Joselit cv - History of Art - Yale University

DAVID JOSELIT
Curriculum Vitae
Department of the History of Art
Yale University phone: (212)645-8173
PO Box 208272 fax: (203)432-7456
New Haven, CT 06520
e-mail: david.joselit@yale.edu
TEACHING POSITIONS
Kirk Varnedoe Visiting Professor, Institute of Fine Arts, New
York University, Spring 2010
Yale University, Department of the History of Art
Carnegie Professor, 2009-
Chairman, 2006-2009
Professor, 2003-2009
University of California, Irvine, Department of Art History
Associate Professor, 1999-2003
Assistant Professor, 1995-1999
Massachusetts Institute of Technology, Program in History,
Theory and Criticism of Art and Architecture, Visiting Lecturer,
1995
Harvard University, Tutorial Instructor, 1995
MUSEUM POSITIONS
The Institute of Contemporary Art, Boston, Curator, 1983-1989
EDUCATION
Ph.D., Fine Arts, Harvard University, 1995
Massachusetts Institute of Technology, Program in History,
Theory and Criticism of Art and Architecture, 1989-1991

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A.B. magna cum laude, Fine Arts, Harvard College, 1981
HONORS AND FELLOWSHIPS
Howard Foundation Fellowship, 2002
Clark Art Institute Fellowship, 2001-2
UCI Humanities Center Grant, 1998-9
UCI Humanities Grant, 1995-96
UCI Diversity Grant, 1995-6
Mellon Fellowship for Dissertation Completion, 1994-95
The Agnes Mongan Fellowship in Art History, 1993-94
Mellon Fellowship for Preliminary Dissertation Study, 1993
Mellon Fellowship for Dissertation Research, 1993
Certificate of Distinction in Teaching, Derek Bok Center,
Harvard University, 1992, 1993
National Merit Scholarship, 1977-1981
PUBLICATIONS
Single Author Books
Feedback: Television Against Democracy (Cambridge: MIT Press,
2007)
American Art Since 1945 (London: Thames and Hudson, World of Art
Series, 2003)
Infinite Regress: Marcel Duchamp 1910-1941 (Cambridge: MIT
Press, October Books Series, 1998)
Chapter 4, “The Self Readymade,” translated into Italian, as
“L’io come readymade,” in Stefano Chiodi, ed, Marcel Duchamp
(Milano: Electa, 2009)

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Multiple Author Books
Contributing Author, Art Since 1900: Modernism, Antimodernism,
Postmodernism, second edition (London: Thames and Hudson, 2011)
Book Chapters
“Citizen Cursor,” in Beth Hinderliter, William Kaizen, Vered
Maimon, Jaleh Mansoor, and Seth McCormick, eds, Communities of
Sense: Rethinking Aesthetics and Politics (Durham: Duke
University Press, 2009): 153-171
“Touching Pictures: Toward a Political Science of Video,” in
Stan Douglas and Christopher Eamon, eds, Art of Projection
(Ostfildern, Germany: Hatje Cantz, 2009): 111-123
“The Artist Readymade: Marcel Duchamp and the Société Anonyme,”
in Jennifer Gross, ed, The Société Anonyme: Modernism for
America (New Haven: Yale University Press, 2006): 33-43
“Dada’s Diagrams,” in Leah Dickerman, ed, with Matthew S.
Witkovsky, The Dada Seminars (Washington: The National Gallery
of Art; New York: D.A.P., 2005): 221-239. Reprinted in German
in Susanne Leeb, editor, Materialität der Diagramme: Kunst und
Theorie (Berlin: b_books Verlag, 2012), 33-60
“Eating and Dreaming: Robert Whitman’s 1960s Happenings,” in
Robert Whitman Retrospective, (New York: Dia Center for the
Arts, 2003): 44-58
“Voices, Bodies, and Spaces: The Art of Jenny Holzer,” principal
essay in Jenny Holzer (London: Phaidon Press, 1998): 42-77
“Mark Morrisroe’s Photographic Masquerade,” in Deborah Bright,
ed., The Passionate Camera (London: Routledge, 1998): 195-203
Collaborations
Editor for “Digital Art,” a special issue of OCTOBER magazine,
OCTOBER 138 (Fall 2011)
“A Lecture on Reenactment,” keynote speech for the conference,
“Our Literal Speed,” performed by Mary Ellen Carroll as her
project, “Being David Joselit,” April 30, 2009, which was
described in Mary Ellen Carroll, “No. 13 Being David Joselit

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(You don’t know how to ask a question or perhaps, I just don’t
know how to answer.), Art Lies no. 62 (Summer 2009): 18-21
Editor of “International Television,” a special cluster of
articles for OCTOBER magazine, including, Joselit,
“Introduction: Markets and Networks,” and Joselit and Rachel
Harrison, “A Conversation with Peter Fend,” OCTOBER 125 (Summer
2008)
“Late Night Legal Formalities,” (with Gareth James), Elizabeth
Dee Gallery, New York, September 9-16, 2006 [reviewed in
artforum.com]
Journal Articles and Essays
“Nam June Paik’s video ecologies,” [drawn from Feedback:
Television Against Democracy] in Television, de- inter- trans-
(Seoul: Nam June Paik Museum, 2012), 54-83
“Painting Travesty,” Whitney Biennial 2012 (New York: Whitney
Museum of American Art; distributed by Yale University Press,
2012), 34-37
“Last Laugh,” in Johanna Burton and Elisabeth Sussman, Sherrie
Levine: Mayhem (New York: Whitney Museum of American Art;
distributed by Yale University Press, 2012),161-165
“What to Do with Pictures,” OCTOBER 138 (Fall 2011), 81-94.
“Truth or Dare: The Art of Witnessing,” Artforum, v. 50, n.1
(September 2011), 312-317
“Jutta Koether: Demons for Ladies, Gentlemen, and Children,” in
Sabine Breitwieser and steirischer herbst, eds, Utopia and
Monument (Vieena: Springer Wien/New York, 2011), 186-193
“Signal Processing: On Abstraction Then and Now,” Artforum, v.
XLIX, n. 10 (Summer 2011), 356-361; 430
“Do Images Have a Gender?” in Zoya Kocur, ed, Global Visual
Culture: An Anthology (Chichester, West Sussex: Wiley-Blackwell,
2011), 57-64
“Painting in and Out,” in Jutta Koether: The Thirst (Stockholm:
Moderna Museet; London: Koenig Books, 2011), 21-23

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“Feedback,” in Changing Channels: Art and Television 1963-87,
ed. by Matthias Michalka, (Vienna: Museum Moderner Kunst
Stiftung Ludwig; Cologne: Verlag der Buchhandlung Walther König,
2010), 67-78
“Platforms,” in Stefano Chiodi and Domitilla Dardi, eds, Space:
From MAXXI’s Collections of Art and Architecture (Milan: Electa,
2010), 266-273
“Touch to Begin…,” in Eric Banks, ed, Rachel Harrison: Museum
with Walls (New York: D.A.P., 2010), 186-199
“Queer Voices,” in Ingrid Schaffner, Queer Voice (Philadelphia:
Institute of Contemporary Art, 2010), 14
“Painting Beside Itself,” OCTOBER 130 (Fall 2009), 125-134;
reprinted in Terry R. Myers, Painting; Documents of Contemporary
Art (London: Whitechapel Gallery; Cambridge: MIT Press, 2011),
pp. 218-223
“The Subjecters,” in The Subjecters; Thomas Hirschhorn (Madrid:
Casa Encendida, 2009), 49-55, reprinted in Thomas Hirschhorn:
It’s Burning Everywhere (Mannheim: Kunsthalle, Manheim, 2011),
78-80
“Institutional Responsibility: The Short Life of Orchard,” Grey
Room 35 (Spring 2009), 108-115
“Profile,” Texte zur Kunst (March 2009), 141-144
“The Standards of Living” [on architectural exhibitions in
2008], Artforum v. 47, n. 4 (December 2008): 288-9
“Representative Governance,” Artforum v. 47, n. 3 (November
2008): 99-100
“Image Explosion: Global Readymades,” in Thomas Krens and
Alexandra Munroe, Cai Guo-Qiang: I Want to Believe (New York:
Solomon R. Guggenheim Museum, 2008), pp. 50-60
“Market Dissent” [response to a questionnaire regarding the Iraq
War], OCTOBER 123 (Winter 2008): 86-89
“All Tomorrow’s Parties,” Artforum v. 46, n. 6 (February, 2008):
81-84
“Speedily Dispatched: On Images and Sovereignty,” Artforum v.
45, n. 7 (March 2007): 89-90

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“No Exit: Video and the Readymade,” OCTOBER 119 (Winter 2007),
pp. 37-45
“Surface Vision,” in Nicholas Baume, ed, Super Vision
(Cambridge: MIT Press, 2006), pp. 170-175
“Public Image, Ltd.,” Artforum, v. 45, n. 1 (September 2006),
113-14
“Molds and Swarms,” in Helen Molesworth, ed., Part Object Part
Sculpture (Columbus: Wexner Center for the Arts and The
Pennsylvania State University Press, 2005): 156-165
“Navigating the New Territory: Art, Avatars, and the
Contemporary Mediascape,” Artforum, v. 43, n. 10 (Summer 2005):
276-279
“Terror and Form,” Artforum, v. 43, n. 5 (January 2005), 45-6
“Information Man [Jon Kessler’s ‘Global Village Idiot’],
Artforum, v. 43, n. 1 (September 2004), 49
“Inside the Light Cube: Pierre Huyghe’s Streamside Day Follies
and the Rise of Video Projection,” Artforum, v. 42, n. 7 (March
2004): 154-159
“Commanding View,” Artforum v. 42, n. 5 (January 2004): 45
“Thomas Eggerer’s Anti-Gravitational Painting,” in Thomas
Eggerer Atrium (Braunschweig: Kunstverein Braunschweig, 2003),
49-51
“An Allegory of Criticism,” October 103 (Winter 2003): 3-13
“Yippie Pop: Abbie Hoffman, Andy Warhol and 60s Media Politics,”
Grey Room #8 (Summer, 2002): 62-79
“A Tale of the Tape: Radical Software,” Artforum (May 2002):
152-155; 196; anthologized in Tanya Leighton, ed, Art and the
Moving Image: A Critical Reader (London: Tate in association
with Afterall, 2008), 220-227
“Into the Light: The Projected Image in American Art 1964-1977,”
Artforum (January, 2002): 135-136
“Openings: Thomas Eggerer Artforum (October, 2001): 148-149

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“Surface Histories: The Photography of James Welling,” Art in
America (May 2001): 136-143
“The Video Public Sphere,” Art Journal, volume 59, number 2
(Summer 2000):47-53 *
“Planet Paik,” Art in America, v. 88, n. 6 (June 2000): 72-79
“Notes on Surface: toward a genealogy of flatness,” Art History,
volume 23, number 1 (March 2000): 19-34 *
“Kinesthetic Capital: Glen Seator’s Three,” in Glen Seator:
Three (Los Angeles: Gagosian Gallery, 1999): 33-36
“Bio-Collage in der amerikanischen Kunst der achtziger und
neunziger Jahre [Bio-Collage in American Art of the 80s and 90s,
in White Fire; Flying Man: Amerikanische Kunst 1959-1999 in
Basel (Basel: Offentliche Kunstsammlung, 1999): 166-173
“Of War and Remembrance [Simon Leung’s Surf Vietnam],” Art in
America, May 1999: 142-145
“Moguls on Main Street [Disney Architecture],” Art in America,
January 1999: 50-53
“Between Objects and Actions,” Art in America, November 1998:
86-91;144
“Poetics of the Drain” [Robert Gober Installation at the Los
Angeles Museum of Contemporary Art], Art in America, December
1997: 64-71
“Exhibiting Gender,” Art in America, January 1997: 36-39
“Burroughs’s Virology,” Art in America, November 1996: 94-99
“Object Lessons” [on “Reconsidering the Object of Art: 1965-
1975,” Los Angeles Museum of Contemporary Art], Art in America,
February 1996: 68-71; 107
“Neil Jenney; Natural Rationalism” [exhibition brochure] (New
York: Whitney Museum of American Art, 1994): unpaginated
"Looking for Love: A Reading of Apartment Zero," in Whitney
Davis, ed., Gay and Lesbian Studies in Art History (New York:
Harrington Park Press, 1994): 271-284. Published simultaneously
in The Journal of Homosexuality, volume 27, numbers/2 1994 *

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"Mary Heilmann," Flash Art, October 1994 [Excerpt from "Mary
Heilmann's Embodied Grids," in Mary Heilmann: A Survey (Boston:
The Institute of Contemporary Art, 1990)]: 69-71
"Readymade Again: On Marcel Duchamp and Jasper Johns," Reading
Things (London: SightWorks, 1993): 54-70
"Buying In: Politics, Consumption, Apathy," in Brian Boigon,
ed., Culture Lab 1 (New York: Princeton Architectural Press,
1993): 137-144
"Marcel Duchamp's Monte Carlo Bond Machine," October 59, Winter
1992: 8-26 *
"photograph - institution - self," in Marysia Lewandowska
(London: The Photographer's Gallery, 1992): unpaginated
"Independent Means," [essay on the Independent Group], Art in
America, December 1991: 52-55
"Projected Identities," Art in America, November 1991
"The Postwar Product; The ICA's Department of Design in
Industry," in DISSENT: The Issue of Modern Art in Boston
(Boston: The ICA, distributed by Northeastern University Press,
l985): 94-105. Reprinted in Richard Hertz and Norman M. Klein,
eds., Twentieth Century Art Theory; Urbanism, Politics, and Mass
Culture (Englewood Cliffs, NJ: Prentice Hall, l990): 357-369
"Censorship is Regulation," Agni 31/32, reprinted in Social
Control and the Arts: An International Perspective, edited by
Susan Rubin Suleiman, Alice A. Jardine, Ruth Perry and Carla
Mazzio (Boston: Agni, l990): 75-77
"Mind over matter; Tony Oursler and Ericka Beckman master the
politics of art," Boston Phoenix, September 7, l990: Section 3,
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"Body (Im)Politic," Boston Phoenix, August 10, l990: Section 3,
1;12
"Public Art and the Public Purse," Art in America, July 1990:
142-151; 183
"The Power of the Portraitist [Peter Hujar]," Art in America,
September 1990: 180-183; 211

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“Africa Rising," Art in America, October 1990: 160-161
"[Jenny] Holzer: Speaking of Power," Art in America, October
1990: 155-157
"Report from San Diego; I. Living on the Border; II. Lessons in
Public Sculpture," Art in America, December 1989: 120-135
"Saying the Unspeakable," Utopia Post Utopia (Boston and
Cambridge: The ICA and MIT Press, l988): 68-81
“Robert Mapplethorpe’s Poses,” in Janet Kardon, ed., Robert
Mapplethorpe; The Perfect Moment (Philadelphia: The ICA, 1988):
19-21
"Investigating the Ordinary," Art in America, May l988: 148-155
"The British Edge: In the Galleries," The British Edge (Boston:
The ICA, l987): 5-10
"Report from Lisbon; Portugal: The Younger Generation," Art in
America, September 1987: 19-23
"Wrinkles in Time; Mark Tansey," Art in America, June l987: 106-
111
"Richard Milani, Mark Innerst, Mark Tansey," Flash Art, May
l987: 100-101
Interviews with St. Clair Cemin, Tim Ebner, Connie Hatch, Tishan
Hsu, Mike Kelley, Jeff Koons, Tony Labat, Stephen Prina, The
Starn Twins, Philip Taaffe, in THE BINATIONAL: American Art of
the Late 80s (Boston: The ICA and the Museum of Fine Arts, 1988)
"Modern Leisure," in Endgame: Reference and Simulation in Recent
Painting and Sculpture (Boston and Cambridge: The ICA and MIT
Press, l986): 70-89
"Cumulus," Parkett, Number 7, l986: 114-116
"The Post-War House," Arts and Architecture, Housing Issue,
Volume 3, Number 3, 1984: 34-37; 80

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Interviews, and Book and Exhibition Reviews
“L’arte al tempo dei Media,” [interview conducted by Francesco
Casetti] in Francesco Casetti, ed, L’arte al tempo dei media;
Profili e tendenze della scena artistica italiana (Milano:
Postmedia Srl, 2012), 185-18=
“Nicolás Guagnini’s The Panel Discussion, the Tennis Match, and
a Bodegón,” Artforum, v. 50, n.1 (September 2011), 87-88
“Roundtable: The Global Before Globalization,” (editor and
participant with Barry Flood, Alexander Nagle, Alessandra Russo,
Eugene Wang, Christopher Wood, and Mimi Yiengpruksawan, OCTOBER
n. 133 (Summer 2010), 3-19
“Open Question: Hans Haacke’s ‘Weather or Not’,” Artforum v.
XLVIII, n. 7 (March 2010): 101
Panelist, “Guggenheim Museum’s Asian Art Council Symposium, Part
2: Asian Art in Context: A Nation-Based, Inter-Asia, or
International Paradigm?” Yishu: Journal of Contemporary Chinese
Art, v. 7 n. 4 (July 2008)
“Richard Serra, Museum of Modern Art, New York,” Artforum, v.
46, n. 2 (October 2007): 362-3
“Matthew Barney, San Francisco Museum of Modern Art,” Artforum,
v. 45, n. 1 (September 2006): 365
“Thomas Hirschhorn, Institute of Contemporary Art,
Boston/Gladstone Gallery, New York,” Artforum, v. 44, n. 7
(March 2006): 284-286
“Apocalypse Not,” [review of Whitney Biennial, 2004], Artforum,
v. 42, n. 9 (May 2004): 172-173; 233
“Ann Reynolds; Robert Smithson: Learning from New Jersey and
Elsewhere [book review], Art Bulletin, v. LXXXV, n. 3 (September
2003): 620-21
Moderator and Participant, “The Mourning After: A Roundtable,”
Artforum, v. 41, n. 7 (March 2003): 206-211; 267-270
“Sam Durant,” Artforum, v. 41, n. 5 (January 2003): 131-2
Participant in a roundtable, “The Present Conditions of Art
Criticism,” October 100; Obsolescence; A Special Issue (Spring
2002): 200-228

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“Gabriel Orozco,” Artforum, v. 39, n. 1 (September 2000): 173-
174
“Crow’s Nest” [Interview with Thomas Crow], Artforum, v. 38, n.
10 (Summer 2000): 41-42
“Biocollage,” [a symposium on biotechnology and art], Art
Journal, v. 59, n. 3 (Fall 2000): 44-60
“Teaching Feminism: A Questionnaire,” Documents (Winter/Spring
2000): 29
“Cildo Meireles,” Artforum v. 38, no. 6 (February 2000): 116
“Contingency Plan” [Review of Farewell to an Idea: Episodes
from a History of Modernism by T.J. Clark], Artforum v. 37, no.
9 (May 1999): 31-32
“Ring of Fire: Interview with Joe Lewis and Yong Soon Min,” Art
Journal, volume 57, number 4 (Winter 1998): 86-89
“Beyond Denial” [review of Beyond Piety: Critical Essays on the
Visual Arts, 1986-1993 by Jeremy Gilbert-Rolfe], Art + Text, n.
54, May 1996: 28-29
"Duchamp's Legacy" [book review of Postmodernism and the En-
Gendering of Marcel Duchamp by Amelia Jones], Art in America,
September 1994: 35-37
"Debra Bloomfield at the Matrix gallery, University Art Museum,"
[exhibition review], Art in America, February 1992: 126-127
"Carlota Duarte at the Artists Foundation Gallery at CityPlace,"
[exhibition review], Art in America, September l990: 201-202
"Jeff Wall at Marian Goodman," [exhibition review], Art in
America, January 1990: 153
"James Coleman at the List Visual Arts Center (MIT),"
[exhibition review], Art in America, November 1989: 203
LECTURES AND CONFERENCES

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Panelist, “All A Are Not B: On Diagrams,” Triple Canopy,
Brooklyn, April 12, 2012
Organizer and Moderator, “Women Make Modern,” Yale University,
April 5-6, 2012
“Populations,” School of Architecture, Princeton University,
March 29, 2012
“Culture Now: Thomas Eggerer and David Joselit,” ICA, London,
March 2, 2012
“Beyond Repetition: Marcel Duchamp’s Readymades,” Miami Art
Museum, February 18, 2012
Panelist, “Artist, Critic, Canon: Critical Approaches to Art
History After Levine,” Whitney Museum of American Art, New York,
December 15, 2011
“The Scarce and the Saturated,” Eikones Conference,
Welterzeugung durch Bilder, University of Basel, November 18,
2011
“What to do with Pictures,” Mason Gross School of the Arts,
Rutgers University, November 4, 2011
Seminar for Graduate Students, University of Connecticut,
Storrs, October 27, 2011
“Nam June Paik and the Three Ages of Video,” keynote lecture,
“Television De-Inter-Trans,” Nam June Paik Center International
Symposium, Seoul, Korea, October 7-8, 2011 (lecture, October 8)
Participant, Abstraction Seminar II, Museum of Modern Art, New
York, September 30, 2011
Co-organizer and Participant, “States of Emergency: Objects as
Agency circa 1970,” Guggenheim Museum, New York, September 15-
16, 2011
“Witness,” in the panel, “Can Art Influence World
Transformation?”, arteBA, Buenos Aires, Argentina, May 22, 2011
“Touching Pictures,” in “Mark Morrisroe: Photographic Process
and Psychic Structure,” Artist’s Space, New York, April 16, 2011
Panelist, “The Crisis in Art History,” College Art Association
Conference, New York, February 9, 2011

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“Painting Stripped Bare,” in Das Feld der Malerei, a symposium
at the Museum Moderner Kunst Stiftung Ludwig, Vienna, November
13, 2010; also given at the Bergen Kunsthall, Bergen, Norway,
November 2, 2010
“Against Meaning,” Cullinen Lecture Series, Rice School of
Architecture, Houston, October 7, 2010; Rosen Lecture in Modern
Art, Johns Hopkins University, April 7, 2011
“Art in an Age beyond Content: the Inevitability of Camp,”
Cologne Conference; International Film & Fernesehfestival,
Cologne, Germany, October 29, 2010
“The Scarce and the Saturated,” in Further Thoughts on the
Twisted Pair, a symposium at the Andy Warhol Museum to mark the
exhibition “Twisted Pair: Marcel Duchamp/Andy Warhol,” September
11-12, 2010; and at “Artistic Practice and Theory in Modern
Art,” Goethe-Universität, Frankfurt/Main, November 19, 2010
“Falling… Matthew Barney,” Schaulager, Basel, Switzerland
June 23, 2010; seminar with the Eikones Project, Basel, June 24,
2010
“WITNESS: Spectatorship in Action,” The Interdisciplinary
Seminar, The Cooper Union School of Art, New York, April 19,
2010
“Info COMBAT” (panel talk), Contemporary Photography Forum,
Museum of Modern Art, New York, April 14, 2010
“Theoretical: David Joselit in Conversation with Jutta Koether,”
Issue Project Room, Brooklyn, New York, March 31, 2010
Response to Simon Leung on Duchamp’s Etant donnés, Slought
Foundation, Philadelphia, March 22, 2010
“Double Vision: Repetition, Reuse, and the Remake,” The Stan
Brakhage Symposium, University of Colorado, Boulder, March 13,
2010
STATES of FORM, Kirk Varnedoe Lectures, Institute of Fine Arts,
NYU: “Against Meaning,” February 4, 2010; “Governing Images,”
February 16, 2010; “Plug-ins,” March 3, 2010
“Touch to Begin… Rachel Harrison and Contemporary Sculpture,”
Society for Contemporary Art, Art Institute of Chicago, November
17, 2009

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Invited Respondent, “Writing Art History: Reading and Writing,”
The Courtauld Institute, London, November 13-14, 2009
Panelist, “The Future is History,” David Roberts Art Foundation,
London, November 12, 2009
“States of Form,” Invited Speaker, 10 th Korean Association for
History of Modern Art International Symposium: Methodologies of
Art History in a Transcultural Era: Centering on Discussions
between Art History and Visual Culture, Seoul, Korea, October
24, 2009
“Paik in Networks,” Nam June Paik Center, Seoul, Korea, October
22, 2009
“The Laws of Images,” in The Power of Art, a conference at the
Drawing Center, New York City, July 11, 2009
“Platform,” University of California, Santa Barbara, May 18,
2009
“Time Batteries,” Light Industry, Brooklyn, April 8, 2009
“Recessional Aesthetics,” a conversation with Hal Foster at X
space, New York, March 26, 2009
“Mapplethorpe’s Beauty,” Keynote lecture for “Imperfect Moments:
Mapplethorpe and Censorship 20 Years Later,” Institute o
Contemporary Art, Philadelphia (University of Pennsylvania)
February 12-13, 2009
“Market as Medium,” in the symposium “Postwar Art and the New
York Contemporary Art Market,” Yale University Art Gallery,
October 3-4, 2008
“Reenactment,” Keynote Address, Southeast College Art Conference
(SECAC), New Orleans, September 26, 2008; Whitney Humanities
Center, Yale University, November 19, 2008; Center for the Study
of the United States, University of Toronto, November 21, 2008;
Courtauld Institute Research Forum, December 9, 2008; Yung Wing
Lecturer, Yale Program at Peking University, March 10, 2009
Panelist, “Identity, Engagement, Judgment: Clement Greenberg and
Harold Rosenberg Then and Now,” The Jewish Museum, New York, May
15, 2008

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“Feedback: Television Against Democracy: David Joselit in
Conversation with Caroline Jones,” List Visual Arts Center, MIT,
March 19, 2008
Interview with Tino Sehgal, and paper, “On Being a Readymade,”
in “Our Literal Speed,” a conference at the ZKM in Karlsruhe
Germany, February 29-March 2, 2008
Co-organizer and panelist, “Building the Future: The University
as Architectural Patron,” Yale University, January 25-26, 2008
Panelist, “Mirror, Mirror: Creative Self-Invention in a
Televisual World,” Blanton Museum, University of Texas, Austin,
November 4, 2007
“Markets and Media,” Courtauld Institute of Art, London
[Research Forum], October 18, 2007
“Art and Life: Toward an Ethics of Images,” Bryn Mawr Visual
Culture Seminar, October 3, 2007; Whitechapel Gallery, London
[Big Ideas Series], October 17, 2007; Silberberg Lecture Series,
Institute of Fine Arts, New York University, November 9, 2007;
Craig Owens Memorial Lecture, University of Rochester, November
29, 2007; University of Oregon, Eugene, May 22, 2008
“Barney’s Life: A Mythology of the 21 st Century?” and “Object and
Myth,” panel contributions at the Kunsthaus Bregenz, Austria,
July 27-28, 2007
Moderator, “The City as Artists’ Laboratory,” a panel at the
Museum of Modern Art, July 12, 2007
“Mirroring and Molds: The Johns Theory of the Readymade,” in
“Jasper Johns: The First Decade; Public Symposium,” National
Gallery of Art, Washington, D.C., April 28, 2007
“The Fluxus Bio-readymade,” in “Between Object and Event: Beuys
and Fluxus in Context,” a symposium at Harvard University, April
13, 2007
“Facing Pictures: Art, Politics and the Avatar,” School of the
Art Institute of Chicago, March 13, 2007
“Picture Personae,” Harvard University, March 8, 2007
“Touching Pictures,” in “Virtualities: Contemporary Art between
Fact and Fiction,” a panel convened by T.J. Demos and Margaret

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Sundell, College Art Association Annual Conference, New York,
February 16, 2007
“Do Images Have a Gender?” The Feminist Future: Theory and
Practice in the Visual Arts,” a conference at The Museum of
Modern Art, New York, January 26-27, 2007
“On Being a Readymade,” Work in Progress Talk, Yale University,
November 7, 2006
“Touching Pictures: Toward a Political Science of Video,” in
“The Art of Projection: A Symposium on the Cinematographic and
Art,” organized by Stan Douglas and Christopher Eamon, Hamburger
Bahnhof and Kino Arsenal, Berlin, October 27-29, 2006
Participant, “The Short History of Contemporary Art,” a
colloquium convened by Richard Meyer and Michael Lobel, Clark
Art Institute, Williamstown, MA, June 23-24, 2006
Tomás Harris Visiting Lectureship, University College, London:
“Feedback: The Network Object,” March 6, 2006; “Citizen-Cursor,”
March 9, 2006
“Dada’s Diagrams,” Scorched Earth editorial offices, New York
City, January 8, 2006
“No Exit: The Readymade and Video,” Part Object Part Sculpture
Symposium, Wexner Center for the Arts, Columbus OH, November 18,
2005
“Feedback: Art, Television, Politics,” Center for the
Humanities, Wesleyan University, October 24, 2005; Harn Museum
of Art, University of Florida, Gainesville, November 9, 2005
Co-organizer and Moderator with Christopher Wood, “Art in a
Networked Society: Conversations with Katherine Hayles, Lev
Manovich and Bernhard Siegert,” Yale University, September 30,
2005
“Scanning Martin,” Agnes Martin Symposium, Dia: Beacon, October
3, 2005
Panel Participant, “The Impulse to Abstraction,” Philoctetes
Center for the Multidisciplinary Study of Imagination,” New
York, June 29, 2005
“Tourism or Navigation?” talk in the panel, “Identity or
Standardization?” moderated by Serge Guilbaut in “New Policies

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for Cultural Tourism,” Fundació Caixa Catalunya, La Pedrera,
Barcelona, May 27, 2005
“The Artist Readymade,” UCLA, Department of Art History, March
9, 2005
“Scanning History,” “Art History and the Moving Image,” Part 2,
Getty Research Institute, Los Angeles, January 21-22, 2005;
Stanford University American Studies Colloquium, March 8, 2005
“Citizen-Cursor,” Yale School of Architecture, November 11, 2004
“Television Ecologies: Visual Culture and Commercial Art,” The
Literary, Visual, and Material Culture Initiative, USC, November
5, 2004
Participant, “Art History and the Moving Image,” Clark-Getty
Colloquium, Clark Art Institute, October 21-22, 2004
Respondent, Critical Studies Program Symposium, Whitney
Independent Study Program, Whitney Museum of American Art, May
27, 2004
Primary Organizer, “Empire/Globe: Art in International
Networks,” April 9 and 10, 2004 Whitney Humanities Center, Yale
University
“Tuning Out: Psychedelia and Revolution,” at the symposium, “Art
in Revolution/Art after Revolution,” University of Michigan,
September 6, 2003; X-Screen Conference, Museum of Modern Art,
Vienna, February 29, 2004; Northwestern University, March 8,
2004; Works In Progress Lecture, Yale University, April 27, 2004
“Richard Hamilton and Pop,” British Art Center lunch-time talk,
Yale University, March 30, 2004
“Jasper Johns’s ‘Devices’: The Readymade in Pop,” at the
symposium, “Art, Architecture and Film in The First Pop Age,”
Princeton University, November 15-16, 2002
“Split Screens: Duchamp’s Large Glass and Harry Smith’s
Mahagonny,” in “Investigating Mahagonny,” a symposium at the
Getty Research Institute, May 30, 2002
“Radical Software Revanant,” The Johns Hopkins University, March
28, 2002

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“An Allegory of Criticism: The Strange Career of Michael
Shamberg,” delivered in “Art History and Art Criticism,” a
symposium at The Getty Research Institute, February 1-2, 2002,
University of British Columbia, January 9, 2003
Visiting Speaker, Getty Research Institute Summer Seminar,
convened by Nancy Troy and Richard Meyer, June 20, 2001
Co-organizer of “Media Pop,” a two-day symposium at the Getty
Research Institute, Los Angeles, April 6-7, 2001
“Blank Gestures,” delivered in “Robert Rauschenberg Combines:
Painting + Sculpture,” Baltimore Museum of Art, March 17, 2001
“Spectacle and Counter-Spectacle in 60s Media Activism,”
delivered in “‘the political, ‘the ethical, ‘the aesthetic,’ and
‘the spectacle,” a panel at the University of California, San
Diego, January 19, 2001
“Toward an Epistemology of Television,” Anita Glass Lecture,
Brown University, November 10, 2000; University of California,
Santa Barbara, May 9, 2001
“Yippie Pop: Abbie Hoffman, Andy Warhol and 60s Media Politics,”
delivered at Dartmouth College, March 5, 2002, the Clark Art
Institute, Williamstown, MA, February 12, 2002; “Media Pop,”
Getty Research Institute, April 7, 2001 and in “Systems Theory
and the Visual Arts,” a panel at Thread Waxing Space, New York
Exhibition Walkthrough for “The Perfect Moment,” Santa Monica
Museum of Art, June 3, 2000
“Notes on Surface: Toward a Genealogy of Flatness,” Columbia
University, Art History Department, February 24, 2000; Yale
University, Department of Art History, January 20, 2000
“What is an Object? The Belated Career of the Readymade,”
delivered at “Methods of Understanding in Art and Science: The
Case of Duchamp and Poincaré,” Harvard University, November 6,
1999, also at the San Francisco Museum of Modern Art, April 27,
2000
Respondent, History Graduate Student Association Third Annual
History and Theory Conference, November 14, 1999
“Television as the Late Modern Object,” Center for Literary and
Cultural Studies, Harvard University, November 4, 1999

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Joselit, page
“Bio-collage in American Art of the 80s and 90s,” Claremont
Colleges, March 2, 1999
Co-Chair with Richard Meyer, of “Identity and the Limits of
Representation,” a double panel at the College Art Association,
Los Angeles, February 11 and 13, 1999
“Visual Studies in Formation,” presentation with Sally Stein and
Anne Friedberg for the UCI Humanities Associates, January 26,
1999
Discussant for Brigid Doherty’s paper “Montage and the Mimetism
of Psychotechnics: Berlin Dada, Brecht, Benjamin,” The Getty
Center, October 9, 1998
“Some Notes on Surface,” delivered at “The Object Inside:
Looking Within the Space of Art History,” Stanford University,
May 1-2, 1998
“A Poetics of the Drain: Robert Gober’s Installation at the
Museum of Contemporary Art, Los Angeles,” Art Historians of
Southern California Annual Meeting, Occidental College, November
15, 1997
“Mensuration en abyme: Marcel Duchamp’s Cubism,” University of
Southern California, March 24, 1997
“Mensuration en abyme: Marcel Duchamp’s Cubism,” delivered at
“Marcel Duchamp and Rethinking the Creative Act,” Rice
University, March 22, 1997
“Reflections on Gay Visuality,” Harvard University, March 19,
1997
“Gender, Space, and Place,” Bag Lunch Series sponsored by
Women’s Studies, University of California, Irvine, March 13,
1997
“Video and the Public Sphere,” Australian Center for
Contemporary Art, Melbourne, July 25, 1996; Museum of
Contemporary Art, Sydney, July 28, 1996; Queensland College of
Art, Griffith University, July 31, 1996
“Artists into Film,” a contribution to a panel accompanying the
Biennale of Sydney, organized by the Power Institute of Fine
Arts, University of Sydney, July 27, 1996

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Joselit, page
Chair, “The Invisible Seventies,” a panel at the College Art
Association, Boston, February 22, 1996
“Video and the Public Sphere,” Cranbrook Humanities Symposium,
January 26, 1996
“Video and the Public Sphere,” Center for Literary and Cultural
Studies, Harvard University, December 14, 1995
“Space, Intersubjectivity, and the Readymade in Marcel Duchamp,”
delivered in “Generating Lines & Engendering Figures: A
Symposium on and about Marcel Duchamp,” Museum of Contemporary
Art, Los Angeles, October 28, 1995
Panelist, “The Body as Experience: The Photographic Images of
Arne Zane,” Society for Photographic Education - Western
Regional Conference, Cal Arts, October 21, 1995
“Landscape as Media/Media as Landscape,” The Getty Center,
October 13, 1995
Co-Curator (with Ewa Lajer-Burcharth) and contributor to Body
Sights, a symposium on the occasion of an exhibition by Gary
Hill at the Harvard University Art Museums, April 8, 1995
Respondent, "Art in Physical and Mental Space," a panel in
"Envisioning Harvard: Art, Thought, Space," March 5, 1994
"Yves Klein, the (Im)Material," Yale University, March 2, 1994
"Buying In: Politics, Consumption, Apathy," Trinity College,
Hartford, March 18, 1992
"Buying In: Politics, Consumption, Apathy," delivered in a panel
titled "Motion Detectors" at the Culture Lab, University of
Toronto, February 10, 1992
Panelist, "Representation, Politics and AIDS," MIT, December 4,
l99l
Panelist, "Social Control and the Arts; An International
Perspective," Center for Literary and Cultural Studies, Harvard
University, April 21, 1990
"Frozen Desire," Mapplethorpe and the Body [symposium], The
Institute of Contemporary Art, Boston, September 22, l990

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Joselit, page
Guest Curator and moderator with Kathy O'Dell, "Feminism,
Performance and Postmodernism," a symposium at The Institute of
Contemporary Art, Boston, April 7-8, 1990
Chair, "The Social and Political Meaning of Montage: 1919-1936,"
a panel at the College Art Association, New York, February 16,
1990
"Gender and Identity in the Photography of Lucas Samaras,"
Museum of Fine Arts, Boston, October 15, 1989
Panelist, "Art and Controversy; Historical Perspectives, Current
Issues," Hirshhorn Museum and Sculpture Garden, Washington D.C.,
August 10, 1989
OTHER PROFESSIONAL ACTIVITIES
Juror for the Visual Arts Category, Alpert Award in the Arts,
2012
Board Member, Center for Advanced Study in Visual Art (CASVA),
National Gallery of Art, Washington, D.C., 2010-
Counselor for the C-MAP program at the Museum of Modern Art,
February 17-18, 2010; January 31 – February 1, 2012
Juror, Alpert Award in the Visual Arts, 2012
Chair, Visiting Committee, Harvard Department of the History of
Art and Architecture, 2009-10
Member, Committee on Drawings, Museum of Modern Art, New York,
2009-
Member, Editorial Board, OCTOBER, 2008-
Member, Advisory Council, “X” space, New York City
Member, Courtauld Institute Resarch Forum International Advisory
Committee, 2008-
Member, Asian Art Council, Guggenheim Museum, September, 2007
Juror, Lucelia Artist’s Award, Smithsonian American Art Museum,
September 2007

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Joselit, page
Juror, Art in General Open Call, New York, 2007
Member, International Advisory Committee for the Prague
Biennial, 2004-05
Member, Editorial Board, Art Journal, 1996-2002
Member, Editorial Board, Grey Room
Member, College Art Association
Reader for:
Princeton University Press
Theater Journal
Routledge Press
Yale University Press
Cultural Critique
Callmann & King, Ltd
Cambridge University Press
The MIT Press
Art Bulletin