January 28, 2014 | CUNY Graduate Center
Joselit’s art-historical work has approached the history and theory of image circulation in the twentieth and twenty-first centuries from a variety of perspectives, spanning Marcel Duchamp’s readymade strategy in which commodities are reframed as artworks, to the mid-twentieth ecology of television, video art, and media activism, and the current conditions of contemporary art under dual pressures of globalization and digitization.
He comes to the GC from Yale, where he was Carnegie Professor in the History of Art and served as department chair from 2006 to 2009. Joselit says he was drawn to the Graduate Center for several reasons. His research on globalization and new media find concurrence in the GC’s recognition of New York as a global city and its interest in bringing in researchers from around the world, and in its expanding work in the field of digital humanities. He’s also excited by the GC’s commitment to interdisciplinary scholarship, as evidenced by the Advanced Research Collaborative and other initiatives, as well as the art history program’s deep commitment to modern and contemporary art.
Joselit was Kirk Varnedoe Visiting Professor at NYU’s Institute of Fine Arts in Spring 2010. Before Yale, he taught in the Department of Art History and Ph.D. Program in Visual Studies at University of California, Irvine. As a curator at the Institute of Contemporary Art, Boston, during the 1980s, he co-organized several exhibitions that helped to define the art of that decade, including Endgame: Reference and Simulation in Recent Painting and Sculpture (1986). His art criticism has spanned all visual media and recently has engaged extensively with contemporary painting.
Joselit is author of Infinite Regress: Marcel Duchamp 1910–1941 (MIT Press, 1998), American Art Since 1945 (Thames and Hudson, World of Art Series, 2003), Feedback: Television Against Democracy (MIT Press, 2007), and After Art (Princeton University Press, 2012), and he is a contributing author to the second edition of Art Since 1900 (Thames and Hudson, 2011). He is an editor of the journal OCTOBER and a frequent contributor to Artforum. He received his Ph.D. in fine arts from Harvard.
Photo by Paula Vlodkowsky