.” Ana Mendieta: Traces, curated by Stephanie Rosenthal. Hayward Gallery of Art, 2013: 26-38. Translated into German, reprinted for Museum der Moderne Salzburg, 2014. (Download as PDF)

    “Currency: An Interview with Luis Jacob.” Cipher: Conceptual Application 1,Spring 2014, 3-8. (Download as PDF)

    “Miens of Production: Women and Work at Tate Britain.” Artforum, May 2014: 147. (Download as PDF)

    “Knit Dissent.” Contemporary Art: 1989 to the Present, ed. Suzanne Hudson and Alexander Dumbadze. London: Wiley-Blackwell, 2013: 245-253. Reprinted in BAUHAUS volume. (Download as PDF)

    “Tactility and Transparency: An Interview with Sabrina Gscwhandtner.” Sunshine and Shadow: Sabrina Gschwandtner. Philadelphia Alliance of Arts, 2013, 38-45. (Download as PDF)

    Interview with Sharon Hayes, Alpert Award website, Spring 2013.

    “Just Saying No: On the Museum of Non Participation.” Artforum, September 2013: 135. (Download as PDF)

    “Occupational Realism.” TDR: The Drama Review, Winter 2012, 32-48; condensed version reprinted in It’s the Political Economy, Stupid!, ed. Gregory Sholette and Oliver Ressler, Pluto Press, 2013. (Download as PDF)

    “Eleven Propositions about Craft.” The Journal of Modern Craft, March 2013: 7-10 (Download as PDF)

    "Imaginary Archives: A Dialogue" with Cheryl Dunye. Art Journal Vol. 72, Iss. 2, 2013: 82-89. (Download as PDF)

    “Laylah Ali: Color Schemes.” Laylah Ali: The Greenheads Series. Williams College Museum of Art, 2012:21-31. (Download as PDF)

    "Practicing Trio A.” OCTOBER 140, Spring 2012: 54-74. (Download as PDF)

    OCTOBER questionnaire on Occupy, vol. 142, Fall 2012: 37-39. (Download as PDF)

    “Still Relevant: Lucy Lippard, Feminist Activism, and Art Institutions." Materializing Six Years: Lucy R. Lippard and the Emergence of Conceptual Art. Curated by Catherine Morris and Vincent Bonin. MIT Press/ Brooklyn Museum of Art, 2012: 70-92 [awarded Publication of the Year by Specific Object]. (Download as PDF)

    “Dirty Commerce: Art Work and Sex Work since the 1970s.” differences: A Journal of Feminist Cultural Studies, Summer 2012: 71-112. (Download as PDF)

    “Invisible Products.” Art Journal, Summer 2012: 62-85 (cover article). (Download as PDF)

    “Intelligent Discomfort,” an interview with Claire Bishop, Mousse 35, Fall 2012: 114-120. (Download as PDF)

    “To Walk, To Dress, To Move, To Act: Playing Race and Gender in 1970s California Art.” State of Mind: New California Art circa 1970. Curated by Constance Lewallen and Karen Moss, University of California Press/Berkeley Art Museum, 2011: 196-216.(Download as PDF)

    "Infinite Quest," book review of Yayoi Kusama's Infinity Net, Bookforum (Sept/Oct/Nov. 2011): 45. (Download as PDF)

    “Orifice Baroque: Asco’s Asshole Mural,” Artforum, October 2011: 278. (Download as PDF)

    “Blurs: Towards a Provisional Historiography of Francesca Woodman.” In Francesca Woodman: A Retrospective. San Francisco Museum of Modern Art, 2011: 186-195. (Download as PDF)

    “Handmade Genders: Queer Costuming in San Francisco circa 1970.” West of Center: Art and the Countercultural Experiment in America, 1965-1977. Ed. Elissa Auther and Adam Lerner. Minneapolis: University of Minnesota, 2011, 77-92. (Download as PDF)

    “Sites of Material Production.” Anne Wilson: Wind/Rewind/Weave. Knoxville Museum of Art, 2011: 53-58. (Download as PDF)

    “Pacific Standard Time,” Artforum, September 2011: 112. (Download as PDF)

    “Monument Momentum.” Hans Van Houwelingen: Undone, ed. Mihnea Mircan. Jap Sam Books, 2011: 81-90. (Download as PDF)

    “Cristóbal Lehyt’s Dissociative States.” Cristóbal Lehyt: Dramaprojektion. Künstlerhaus Stuttgart, 2010: 8-15. (Download as PDF)

    “Our Bodies, Our Houses, Our Ruptures, Ourselves.” Ida Applebroog: Monalisa. Hauser and Wirth, New York, 2010: 13-38. (Download as PDF)

    “We Have a Future: A Conversation with Sharon Hayes.” Grey Room 37, Fall 2009: 78-93. (Download as PDF)

    “Queerly Made: Harmony Hammond’s Floorpieces.” The Journal of Modern Craft, March 2009, vol. 2, no. 1: 59-80. (Download as PDF)

    Best book of 2008: Zoe Strauss, America. Artforum, December 2008: 94. (Download as PDF)

    Mignon Nixon’s Fantastic Reality: Louise Bourgeois and a Story of Modern Art. The Art Bulletin, December 2007: 823-826. (Download as PDF)

    “Hard Hats and Art Strikes: Robert Morris in 1970.” The Art Bulletin, June 2007, vol. 89, no. 2: 333-359 (cover article); reprint, translated into Spanish, Brumaria: Artistic, Aesthetic, and Political Practices, winter 2010: 81-99. (Download as PDF)

    “Some Kind of Grace: An Interview with Miranda July.” Camera Obscura 55, Spring 2004: 180-197. (Download as PDF)

    "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. (Download as PDF)

    “Remembering Yoko Ono’s Cut Piece.” Oxford Art Journal, vol. 26, no. 1. Spring 2003: 99-123. (Download as PDF)

    “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. (Download as PDF)