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Education institute of Fine Arts, New York University

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110 Tappan Hall

855 S. University Ave

Ann Arbor, MI 48109 USA.


EDUCATION Institute of Fine Arts, New York University, New York, NY

Ph.D, 2008

Dissertation: Points, Lines, Encounters, Worlds:

Tansaekhwa and the Formation of Contemporary Korean Art

Harvard Law School, Cambridge, MA

J.D., 2000

Yale University, New Haven, CT

B.A., Magna Cum Laude, Phi Beta Kappa, Distinction in the Major,

History of Art, 1997

ACADEMIC Assistant Professor, History of Art Department, University of Michigan,

POSITIONS Ann Arbor, MI, 9/1/08-present

Visiting Lecturer, History of Art Department, Cornell University, Ithaca, NY,


Visiting Scholar, Centre for the Study of Globalization and Culture,

University of Hong Kong, Hong Kong, China, 9/2001-9/2003

Visiting Lecturer, Tufts University, Medford, MA, 9/1999-12/1999

BOOK Lessons in Method Painting: Tansaekhwa and Contemporary Korean Art

EDITED ISSUES “Contemporary Art in Southeast Asia,” special issue of Third Text (with Patrick

Flores), forthcoming Fall 2011

“Intersections: Issues in Contemporary Art,” special issue of Positions:

East Asia Cultures Critique, 12.3 (Winter 2004).

JURIED “Why Chinese Paintings Are So Large,” Third Text, (Spring 2011); forthcoming

PUBLICATIONS “The Connoisseurial Advantage: Putting Art Historical Practices to Work in Cases of Copyright Law,” Journal of Law, Culture and the Humanities, forthcoming,

February 2011..

“The Curious Case of Contemporary Ink Painting,” Art Journal, 69:2 (Fall 2010):


“Points, Lines, Encounters: The World According to Lee Ufan,” Oxford Art Journal

31:3 (October 2008): 403-424.

“Trouble in ‘New Utopia,’” “Intersections: Issues in Contemporary Art,”

special issue of Positions: East Asia Cultures Critique, ed. Joan Kee, 12:3 (Winter 2004): 667-686.

“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.

“Reclaiming Sites of Independence in Pak Ch’ŏl-su’s 301/302,” “Asia Pacific Cinemas: A Spectral Surface,” special issue of Positions: East Asia Cultures Critique, eds. Esther Yau and Kyung Hyun Kim, 9:2 (Fall 2001): 449-466.

BOOK CHAPTERS “The World in Plain View: Form in the Service of the Global,” Contemporary

Art, Themes and Histories, 1989 to the Present, eds. Alexander Dumbadze and Suzanne Hudson, (Wiley-Blackwell, 2012), in contract.

“Visual Reconnaissance,” Alien Encounters: Asian American Popular Culture

eds. Thuy Linh Tu Nguyen and Mimi Nguyen, (Durham: Duke University Press, 2007), 130-149.
CATALOGUE “Tea and Sympathy,” The Enlightenments, (Edinburgh: Edinburgh Art Festival,

ESSAYS 2009).

“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 Country Museum of

Art, distributed by Yale University Press, 2009), 16-28.

“Collection Agency,” Sasa [44]: Exhibited Works in Chronological Order, (Seoul:

Kukje Gallery, 2008), 11-13.

“Work and Play,” Donghee Koo: Synthetic Experience, (Seoul: Atelier Hérmès, 2008), 70-74.

“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.

-A revised version of this essay will appear in Contemporary Art in Asia: A Critical Reader, eds. Melissa Chiu and Benjamin Genocchio, forthcoming, (Cambridge: MIT Press, 2011)

“Evanescent Terrain: The Unknowable Home in the Works of Do-Ho Suh,

Home and Away: The New Globalism, (Vancouver: Vancouver

Art Gallery, 2003), 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. Self-translated in the same volume as Geunyang jakpumdeul, 116-121.

SELECTED OTHER “Yang Haegue,” Artforum, (April 2010): 191.

PUBLICATIONS “Irrelevance That Matters,” 15th anniversary issue of Art Asia Pacific, 61

(November/ December 2008): 246-247.

Grove Dictonary of Art Online, Contemporary Asian Art update, ed. Melissa Chiu, September 2005 ( Entries: “Bahc Yiso,” “Theresa Hak Kyung Cha,” “Byron Kim,” “Kim Sooja” “Lee Bul,” “Lee Mingwei,” “Do-ho Suh,” “Videotage.”

“Introduction: Twenty Questions,” “Intersections: Issues in Contemporary Art,” special issue of Positions: East Asia Cultures Critique, 12.3 (Winter 2004): 599-610.

“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

2003): 62-67.

“Inertia Reels: Mobility in Hong Kong Video,” Afterimage 29.4 (2002): 8-10.

Venice Biennale soge che sam segye,” (The Third World at the 49th Venice Biennale), Wolgan Misool, (July 2001): 67.

“An Interview with Wenda Gu, (,

Inside/Out: New Chinese Art, Asia Society, July 13, 1998.

REVIEWS “Black Belt at the Studio Museum in Harlem,” CAA Reviews, December 2003

David Clarke, “Hong Kong Art:  Culture and Decolonization,” (Durham: 

Duke University Press, 2002), CAA Reviews, December 2002

LECTURES AND “The Martial Imperative in Postwar South Korean Art,” invited paper, “Gender and

CONFERENCE the Body in Contemporary Asian Art,” University of Heidelberg, Germany,

PAPERS December 16, 2009

“Why Chinese Paintings Are So Large,” invited paper, “Modernity’s Cultural

Politics: China in Context,” Courtauld Institute of Art, London, UK

October 24, 2009.

Invited participant, “Formalism,” Contemporary Art Think Tank, Phillips Collection, Washington D.C., April 24-25, 2009

“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

“Closer: What Asian Women’s Art Has to Say About Contemporaneity,” invited

paper, “Places at the Table: Asian Women Artists and Gender Dynamics,” Institute of East Asian Studies, University of California at Berkeley, September 13, 2008

“Painting and the City: A Functionalist View,” “Colonial Modernity in Urban

Korea,” Centre for Korean Studies, University of British Columbia,

Vancouver, February 19, 2006

“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, 2005 (Principal workshop organizer)

“Asiamericasia: Towards a Globalized Asian American Art,” College Art Association Annual Conference, Seattle, WA, February 19, 2004

“The Language of Oscillation: Reassessing Contemporary ‘Asian’ Art,”

College Art Association Annual Conference, Philadelphia, PA,

February 23, 2002

“The Visual Fictions of the Global and the National in Contemporary Seoul,” International Center for Advanced Studies, New York University, March 23, 2001

“Single Asian Female: Hysteria and Malaise in Korean Film,” “Asia/Pacific Cinemas Workshop,” University of California at Irvine, October 9, 1999

“The Image Significant: Generation and Identity in Contemporary Korean Video Art,” Association for Asian Studies Annual Conference, Boston, MA, March 12, 1999 (Panel organizer)

“Of Gay Desire and Straight Bias: The Works of Ken Chu and Michael Joo,” University of Chicago Art History Graduate Colloquium, April 4, 1998

“Confronting Multiple Colonization in Contemporary Korean Art,” College Art Association Annual Conference, Toronto, Canada, February 26, 1998

INVITED LECTURES, “The Unlikeliest Place: Korean Art’s 20th Century, British Museum, November 15,

AND RESPONSES 2010, London

“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, 2010

“Contemporary Chinese Art,” Guest lecture for “Arts of China,” (Professor Nixi

Cura), Christies Education London, Hong Kong, May 29, 2010

“Public Works: Thinking Through Recent Art in Korea,” Museum of Fine Arts

Houston, November 20, 2009

--Presented also at the Departments of Art History and Asian 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

“Contemporary Chinese Art,” Guest lecture for “Arts of China,” (Professor Nixi

Cura), Christies Education London, Hong Kong, May 22, 2009

“The Curious Case of Contemporary Ink Painting,” Department of Fine Arts and Art History, George Washington University, Washington D.C., March 11, 2009.

Moderator for keynote panel, “A Century of Asian American Art: Archives,

Scholarship, and Curation,” Asian Pacific American Institute, New York

University, March 6, 2009

Roundtable participant, Art Journal roundtable on “Transnationalism,” College Art

Association, Los Angeles, CA, February 26, 2009

Panelist, “Why Does the Work of Asian Women Artists Matter?,” Frederick R. Weisman Art Museum, University of Minnesota, February 19, 2009

“The Commitment to Ink,” “Suh Se-ok,” Museum of Fine Arts, Houston, January

25, 2008

Moderator, “Conversations: Art in Context,” “TransPOP: Korea Vietnam Remix

Symposium,” Arts Council Korea (ARKO) Art Center, Seoul, January 19,


“Context: A Normative Question for Contemporary Korean Art,” 76th Yonsei-Korea Foundation Forum, Yonsei University, Seoul, November 20, 2007

--Presented in modified form as “Context: A Normative Question for Contemporary Asian Art,” Korea National University of the Arts, Seoul, November 22, 2007.

Respondent, “Contemporary Art and the Grand Narrative,” National Museum of

Singapore, July 22, 2007

“In and Out of Context: Imagemaking in Hong Kong,” Nasher Museum of Art,

Duke University, November 30, 2006

“Points, Lines, Encounters,” Korean Studies Program Colloquium Series, University of Michigan, Ann Arbor, November 7, 2005

Discussant, Roundtable with Shazia Sikander, Vishakha Desai, Jessica Hough, and Fereshteh Daftari, Asia Society and the Aldrich Museum of Contemporary Art, New York, November 9, 2004

“One Way or Many?,” “Same and Different: Art, Artists, and Cultural Space in East Asia,” San Diego Museum of Art, November 6, 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

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 Chinese University of Hong Kong, Hong Kong, February 24, 2003

“The Bulge in the Globe: Developments in Korean Art,” Guest lecture for V15.0319 “Asian and Asian American Contemporary Art,” (Professor: Margo Machida), Department of Asian American Studies, New York University, April 11, 2001

“Generation v. Individual: The Case of Contemporary Korean American Visual Art,” Columbia University Teachers’ College, April 10, 1999

CURATORIAL Helena Rubenstein Foundation Curatorial Intern, Department of Photography,

EXPERIENCE Museum of Modern Art, New York, NY, June 6-August 13, 2004

Curator, “Housewarming,” Para/Site Art Space, Hong Kong, January 17-February 19, 2003

FELLOWSHIPS Andrew W. Mellon Predoctoral Fellowship, Center for the Advanced Study for AND AWARDS Visual Art, National Gallery of Art, Washington, D.C., 2007-2009

Participant, Getty Dissertation Workshop, Getty Research Institute, Los Angeles,

March 27-28, 2008.

Korea Foundation Field Research Fellowship, Korea Foundation, Seoul, Korea


Erwin Panofsky Fellowship, Institute of Fine Arts, New York University,

2003-2008, declined 2003-2004, 2007-2008

Andrew W. Mellon Fellowship in Humanistic Studies, Woodrow Wilson

National Fellowship Foundation, 2003-2004

Postdoctoral Fellowship, Asia Research Institute, National University of Singapore, Singapore, 2/2002-7/2002

Short-Term Travel Grant, Northeast Asia Council, Association for Asian Studies,


Center Fellowship, Project on Cities and Urban Knowledges, International Center for Advanced Studies, New York University, 9/2000-6/2001

Walter Louis Ehrich Memorial Prize for Outstanding Achievement in the History of Art, Yale University, 1997.

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