Ph.D., University of California, Berkeley, 2004
B.A., Swarthmore College, 1995
Associate Professor Julia Bryan-Wilson teaches modern and contemporary art, with a focus on art since 1960 in the US, Europe, and Latin America. She is the author of Art Workers: Radical Practice in the Vietnam War Era, published by the University of California Press in 2009, and editor of OCTOBER Files: Robert Morris, from the MIT Press. Her current book project is entitled Crisis Craft: Handmade Art and Activism since 1970.
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, the Journal of Modern Craft, and Oxford Art Journal. 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. Before coming to UC Berkeley in fall 2011, she taught at RISD and UC Irvine. She will be the Terra Foundation Visiting Professor of American Art at the Courtauld in Spring 2014.
Bryan-Wilson studies theories of artistic labor, feminist and queer theory, performance, craft histories, photography, video, visual culture of the nuclear age, and collaborative practices. She 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.
“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)
“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)
“Practicing Trio A.” OCTOBER 140, Spring 2012: 54-74. (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)
“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)
“We Have a Future: A Conversation with Sharon Hayes.” Grey Room 37, Fall 2009: 78-93. (Download as PDF)
“Our Bodies, Our Houses, Our Ruptures, Ourselves.” Ida Applebroog: Monalisa. Hauser and Wirth, New York, 2010: 13-38. (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)
“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)
“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)
"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)