Talks

Seminars Organized

2019
Erika Doss, University of Notre Dame “Troubling Memorials: Disgraced Monuments and Problematic Public Art in America,” School of Modern Languages and Cultures Seminar Series, University of Hong Kong

Joan Kee, University of Michigan, Ann Arbor, “Book Talk: Models of Integrity: Art and Law in Post-Sixties America,” Faculty of Art and Faculty of Law Seminar Series, University of Hong Kong

Conferences and Panels Organized/Chaired

2017
Visuality and Representation in Central Asia, Central Eurasian Studies Society (CESS), University of Washington, Seattle, WA

Revisiting Time in Contemporary Art, College Art Association Conference (CAA), New York, NY, co-chair with Sarah Archino

2015
Truth-telling and Parafiction: Practice and Theory, College Art Association Conference (CAA), New York, NY, co-chair with Sarah Archino

2014
Beyond Connectivity: The Network as Art Historical Model, Southeastern College Art Conference (SECAC), Sarasota, FL, co-chair with Alexis Carrozza

2013
Parafiction and Parafact: The Space Between, Southeastern College Art Conference (SECAC), Greensboro, NC, co-chair with Andrianna Campbell

2012
Deadly Serious Art: Strategies of Humor as Critique, The Graduate Center, CUNY, New York, NY; Keynote: Simon Critchley, The New School, NY, co-chair with Sarah Archino.

Invited Papers

2018
“The Letter of the Law: Art and Uncivil Obedience,” Brownbag Lunch Series, Smithsonian American Art Museum, Washington, DC

2017
“Alias: Art and Identity in Cold War Hollywood,” lecture given in conjunction with the exhibition, Holy Barbarians: Beat Culture on the West Coast (November 18, 2016 – March 12, 2017), Menil Collection, Houston, TX

2013
“Incongruent Strategies: Engagements with Humor and Identity in Contemporary Azerbaijani Art,” Visiting Scholar Roundtable Series, Institute for European, Russian, and Eurasian Studies (IERES), Elliott School of International Affairs, George Washington University, Washington, DC

Papers Delivered in Association with Fellowship Positions

2019
“The Legal Medium: An Aesthetics of Uncivil Obedience,” Department of Fine Arts Lecture Series, The University of Hong Kong, HK

2015
“Engagements with Chance and Risk: Los Angeles-based Artists Looking to Las Vegas in the Postwar Era,” Center for Gaming Research, University of Nevada, Las Vegas, NV

2014
“Interrogating Performativity: Role Playing and Artistic Production in 1960s Los Angeles,” Scholar Lecture Series, Georgia O’Keeffe Museum, Santa Fe, NM

“F(r)amed by Los Angeles: Role-Playing within the Reflections of Billy Al Bengston’s 1960s Work,” Fellows Lectures in American Art, Smithsonian American Art Museum, Washington, DC

Papers through Submission (selected)

2019
“Art Following the Law: Environmental Protections, Land Use, and an Aesthetics of Uncivil Obedience,” Art’s Institutions: Laws, Museums, and Archives, American Studies Association Conference (ASA), Honolulu, Hawai’i

“Art Provoking Policy: Semiotic Disobedience and Conscientious Law-Breaking,” Arts Patronage in Modern America, Rothermere American Institute, University of Oxford

“Art Provoking Law: Uncivil Obedience and the Unsettling of Immigration Law,” Art after 1945: At Home or Homeless?, Association for Art History Annual Conference, University of Brighton, England; and Art, Praxis, Migration, ASAP/Hong Kong: The Arts of the Present, hosted by University of Hong Kong

“Intimate Strangers and Affective Economies: Ann Hirsch, Amalia Ulman, and Marisa Olson,” Technologies of Counter-Publicity, College Art Association Conference (CAA), New York, NY; and Persona: ‘Performance Art’ or ‘Self-Branding’?, International Persona Studies Conference, Newcastle University, Newcastle, UK

“Art Chasing Liability: Digital Sharecropping and Conscientious Law-Breaking,” Critical Practices, Art Machines: International Symposium on Computational Media Art (ISCMA), School of Creative Media, City University of Hong Kong

2018
“Art Chasing Fraud: Parajournalism and Transmedia Storytelling” Art Association of Australia & New Zealand (AAANZ), Royal Melbourne Institute of Technology (RMIT), Melbourne, Australia

“Rule-Following: Lowell Darling and Uncivil Obedience,” College Art Association Conference (CAA), Los Angeles, CA

2017
“Humor and Activism in Contemporary Azerbaijani Art,” Humor, Globalization, and Culture-Specificity in Modern and Contemporary Art, Frans Hals Museum, The Netherlands; and Central Eurasian Studies Society (CESS), University of Washington, Seattle, WA

“An Aesthetics of Uncivil Obedience: Performance Art and the Legal Medium,” Performing Resistance, ASAP/9: The Arts of the Present, University of California, Berkeley, CA

“Political Re-presentation: Artist-Candidates and the Boundaries of the Electoral Process,” Border Control: on the Edges of American Art, Tate Liverpool/Terra Foundation for American Art, Liverpool, United Kingdom

“Naming: Imaginary Authorship in Cold War Los Angeles,” American Conceptual Art and the Political Imagination, from Cold War to Globalization, College Art Association Conference (CAA), New York, NY

2016
“Secret: George Herms and Clandestine Operations in Cold War Los Angeles,” Scholl Seminar on American Art, Newberry Library, Chicago, IL

2015
“Occupying Roles: Billy Al Bengston in Print,” Visual Culture Caucus, College Art Association Conference (CAA), New York, NY

“Erasure and (Re)construction: From Judy Gerowitz to Judy Chicago,” Erased, Replaced, Omitted, Denied: American Art and Negation, journée d'études, Institut national d'histoire de l'art/Terra Foundation for American Art, Paris, France

“Viewer's Choice: Cosmopsis and Harun Farocki's Deep Play,” Unraveling Timelines: Challenges to Chrononormativity in Art and Art History, Southeastern College Art Conference (SECAC), Pittsburg, PA

2014
“F(r)amed for Levity: Published and Parodic Interventions of the Los Angeles Avant-Garde,” Languages of Art: Interactions Between Art and Literature, Art History Graduate Student Symposium, Rutgers, State University of New Jersey, New Brunswick, NJ

“Incongruent Strategies: Engagements with Humor and Identity in Contemporary Azerbaijani Art,” Caucasus Connections, American Research Institute of the South Caucasus, Annual Conference, University of Indiana, Bloomington, IN

2013
"Interrogating the Alter: Critical Engagements with Humorous Strategies in Southern California,” California Council for the Promotion of History Conference (CCPH), Hanford, CA

2012
“The Real And Reflected Self: Finish Fetish and the Alter Ego,” Finish Fetish Sculpture from Los Angeles, 1960s-1970s: Conservation Dilemmas, College Art Association Conference (CAA), Los Angeles, CA

“Prankster Antics and Intrusions: The Politics of Display in Los Angeles of the 1950s,” In Sight/On View: The Museum as Site of Inquiry, Annual Graduate Student Symposium, University of Illinois at Chicago, Chicago, IL; and California Council for the Promotion of History Conference (CCPH), Woodland, CA

“Prank, Provoke, Shock: Strategies of the Los Angeles Avant-Garde of the 1950s,” Southeastern College Art Conference (SECAC), Durham, NC

2011
“The Alter Ego as Satirical Act: A Los Angeles Critique,” Spoofing Off: Are Parody and Satire Effective Tools for Institutional Critique?, Southeastern College Art Conference (SECAC), Savannah, GA

2009
“Thomas Rowlandson’s Doctor Syntax: The Picturesque Parodied,” Graduate Student Symposium in Nineteenth-Century Art, The Graduate Center, CUNY, New York, NY