New York Faculty

Dr. Julie Reiss

Program Director, M.A. Modern and Contemporary Art and the Market

Biography

Biography

Program Director Julie Reiss gained her B.A. from Reed College and an M.Phil and Ph.D. from the Graduate Center of the City University of New York. While still in graduate school she was awarded a National Endowment for the Arts Curatorial Fellowship by the Guggenheim Museum, and subsequently was Assistant Curator for Contemporary Art at the Jewish Museum, New York.

Prior to joining the faculty at Christie’s Education she taught courses on 20th century art at Hunter College and SUNY Purchase and is a regular lecturer at the Metropolitan Museum of Art. A pioneering scholar in the field of installation art, she also has taught courses on site-specific art at the Cooper Union for the Advancement of Science and Art. She is the author of the newly published, Art, Theory and Practice in the Anthropocene (Vernon Press, 2018) and From Margin to Center: The Spaces of Installation Art (MIT Press, 1999), as well as numerous articles and reviews.
Research Interests

Research Interests

A pioneering scholar in the field of installation art, Julie is the author of From Margin to Center: The Spaces of Installation Art (MIT Press, 1999), as well as numerous essays and reviews. Her recent essays include ‘The Moving Image as Seen at the End of the Mechanical Age’, published in Exhibiting the Moving Image (JRP Ringier, 2016), and ‘From Margin to Center Revisited’ in, A Pintura Contemporānea No Barco de Teseu, Vol. II: Instalar e Habitar Picturalmente o Mundo. Lisboa: Associçāo dos Arqueólogos Portugueses, 2017. Julie’s anthology, Art, Theory and Practice in the Anthropocene, was published by Vernon Press in the fall of 2018.
Publications and Exhibitions

Publications and Exhibitions

Books

Editor, Art, Theory and Practice in the Anthropocene. Malaga, Spain and Wilmington, DE: Vernon Press, 2018

From Margin to Center: The Spaces of Installation Art (Cambridge and London: The MIT Press, 1999) 

Essays and articles

"Locating Myself in the Anthropocene", EuropeNow, Council for European Studies (CES), 2017 

"From Margin to Center Revisited," and Foreword in José Quaresma, A Pintura Contemporānea No Barco de Teseu, Vol II: Instalar e Habitar Picturalmente o Mundo. Lisbon: Associçādo Arquelógos Portugueses, 2016.

 “The Moving Image as Seen at the End of the Mechanical Age.” Exhibiting the Moving Image, François Bovier and Adeena Mey eds. Zurich: JRP/Ringier, 2016. 

 “Sally Gil: Excavating the Present.” Jack Geary Contemporary, 2015 

Contributing writer on contemporary art for Art and Place: Site-Specific Art of the Americas. London: Phaidon, 2013.

“Installation Art” in Oxford Bibliographies in Art History.  Ed. Thomas DaCosta Kaufmann.  New York: Oxford University Press, 2013. 

“Pricked: Extreme Embroidery,” Exhibition review, Textile A Journal of Cloth and Culture, Summer 2008

“Sound Affects: The Auditory Experience in Installation Art,” in Sonambiente 2006: Klang Kunst Sound Art, Berlin: Akademie Der Kunste, 2006

At the end of December 2014, Sally Gil began creating an on-site installation at Jack Geary Contemporary, New York, as part of the exhibition “Sally Gil and Rebekah Goldstein; Another Way In.” The installation evolved for the duration of the exhibition, which closed in mid-February, 2015. This interview with Dr. Julie Reiss, was conducted shortly before the exhibition came down, as a means of preserving and documenting Gil’s work. https://vimeo.com/123023896

Conference Papers

Conference Papers

Lecture, “Contemporary Art in the Anthropocene,” SUNY Stony Brook, New York, April, 2019

Panelist, “Art, Theory and Practice in the Anthropocene,” Wave Hill Public garden and Cultural Center, New York, March 2019

Panelist, “Take a Deep Breath: A Case Study of Authenticity in Installation Art.” Dedalus Foundation, New York, May 2018

Session Chair, "Changing Hands: Where Art History Meets the Art Market,” College Art Association, Los Angeles, February 2018

Session Chair, “Art and Sustainability in the Anthropocene,” 24th International Conference of Europeanists, Glasgow, July 2017

This is not my art work: Fabrication, Refabrication and Renunciation in Contemporary Art.” Public lecture, Wesleyan University, Middletown, CT., March, 2017

"Debunking the Original? Technology, Public Perception and Tim's Vermeer", Creating Markets, Collecting Art, Christie’s, London, July 2016

“Terra Incognita: Exhibiting Ice in the Anthropocene.” College Art Association, February 2016

“Global Connections: Artists at the Venice Biennale Address Climate Change.” Gallery Bergen, Bergen Community College, New Jersey November 2013

“Shifting Domains: Artists Respond to the Threatened Ecological Commons” Marfa Ballroom Dialogues, Robert Rauschenberg Project Space, New York, November 2013

“Picasso and the Cone Sisters: Points of Intersection,” The Jewish Museum, NY, April 2011

“Carsten Höller’s Revolving Hotel Room: The Museum as Private Domain,” Public lecture given May, 2009, Museo Nacional Centro de Arte Reina Sofia, Madrid

“Installation Art and its Origins,” paper given in symposium, “In Transit: From Object to Site,” List Art Center, Brown University, Providence, RI, 2006