Presentations, Talks, and Public Programs


"Services" Transcript Reading, LA><ART, Los Angeles, April 3, 2016

LA><ART is pleased to present a one-day reading and installation revisiting the influential exhibition project, “Services.” Organized by art historian, curator, and critic Helmut Draxler and the artist Andrea Fraser, the exhibition Services: The Conditions and Relations of Service Provision in Contemporary Project Oriented Artistic Practice, opened on January 24, 1994 at the Kunstraum Lüneburg. The opening of the exhibition was preceded by two days of working-group discussions between artists and curators—joined by Draxler and Fraser—that reflected on efforts to reform the social relations and material conditions of exhibition practices. The program at LA><ART will reanimate transcripts Fraser produced from audio recordings of the “Services” working-group sessions; these transcripts will be read aloud by invited practitioners working today. In addition to this reading, video documentation of the 1994 working-group discussions at the Kunstraum Lüneburg will be on view in the main gallery. This program revisits “Services” twenty years later to recognize how an under-historicized exhibition provides a model for inquiry into the contentious relations and conditions of exhibition-making today.

Readers include Basma Alsharif, Jeff Khonsary, Michael Ned Holte, Jibade-Khalil Huffman, Ashley Hunt, Jamillah James, Adrià Julià, Nevin Kallepalli, Kate McNamara, Sohrab Mohebbi, Tracy Jeanne Rosenthal, Lanka Tattersall, A.L. Steiner, Martine Syms, Julian Myers-Szupinska, Lincoln Tobier, Noura Wedell, and Kate Wolf. The script reading and video at LA><ART on April 3 will be followed by a discussion with Andrea Fraser, art historian Rhea Anastas, and artist Simon Leung at the Hammer Museum on April 5.

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Curatorial Seminar organized by ICI, Marrakech, March 1, 2016

March 1, Julian presented as a Seminar Leader in the inaugural Curatorial Seminar organized by Independent Curators International (ICI). The new program was designed to bring mid-career curators together to expand their thinking and advance new areas in curatorial discourse. The Seminar offered curators from around the world an unparalleled platform of exchange and discussion, and the opportunity to connect with other curators who share their concerns and research interests. Seminar leaders included Omar Berrada (Director, Dar al-Ma’mûn), María del Carmen Carrión (Director of Public Programs & Research, ICI), Julian Myers-Szupinska (Associate Professor of Curatorial Practice at CCA, San Francisco, and Senior Editor of The Exhibitionist), and Renaud Proch (Executive Director, ICI).

Program description

"Exhibition History as Contemporary Art History," part of CAA conference, Washington, DC, February 4, 2016

On Thursday, February 4, in Washington, DC, Julian will speak as part of the panel "Exhibition History as Contemporary Art History," organized by the Society of Contemporary Art Historians as part of annual CAA conference. He joins panelists Lynne Cooke of the National Gallery of Art, and Glenn Phillips of the Getty Research Institute, in a discussion chaired by John Tain of the Getty Research Institute.

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"Talking Contemporary Curating," Kadist Art Foundation, San Francisco, December 12, 2015

Julian joins Terry Smith and Leigh Markopoulos in conversation about Smith's new book, Talking Contemporary Curating, at the Kadist Art Foundation in San Francisco on December 12. The publication compiles conversations between Smith and 12 leading international curators, art historians, and theorists deeply immersed in reflecting upon the demands of their respective practices, the contexts of exhibition making, and the platforms through which art may be made public. Read together, they present a fascinating picture of how curating can contribute to a broader understanding of our contemporary world.

Event description

"99 Objects: Julian Myers-Szupinska on Pat Whalen by Alice Neel," Whitney Museum of American Art, New York, August 15, 2015

Julian Myers-Szupinska, art historian, will address Pat Whalen, 1935 by Alice Neel (1900–1984). Named in honor of the Whitney’s new address, 99 Gansevoort Street, "99 Objects" is a series of in-gallery programs focusing on individual works of art from the Museum’s collection on view in America Is Hard to See. Speakers include artists, writers, Whitney curators and educators, and an interdisciplinary group of scholars.

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"Will Rogan in conversation with Julian Myers-Szupinska," Real Time & Space, Oakland, June 29, 2015

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"Double-Take Part 2: The Third Memory," Kadist Art Foundation, San Francisco, May 20, 2015

Nearly 30 years after Wojtowicz's Brooklyn heist, Pierre Huyghe's two-channel video installation The Third Memory (2000) provides a platform for the charismatic mastermind to relay his version of that fateful day in a reconstructed set of the bank. Consumed by spectacle during the robbery and subsequent Hollywood appropriation, Wojtowicz reclaims his story, revealing the inextricable merging of fact with fiction, distortions of memory and representation, and the mediating power of popular culture. Following the presentation of the artwork, art historian Julian Myers-Szupinska will unpack and question Huyghe's metacinematic layers of narrative.

Event description

"After the Production of Space," Ars contemporaneus alpinus conference, Ecole Cantonale d'Art du Valais in Sierre, Switzerland, September 2014

This lecture discusses critically French philosopher Henri Lefebvre’s book The Production of Space, which has been a cornerstone text for critical geography, art, art history and architecture over the last forty years. Considering Lefebvre’s theories of production, labor, capitalism and urban revolution, the lecture produces a usable précis of the dense and theoretical book, and theorizes about developments in space, cities and art in the four decades since its publication in 1974. Discussing an artwork by the Swedish artists Goldin + Senneby and a brief but important building occupation in Oakland, California, Myers will argue that new forces of financial speculation and digitization inflect a Lefebvrean analysis of space in the present, and produce new challenges and possibilities for urban resistance.

Information [PDF]

"Lynda Benglis in Process,” College Art Association, Chicago, February 2014

"Documents: Miwon Kwon in conversation with Julian Myers-Szupinska" (moderated by Olivian Cha), LA Art Book Fair, MOCA Geffen, Los Angeles, February 1, 2014

Art historian and founding editor and publisher of Documents Miwon Kwon and art historian Julian Myers-Szupinska discuss Documents with librarian Olivian Cha. Published between 1992-2004, Documents was a journal of art, culture, and criticism edited by Kwon, Christopher Hoover, James Marcovitz, Helen Molesworth, and Margaret Sundell. The conversation will review the historical significance of the journal and address its unique structure, content and “quasi-dysfunctional” position as a serial publication produced between technologies and established modes of distribution. The conversation will also address more general issues concerning access to the journal and the implications of its digitization. Select issues of Documents will be available for reference.

Event description

Public program (organized with Joanna Szupinska), "Distance Viewing," October 2013

Guided tour, part of the series CITYDETOUR organized by Joseph del Pesco, CCA Wattis Institute for Contemporary Arts, San Francisco

Distance Viewing builds a sequence of four viewpoints that allows a wide view of the city in pursuit of an image of San Francisco in toto -- as picture, or as sculpture. The event will consist of a daylong tour in the spirit of experimental research and conversation.

Historical arrangements of the city typically reserved the tallest buildings -- and therefore, the view they afforded -- for the sovereign. And if modernist urbanism (in the guise of the high-rise) worked relatively to democratize the view, it still held the high ground for the upper classes (in San Francisco, witness Pacific Heights) -- or, in exceptional cases, the tourist, for a fee.

By seeking out the commonly accessible outcrops and exteriors that afford spectacular views, Distance Viewing asserts the value of the sweeping perspective as a universal privilege.

Program description

"Between and Across: On Documents,” New York Art Book Fair, MOMA PS1, September 2013

“In the Place of Production,” University of Las Vegas, Nevada, April 2013

“In the Place of Production,” Exhibition As Medium symposium, Harvard University, March 2013

“Thinking Contemporary Curating: A Conversation with Terry Smith,” College Art Association, New York, February 2013

Respondent, "Creative Time Summit," Arts Research Center, University of California, Berkeley, October 2012

“On the Typology of Exhibitions,” The Center for Reciprocal Enlightenment (organized by Jens Hoffmann and Leigh Markopoulos), 9th Shanghai Biennial, October 2012

“Hopelessness Freezes Time” (with Edgar Arceneaux and a performance by Underground Resistance), Studio Museum, Harlem, Frieze Art Fair New York, May 2012

Ÿ“Permanent Revolution in Sculpture,” University of Illinois, Chicago, April 2012

Ÿ“Hopelessness Freezes Time” (with Edgar Arceneaux), Department of Graphic Sciences, Los Angeles, February 2012

Ÿ“On Graduate Exhibitions” (with Joanna Szupinska), School of the Art Institute of Chicago, December 2011

Ÿ“Corrected Slogans: Claire Fontaine,” Kadist Art Foundation, October 2011

Public program (organized with Joanna Szupinska), "Robert Morris is Unavailable," October 2011

Organized in conjunction with the exhibition The Language of Less (Then and Now), Museum of Contemporary Art, Chicago

This event was a public reading of passages chosen from the collected writings of pivotal Minimalist artist Robert Morris by invited speakers Huey Copeland, Michael Darling, James Goggin, Michelle Grabner, Erica Levin, and Sophia Rauch

Event description

“A Short History of ‘The Long Front of Culture’,” Symposium on Lawrence Alloway (organized by Courtney Martin), Tate Modern, London, March 2011

“Mirror Travel/Hopelessness Freezes Time,” Royal College of Art, London (organized by Claire Carolin), March 2011

“Permanent Revolution in Sculpture,” Department of Sculpture (organized by Allison Smith), California College of the Arts, February 2011

Public program (organized with Joanna Szupinska), "Riot Show," Koret Visitor Education Center, San Francisco Museum of Modern Art, December 2, 2010

As part of SFMOMA’s program Open Space Thursdays, we hosted a discussion about “Riot Show,” Julian’s sound and video archive of live concert recordings in which audience members intervene in performances, forcing their premature end. We played and discussed excerpts from the collection, which includes recordings from concerts by Suicide, Public Image Limited, Guns N’ Roses, and more.

The conversation included cinema theorist and anthropologist Tarek El Haik, art and media historian Erica Levin, artist and cultural anthropologist Fiamma Montezemolo, and curators Sharon Lerner and Xiaoyu Weng, and reflected on politics, music, bootlegs, the bit-crushed aesthetics of digital media, the culture of spectacle, the apparatus of amplification, the drama of crowds, and the strange, compelling things that happen when someone in the audience at a concert pulls a plug or throws a bottle.

Related links:

Julian Myers, “Riot Show: Some Notes on the Archive,” Fillip, no. 12, Fall 2010 (pages 20–29)

Riot Show (event description), Open Space Thursdays, SFMOMA

Julian Myers and Joanna Szupinska, “On ‘Riot Show’,” SFMOMA Open Space, November 30, 2010

Sharon Lerner and Xiaoyu Weng, “After ‘Riot Show’,” SFMOMA Open Space, December 13, 2010

Heidi De Vries, “I Want a Riot of My Own,” SF Weekly, November 24, 2010

“Eulogy for a Riot,” The Off Brand, December 7, 2010

“Permanent Revolution in Sculpture,” Department of the History of Art (organized by Darcy Grigsby), University of California, Berkeley, November 2010

Ÿ“Problems in the form of a conclusion,” Being There: Anne Wagner in the Berkeley Years, University of California, Berkeley (organized by Kaja Silverman and Richard Meyer), April 2010

Ÿ“Totality: A Guided Tour,” Fine Arts Department (organized by Fia Backström), Columbia University, March 2010

Ÿ“Drawing Dragging/ No Art History; No Art World,” History of Art (organized by Miwon Kwon), University of California, Los Angeles, May 2009

Ÿ“Totality: A Guided Tour,” GradCAM, National College of Art & Design, Dublin (organized by Mick Wilson), April 2009

Ÿ“Mirror Travel in the Motor City,” MAVis, IADT, Dun Laoghaire, Dublin, April 2009

Ÿ“On Recent Sculptural Practices in Los Angeles,” Fillip magazine, Vancouver (organized by Johan Lundh), February 2009

Ÿ“Riot Show,” University of British Columbia, Vancouver, February 2009

Ÿ“Drawing Dragging + Mirror Travel,” Vermont College (organized by Miwon Kwon), February 2008

Ÿ“Light, Space, Bureaucracy, Death,” Light and Space Roundtable, Museum of Contemporary Art, San Diego (organized by Robin Clark), October 2008

Ÿ“On Erlea Maneros’s ‘8 Septiembre 1894 La Ilustracioón Española y Americana, N.XXXIII-139’,” Whose Monuments? A conversation among Walead Beshty, Erlea Maneros, Jenée Misraje, and Julian Myers, Fellows of Contemporary Art, Los Angeles, September 2008

Ÿ“Mirror Travel in the Motor City,” a collaborative public lecture with artist Edgar Arceneaux at Artists Space, New York, April 2008

Ÿ“Riot Show,” a public lecture at Artists Space, New York, April 2008

Ÿ“Drawing/Dragging,” Public Lecture at the College Art Association Conference, Nasher Sculpture Center, Dallas, Texas 2008

Ÿ“Mirror Travel in the Motor City,” a collaborative public lecture with artist Edgar Arceneaux at New Langton Arts, San Francisco, March 2007

Ÿ“Panic In Detroit: On Michael Heizer’s Misadventure in the Motor City,” Public lecture at the University of California, Santa Cruz, February 2007

Ÿ“Riot Show,” Guest lecture, San Francisco Art Institute, March 2006

Ÿ“Dragged Mass and ‘Brutality’ (On Michael Heizer’s Adventure in Detroit),” San Francisco Art Institute, March 2006

Ÿ“Riot Show,” The Backroom, Culver City, Los Angeles, November 2005

Ÿ“Earthworks in the Present (Introduction),” Monuments and Noplaces, panel discussion with Matthew Coolidge, Nancy Holt, Pamela Lee, and Eugenie Tsai, California College of the Arts, October 2004

Ÿ“Walter De Maria: Hardcore,” The Arts in Question conference, University of California, Berkeley, 2003

Ÿ“Double Negative/ Ground Zero,” Townsend Center for the Humanities, University of California, Berkeley, 2002

Ÿ“Disappearances: Ellsworth Kelly and Modernity,” San Francisco Museum of Modern Art, 2002

Ÿ“Unfinished, Untitled, or Not Yet: Eva Hesse in Context,” San Francisco Museum of Modern Art, 2002

Ÿ“Nancy Holt’s Noplaces,” Kress Foundation Symposium, April 2000

Ÿ“Against Intimacy: Scott Burton’s Individual Behavior Tableaux, 1980,” University of California, Los Angeles, April 1999

Ÿ“The Other LeWitt,” San Francisco Museum of Modern Art, March 2000

Ÿ“Against Intimacy: Scott Burton’s Individual Behavior Tableaux, 1980,” University of Chicago, March 1999

ŸModerator, Discussion with Arthur Danto, University of California, Berkeley, 1998

Ÿ“The Future as Fetish: On the Independent Group,” Berkeley Symposium, University of California, Berkeley, 1998

Ÿ“Introduction: Circa 1970,” University of California, Berkeley, 1998

ŸModerator, Discussion with Mike Davis, University of California, Berkeley, 1997

Ÿ“Verbs Like An Automatic: The Politics of Language in Hip-Hop,” Society for the Humanities, Cornell University, 1995