JOAN KEE - University of Michigan

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KEE CV 11/15
JOAN KEE
Department of the History of Art, University of Michigan
110 Tappan Hall, 855 S. University Ave, Ann Arbor, MI 48109
[email protected]
EDUCATION
2008
Institute of Fine Arts, New York University, Ph.D, September 2008
Dissertation: Points, Lines, Encounters, Worlds: Tansaekhwa and the Formation of
Contemporary Korean Art (Advisor: Jonathan Hay)
2000
Harvard Law School, J.D.
1997
Yale University, B.A., History of Art, Magna Cum Laude
Phi Beta Kappa, Distinction in the Major
ACADEMIC POSITIONS
2014-present
Associate Professor, History of Art, University of Michigan, Ann Arbor
2014
Visiting Fellow, Tate Research Centre, Asia-Pacific, London,
2008-2014
Assistant Professor, History of Art, University of Michigan, Ann Arbor
2011
Visiting Scholar, Institute of East Asian Studies,
University of California at Berkeley
2006
Visiting Lecturer, History of Art Department, Cornell University, Ithaca, NY,
2001-2003
Visiting Scholar, Centre for the Study of Globalization and Cultures,
University of Hong Kong, Hong Kong
1999
Visiting Lecturer, Tufts University, Medford, MA, September-December
OTHER EMPLOYMENT
2003-2007
Freelance attorney, 2003-2007
2001-2003
Associate, Simpson Thacher and Bartlett, New York and Hong Kong,
2000-2001
Associate, Hughes Hubbard and Reed, New York, 2000-2001
1
KEE CV 11/15
2
BOOKS
In progress
The Opportunity of Law for Art in America, 1970-1995
2015
To Scale (co-editor: Emanuele Lugli) (Malden: Wiley-Blackwell).
From All Sides: Tansaekhwa on Abstraction, (Los Angeles: Blum & Poe).
2013
Contemporary Korean Art: Tansaekhwa and the Urgency of Method, (Minneapolis: University of
Minnesota Press)
• Finalist, 2014 Charles Rufus Morey Book Award, College Art Association
EDITED VOLUMES
2015
“To Scale,” Art History (co-editor: Emanuele Lugli) 38:2
2011
“Contemporaneity and Art in Southeast Asia,” Third Text (co-editor: Patrick Flores) 25:4
2004
“Intersections: Issues in Contemporary Art,” Positions: East Asia Cultures Critique 12:3
PEER-REVIEWED ARTICLES (SELECTED)
2016
“Orders of Law in the One Year Performances of Tehching Hsieh,” American Art,
forthcoming
“Towards Law as an Artistic Medium: William E. Jones’ Tearoom,” Journal of Law,
Culture and the Humanities, forthcoming
2015
“Why Performance in Authoritarian Korea,” Tate Issues 23 (May 2015)
http://www.tate.org.uk/research/publications/tate-papers/whyperformance-authoritariankorea
“The Measure of the World: Scenes From a Journey to Kaesŏng,”Art History 38:2 (April 2015):
364-385.
2014
“What Scale Affords Us: Sizing Up the World Through Scale,” Art Margins 3:2 (June 2014): 3-30.
2013
“Contemporary Art in Early Colonial Korea: The Self Portraits of Ko Hui-dong,”
Art History 36:2 (April 2013), 392-417.
“Use on Vacation: The Non-Sculptures of Lee Seung-taek,” Archives of Asian Art 63:1 (Spring
2013): 103-129.
2012
“Connoisseurship and Its Potential in Matters of Copyright,” Journal of Law, Culture and the
Humanities 8:2 (June 2012): 364-380.
2011
“Contemporaneity as Calculus: The View from Postwar Korea,” Third Text 25:5
(October 2011): 563-576.
2010
“The Curious Case of Contemporary Ink Painting,” Art Journal 69:2 (Fall): 88-113.
2008
“Points, Lines, Encounters: The World According to Lee Ufan,” Oxford Art Journal 31:3 (October
KEE CV 11/15
2008): 403-424.
2004
“Trouble in ‘New Utopia,’” “Intersections: Issues in Contemporary Art,” Positions: East Asia
Cultures Critique 12:3 (Winter 2004): 667-686.
2003
“A Singular Kind of Action: Early Gutai Painting 1954-1957,” Oxford Art Journal 26:2
(Fall 2003): 121-140.
“Some Thoughts on the Practice of Oscillation: Works by Suh Do-Ho and Oh Inhwan,”
Third Text 17:2 (June 2003): 141-150.
• Reprinted in Third Text Asia 3 (Autumn 2009): 55-67.
2001
“Envisaging Hollowness in Contemporary Singapore,” Art Journal 60:3 (Fall): 66-75.
• Reprinted in Documents of Contemporary Art in Singapore: Histories, Practices,
Interventions, eds. T.K. Sabapathy, Kwok Kian Woon and Lim Kok Boon, (Singapore:
Institute of Contemporary Arts), forthcoming
“Reclaiming Sites of Independence in Pak Ch’ŏl-su’s 301/302,” “Asia Pacific
Cinemas: A Spectral Surface,” Positions: East Asia Cultures Critique, eds. Esther Yau
and Kyung Hyun Kim, 9:2 (Fall 2001): 449-466.
1998
“(Re)sexualizing the Desexualized Asian Male in the Works of Ken Chu and Michael Joo,”
Jouvert: A Journal of Postcolonial Studies 2:1 (1998)
http://english.chass.ncsu.edu/jouvert/v2i1/KEE.HTM
BOOK CHAPTERS
2016
“Artists’ Rights, or a History of Claims Unchecked” Artistic Authorship and Legacy,
ed. Daniel McClean, (London: Ridinghouse, 2016), forthcoming
“The Long Breath: Postwar Korean Art, 1953-1979,” A Companion to Korean Art,
eds. J.P. Park and Juhyung Rhi, (Malden, MA: Wiley Blackwell, 2016), forthcoming
2015
“The Scale Question in Contemporary Asian Art,” The 1990s: The Making of Art with
Contemporaries, (Tokyo: Japan Foundation, 2015), forthcoming
2013
“The World in Plain View: Form in the Service of the Global,” Contemporary Art:
1989 to the Present, eds. Alexander Dumbadze and Suzanne Hudson, (Malden, MA:
Wiley-Blackwell, 2013), 95-104.
2007
“Visual Reconnaissance,” Alien Encounters: Asian American Popular Culture, eds. Thuy
Linh Tu Nguyen and Mimi Nguyen, (Durham: Duke University Press, 2007), 130-149.
2002
“Thinking About ‘Contemporary Asian Art’: Some Reflections on Space Traffic,”
Space Traffic, (Melbourne and Hong Kong: West Space and Para/Site, 2002), 25-28.
CATALOGUE ESSAYS
2015
“In Plain View,” Ha Chonghyun, (Los Angeles: Blum & Poe,2015), 6-35.
• Reprinted in Korean in Art and Culture (September 2015): 76-92.
3
KEE CV 11/15
4
“Tansaekhwa, Inside and Out,” From All Sides: Tansaekhwa on Abstraction,
(Los Angeles: Blum & Poe, 2015), 6-42.
2014
“As the World Turns in Nineties America,” Come as You Are: Art of the 1990s,
(Berkeley and Montclair: University of California Press and Montclair Art Museum,
2014), 55-64.
2013
“Kim Ku-lim: Touching Base,” Kim Ku-lim: Like You Know It All, (Seoul: Seoul City
Museum of Art, 2013), 95-100.
2012
“Field and Stream: The Terrain of Contemporary Asian Art,” The Asia-Pacific
Triennial of Contemporary Art, (Brisbane: Queensland Art Gallery, 2012), 66-71.
“A Fine Occupation,” Anish Kapoor/Objects, (Seoul: Leeum Museum, 2012), 45-49.
2011
“True Believer,” Park Seobo, (Seoul: Kukje Gallery, 2011), 8-18.
• Reprinted in Misul kwa pipy’ŏng 23 (Spring 2011): 28-35.
2009
“Tea and Sympathy,” The Enlightenments, (Edinburgh: Edinburgh Art Festival), 20-21.
“Longevity Studies: The Contemporary Korean Art Exhibition at Fifty,”
Your Bright Future: 12 Korean Artists, (Houston and Los Angeles: Museum of Fine
Arts Houston and the Los Angeles County Museum of Art), 16-28.
2008
“Collection Agency,” Sasa [44]: Exhibited Works in Chronological Order, (Seoul: Kukje Gallery),
11-13.
“Work and Play,” Donghee Koo: Synthetic Experience, (Seoul: Atelier Hérmès), 70-74.
2007
“What is Feminist About Contemporary Asian Women’s Art?,” Global Feminisms,
(Brooklyn and London: Brooklyn Museum and Merrell Press, 2007), 106-121.
• Excerpt reprinted in The Feminism and Visual Culture Reader, 2nd ed., ed. Amelia Jones,
(London: Routledge, 2010), 373-377.
• Revised version published in Contemporary Art in Asia: A Critical Reader, eds. Melissa
Chiu and Benjamin Genocchio, (Cambridge and London: MIT Press, 2011), 347-369.
2003
“Housewarming: A Statement of Intent,” Housewarming, (Hong Kong: Para/Site), 4-11.
“Evanescent Terrain: The Unknowable Home in the Works of Do-Ho Suh,” Home and Away: The
New Globalism, (Vancouver: Vancouver Art Gallery), 13-19.
“Neither Ours Nor Others,” Landscape of Differences: The Korean Pavilion at the 50th Venice
Biennale, (Seoul: Korea Culture and Arts Foundation 2003), 122-135.
• Translated into Korean in the same volume as Kŭnyang chakp’umdŭl, 116-121.
“Who’s Afraid of Asian American Art?,” Tradeshow: New Currents in Recent
Asian American Art, (Shanghai: CR2 Gallery, 2003), 32-43.
• Republished in Chinese in revised form as “Leaving the Public Sector: Asian American
Art and Its Interpretation,” d’A (Summer 2004).
2002
“Inclusion/Expulsion: The Non-Performances of Oh In-hwan,” My Beautiful
Laundromat, (Seoul: Project Space Sarubia, 2002), n.p.
KEE CV 11/15
5
OTHER ESSAYS AND ARTICLES (SELECTED)
2016
2015
“The Felix Gonzalez-Torres Theory of Contract,” New Scholarship on Felix GonzalezTorres, (New York: Felix Gonzalez-Torres Foundation, 2016), forthcoming
“Scale to Size, An Introduction,” (with Emanuele Lugli), Art History 38:2 (April 2015): 250-266.
“Skin and Surface,” roundtable on Dansaekhwa, Frieze 169 (March 2015): 142-143.
“Uncommon Knowledge: The Art of On Kawara,” Artforum 53:5 (January 2015): 170-177.
2013
“Lily Cox-Richard: On the Powers of Taking a Stand,” (with Nicholas Hartigan), Art Journal 72:4
(Winter 2013): 78-83.
“Han’guk misulesŏ ‘pangbŏb’ iran muŏssinga,” [The significance of method], Art in Culture
(July 2013): 156-161.
“Uri ŭi ‘hyŏndae’ ran muŏssinga,” [The place of hyŏndae in the contemporary], Art in Culture
(February 2013): 126-131.
2012
“Fitting in Scale,” Art Bulletin 93:4 (December 2012): 499-501.
“Why Chinese Paintings Are So Large,” Third Text 26:6 (November 2012): 649-663.
“Moves in the Field,” “The And: An Expanded Questionnaire on the Contemporary,”
Field Notes 1 (Summer 2012), www.aaa.org.hk
“False Fronts: The Art of Ming Wong,” Artforum 50:9 (May 2012): 262-269.
2011
“Contemporary Southeast Asian Art: The Right Kind of Trouble,” Third Text 25:4
(August 2011): 371-381.
• Republished in Thai in Documents on Contemporary Thai Art, ed. Gridthiya
Gaweewoong, (Bangkok: Jim Thompson Art Center, 2016), forthcoming.
“Close-up: Party Lines,” Artforum 49:5 (January 2011): 176-177, 242-243.
2008
“Irrelevance That Matters,” Art Asia Pacific 61 (November/ December 2008): 246-247.
2004
“Introduction: Twenty Questions,” “Intersections: Issues in Contemporary Art,”
Positions: East Asia Cultures Critique 12:3 (Winter 2004): 599-610.
“A Call for a Normalized ‘Contemporary’ Art History,” DiAAAlogue: Newsletter of
the Asia Art Archive, www.aaa.org.hk, June 2004.
2003
“Art, Hong Kong, Hybridity: A Task of Reconsideration,” Yishu: Journal of
Contemporary Chinese Art 2:2 (June 2003): 90-98.
“Claim Check: Recent Korean Photography,” Tema Celeste 96 (March/April): 62-67.
2002
“Inertia Reels: Mobility in Hong Kong Video,” Afterimage 29:4 (2002): 8-10.
KEE CV 11/15
6
“Resting with Mingwei: Subversive Cosmpolitanism in the Conceptual Projects of Lee Mingwei,”
Yishu: Journal of Contemporary Chinese Art 1:1 (June 2002): 18-23.
“Processes of Erasure: Paul Pfeiffer’s Narratives of the Global,” Art Asia Pacific 32 (2001): 64-69.
“The Singular Pluralities of Suh Do-Ho,” Art Asia Pacific 34 (2002): 44-51.
REVIEWS, INTERVIEWS, AND ENTRIES (SELECTED)
2015
‘Focus Review: Kazuo Shiraga,” Artforum 53:9 (Summer 2015): 347-348.
2013
“Artist’s Portfolio: Tsuruko Yamazaki,” Artforum 51:6 (February 2013): 182-183.
“Focus Preview: Gutai: Splendid Playground, Artforum 51:5 (January 2013): 77.
2012
“Requiem for the Sun at Blum and Poe,” Artforum 50:9 (May 2012): 316.
2011
“Focus Preview: Lee Ufan,” Artforum 49:9 (May 2011): 133.
2010
“Review: Yang Haegue,” Artforum 48:8 (April 2010): 191.
2006
“Calibrated Expectations: A Roundtable on the Inaugural Singapore Biennale 2006,”
participant, Broadsheet 35:3 (2006): 141-142.
2005
Grove Dictonary of Art Online, Contemporary Asian Art, ed. Melissa Chiu,
September 2005 (www.groveart.com) “Bahc Yiso,” “Theresa Hak Kyung Cha,”
“Byron Kim,” “Kim Sooja” “Lee Bul,” “Lee Mingwei,” “Do-ho Suh,” “Videotage.”
2003
“Black Belt at the Studio Museum in Harlem,” CAA Reviews, December 2003
2002
David Clarke, “Hong Kong Art: Culture and Decolonization,” (Durham: Duke
University Press, 2002), CAA Reviews, December 2002
“An Interview With Yang Fudong,” Tema Celeste 92 (July/August 2002): 56-59.
1999
“Aperto Bangkok,” Flash Art (November/December 1999): 67-68.
1998
“An Interview with Wenda Gu,” Inside/Out: New Chinese Art, Asia Society,
www.asiasociety.org/insideout), July 13, 1998.
CONFERENCE AND SYMPOSIA PAPERS
2016
“Art History Without a Field,” “Making Southeast Asian Cultures: From Region to World,”
University of California at Berkeley, April 22, 2016
“Research, a Social Experiment by Yi Yu-t’ae,” “Modernities in Korean Art,” University of
Michigan, February 19, 2016
“The Value of Everything for the Price of Nothing: On Giveaway,” “Visible Hands: Markets and
the Making of American Art,” Tate Modern, January 22, 2016
KEE CV 11/15
2015
7
“Choice Sites: Visualizing Consent in Sally Mann’s ‘Family Pictures’,” “Art & Law,
Art in Peril,” Cambridge University, June 23, 2015
“The Nineties in Practice, Then and Now,” Japan Foundation Asia Center
Tokyo, May 23, 2015
2014
“Why Performance in Yushin Korea?,” Tate Museum and the School of
Oriental and African Studies, London, December 5, 2014
“Symptoms,” “The Vernacular and the Viral: Rethinking the Terms of South and
Southeast Asian Art,”Clark Art Institute and the Asian Civilisations Museum, Singapore, May 16,
2014
”Method’s Urgency,” “Rethinking Art History: Writing/Making Modern and
Contemporary Asian Art and Architecture Histories,” Museum of Fine Arts Houston
and Rice University, Houston, April 14, 2014
“On Properties Land Art Claims,” “What Art Has to Say About the Law,” Association
of Art Historians, London, April 12, 2014 (panel organizer)
Invited response, “Identity Politics,” Society of Contemporary Art Historians,
College Art Association Conference, Chicago, February 10, 2014
2013
“Tehching Hsieh, in Good Faith,” American Studies Association Annual Conference, Washington,
DC, November 22, 2013
“The Promise of Groundscapes,” Japan Foundation Curators’ Workshop
Symposium, Tokyo, January 30, 2013
2012
“The Measure of the World: Kang Se-hwang’s Journey to Songdo,” Kunsthistoriches
Institut, Florence, November 8, 2012
• “Asian Art Workshop,” Hong Kong University, October 18, 2013
“The Value of No Use: On Lee Seung-taek’s Non-Sculptures,” “Korean Contemporary Art:
Between Tradition, Modernity, and Globalisation,” Courtauld Institute of Art, London, June 29
“Kwon Young-woo Stands His Ground: Abstract Ink Painting in Postwar Korea,” University of
Chicago, April 28, 2012
2011
“Grounds for Photography in Authoritarian South Korea,” “New Perspectives on
Asian Design and Its Histories,” Victoria and Albert Museum, London, July 22, 2011
Invited response, “Feminism,” College Art Association Centennial Panel, New York, February 10
2009
“The Martial Imperative in Postwar South Korean Art,” “Gender and the Body in
Contemporary Asian Art,” University of Heidelberg, December 16, 2009
“Why Chinese Paintings Are So Large,” “Modernity’s Cultural Politics: China in Context,”
Courtauld Institute of Art, London, October 24, 2009.
KEE CV 11/15
“Painting Takes Exception: Park Seobo’s Écriture in Yushin Korea,” Shoptalk 154, Center for
Advanced Study in the Visual Arts, National Gallery of Art, Washington D.C., April 9, 2009
“Contemporaneity as Calculus: The View from Seventies Korea,” Association of Art
Historians Annual Conference, Manchester Metropolitan University, Manchester, UK,
April 4, 2009
2008
“Closer: What Asian Women’s Art Has to Say About Contemporaneity,” “Places at
the Table: Asian Women Artists and Gender Dynamics,” Institute of East Asian
Studies, University of California at Berkeley, September 13, 2008
2006
“Painting and the City: A Functionalist View,” “Colonial Modernity in Urban Korea,”
Centre for Korean Studies, University of British Columbia, Vancouver, February 19, 2006
2005
“The Ecology of Form: Portraiture in the Muhammad Shah Era,” “Theory and
Practice of Islamic Portraiture,” Institute of Fine Arts, New York University,
September 24, 2005
“A Logical Reversion to Form,” “Claims to Authority: Workshop on Modern and
Contemporary Art in East Asia,” Institute of Fine Arts, New York University, New York, May 21
2004
“A Proposal for Visual Accountability: Notes on a Methodological Predicament,”
“Challenges in Asian American Art,” Rockefeller Foundation/New York University, New York,
March 22, 2004
“Asiamericasia: Towards a Globalized Asian American Art,” College Art Association Annual
Conference, Seattle, WA, February 19, 2004
2002
“The Language of Oscillation: Reassessing Contemporary ‘Asian’ Art,” College Art
Association Annual Conference, Philadelphia, PA, February 23, 2002
2001
“The Visual Fictions of the Global and the National in Contemporary Seoul,”
International Center for Advanced Studies, New York University, March 23, 2001
1999
“Single Asian Female: Hysteria and Malaise in Korean Film,” “Asia/Pacific Cinemas
Workshop,” University of California at Irvine, October 9,1999
“Generation v. Individual: The Case of Contemporary Korean American Visual Art,”
Columbia University Teachers’ College, April 10, 1999
“The Image Significant: Generation and Identity in Contemporary Korean Video
Art,” Association for Asian Studies Annual Conference, Boston, MA, March 12, 1999
1998
“Confronting Multiple Colonization in Contemporary Korean Art,” College Art
Association Annual Conference, Toronto, Canada, February 26,1998
INVITED LECTURES AND RESPONSES (SELECTED)
2016
Panelist, “Property and Propriety,” “Poetic Justice: On the Work of Felix Gonzalez-Torres,”
Cornell Law School, Art & Law Program, De La Cruz Collection, Miami, February 11, 2016
8
KEE CV 11/15
9
“When Possession Was Nine-Tenths of the Work,” University of Chicago, January 29, 2016
2015
Discussant, “Kazuo Shiraga and Sadamasa Motonaga,” Dallas Museum of Art, May 1, 2015
2014
“Felix Gonzalez-Torres on the Art of Due Process,” History of Art, University of York,
York, England, November 10, 2014
“Escaping Babel?,” “Transnational Collaborative Criticism,” Sterling and
Francine Clark Art Institute, Williamstown, MA, March 21-22, 2014
2013
“In the Midst of it All: Korean Art, 1961-1988,” Society for Asian Art, Asian Art
Museum, San Francisco, CA, November 1, 2013
• Korea Society, New York, March 12, 2015
“Form Made Good: Tansaekhwa and Postwar Korean Art,” Asia Society, Hong Kong, October 17,
2013
• Detroit Institute of Art, Detroit, MI, January 16, 2014
“Tansaekhwa and the Case for Abstraction in Postwar Korea,” Center for Korean Studies,
University of California at Berkeley, September 6, 2013
• Tate Asia-Pacific Research Centre, London, September 27, 2013
• Harvard University, Cambridge, MA, April 28, 2014
• Freer/Sackler Museum, Washington D.C., September 20, 2014
“Sizing Up Scale,” Department of Art, Cornell University, Ithaca, NY, April 1, 2013
2012
Discussant, “A Connective History of Qing Art: Visuality, Images and Imaginaries,”
University of Hong Kong, June 8-10, 2012
“Grounds for Photography in Authoritarian South Korea,” Department of Fine Arts,
University of Hong Kong, May 22, 2012.
• Department of Art and Archaeology, Seoul National University, Seoul,
March 8, 2013
Discussant, “Voices of Mono-ha Artists, Contemporary Artists in Japan, Circa 1970,”
University of Southern California, February 24, 2012
“Ming Wong’s Cultural Studies,” Department of Art & Art History, University of
Colorado at Boulder, February 14, 2012
2011
Panelist, “Trading Ideas: Emerging Discourses on Asian Contemporary Art,” Yerba
Buena Center for the Arts, San Francisco, November 9, 2011
Conversation with Lee Ufan, “States of Emergency: Objects as Agency, ca. 1970,”
Solomon R. Guggenheim Museum, New York, September 16, 2011
“Fair Game: Performance and the Look of Equality,” Art History, Theory and Criticism, School of
the Art Institute Chicago, April 8, 2011
2010
“The Unlikeliest Place: Korean Art’s 20th Century, British Museum, London, November 15, 2010
KEE CV 11/15
10
“Painting Exception in Authoritarian Korea,” Center for Korean Studies,
University of California at Berkeley, October 15, 2010
“The Frontality of Postwar Korean Photography,” Santa Barbara Museum of Art, August 29
2009
“Public Works: Thinking Through Recent Art in Korea,” Museum of Fine Arts
Houston, November 20, 2009
• Art History & Visual Studies, Occidental College, Los Angeles, November 5, 2009
“The Wages of Looking in Yushin Korea” Center for Korean Studies, University of Toronto,
September 25, 2009
“The Curious Case of Contemporary Ink Painting,” Department of Fine Arts and Art History,
George Washington University, Washington D.C., March 11, 2009.
Roundtable participant, Art Journal roundtable on “Transnationalism,” College Art Association,
Los Angeles, CA, February 26, 2009
“The Commitment to Ink,” “Suh Se-ok,” Museum of Fine Arts Houston, January 25, 2008
2007
“Context: A Normative Question for Contemporary Korean Art,” 76th Yonsei-Korea
Foundation Forum, Yonsei University, Seoul, November 20, 2007
• Korea National University of the Arts, Seoul, November 22, 2007.
Respondent, “Contemporary Art and the Grand Narrative,” National Museum of
Singapore, July 22, 2007
2006
“In and Out of Context: Imagemaking in Hong Kong,” Nasher Museum of Art, Duke University,
November 30, 2006
2005
“Points, Lines, Encounters,” Korean Studies Program Colloquium Series, University of Michigan,
Ann Arbor, November 7, 2005
2004
“One Way or Many?,” “Same and Different: Art, Artists, and Cultural Space in East Asia,” San
Diego Museum of Art, November 6, 2004
2003
Discussant, “Comparative Contemporaries: Southeast Asian Art Criticism,” The Substation,
Singapore, October 18-20, 2003
“Whither Asian Art Today? Trends in ‘Contemporary Asian Art,” Asia Art Archive and
the Chinese University of Hong Kong, Hong Kong, February 24, 2003
CONFERENCES AND SYMPOSIA ORGANIZED
2016
“Modernities in Korean Art,” University of Michigan, February 18-19, 2016
2015
“Dislocations: Modern Asian Art,” (co-organized with Sook-Kyung Lee, Ming Tiampo,
Zheng Bo, and Marko Daniel), Tate Modern, London, December 3-4, 2015
“The Things You Own End Up Owning You: Art in the 1990s,” (co-organized with Matt Biro),
University of Michigan, October 24, 2015
KEE CV 11/15
11
“Visuality and the Law,” Sterling and Francine Clark Art Institute, Williamstown, MA, September
18-19, 2015
2013
“Sites of Construction: Exhibitions and the Making of Recent Art History in Asia,” (co-organized
with Hammad Nasar, Iftikhar Dadi, and Patrick Flores), Asia Art Archive, Hong Kong, October 2123, 2013
2012
“Size Matters: Questions of Scale,” (co-organized with Emanuele Lugli), Kunsthistoriches
Institut, Florence, Italy, November 8-10, 2012
“Impossible Purities: Modern East Asian Art and the Question of Medium,” (co-organized with
Chelsea Foxwell), University of Chicago, Chicago, April 28, 2012
2010
“Saying Yes to Say No: Art and Culture in Sixties Japan,” (co-organized with Natsu
Oyobe and Jacob Proctor), University of Michigan Museum of Art, April 2, 2010
2005
“Claims to Authority: Workshop on Modern and Contemporary Art in East Asia,” Institute of Fine
Arts, New York University, New York, May 20-21, 2005
CURATORIAL EXPERIENCE
2014
Curator, “From All Sides: Tansaekhwa on Abstraction,” Blum & Poe, Los Angeles,
September 13-November 8, 2014
2004
Helena Rubenstein Foundation Curatorial Intern, Department of Photography,
Museum of Modern Art, New York, June-August 2004
2003
Curator, “Tradeshow: New Currents in Recent Asian American Art,” C2 at the Pottery
Workshop Gallery, Shanghai, 2003
Curator, “Housewarming,” Para/Site Art Space, Hong Kong, January 17-February 19, 2003
PROFESSIONAL ACTIVITIES AND AWARDS (SELECTED)
2015
Contributing Editor, Artforum, 2015-present
2014
Editorial Board, Art Margins, 2014-present
2011-2012
Helmut F. Stern Professor, Institute of the Humanities, University of Michigan
2012
History of Art Grant, Principal Investigator, Kress Foundation
2011
Advisory Board, Asia Art Archive, 2011-present
Short-Term Research Grant, Northeast Asia Council, Association for Asian Studies, Summer
2007
Andrew W. Mellon Predoctoral Fellowship, Center for Advanced Study in the Visual
Arts, National Gallery of Art, Washington, D.C., 2007-2009
Korea Foundation Field Research Fellowship, Korea Foundation, 2007
KEE CV 11/15
2003
Erwin Panofsky Fellowship, Institute of Fine Arts, New York University, 2003-2008
Andrew W. Mellon Fellowship in Humanistic Studies, Woodrow Wilson National Fellowship
Foundation, 2003-2004
2002
Postdoctoral Fellowship, Asia Research Institute, National University of Singapore,
February-June 2002
2001-2002
Short-Term Travel Grant, Northeast Asia Council, Association for Asian Studies,
2001-2002
2000-2001
Center Fellowship, Project on Cities and Urban Knowledges, International Center
for Advanced Studies, New York University, September 2000-June 2001
12

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