Julian Myers-Szupinska is an art historian whose writing has appeared in Documents, October, Afterall, Frieze, Fillip, Artforum, Tate Papers, and elsewhere. His interests are focused on sculpture and spatial politics of the 20th century, the social and political dynamics of consumer society, and the socio-historical frameworks for contemporary art and exhibitions.
Recent publications include Hopelessness Freezes Time, a study of earthworks, drawing, Detroit, urban warfare and guerrilla historiography, co-authored with artist Edgar Arceneaux (Kunstmuseum Basel, 2012); “Earth Beneath Detroit,” an essay for the catalogue Ends of the Earth: Land Art to 1974 (Museum of Contemporary Art, Los Angeles, 2012); “Attitudes and Affects,” on the 1969 exhibition When Attitudes Become Form (CCA Wattis Institute for Contemporary Arts, San Francisco, 2013); "Urban Fragments" in Keith Haring: The Political Line; and "After the Production of Space," forthcoming in Critical Landscapes: Art, Space, Politics (UC Press 2015).
Alongside teaching in the department of Curatorial Practice since the program's inception in 2003, he is a member (with Joanna Szupinska) of the curatorial collaboration grupa o.k., and is Senior Editor of The Exhibitionist, a journal of exhibition-making.
His CCA courses have addressed the history of exhibitions since 1800; earthworks, space and utopia in the United States after 1960; avant-gardist practices in the Soviet Union, Europe, Brazil, and elsewhere; the history and theory of consumer society; and a seminar on Harald Szeemann, total artwork, and exhibition form — along with advising numerous Masters Thesis and the last few years of Thesis Exhibitions at the Wattis Institute for Contemporary Arts.
He holds a doctorate in the history of art from the University of California, Berkeley (2007). In 2009 he received an Arts Writers Grant from Creative Capital/Warhol Foundation.
Associate Professor, Curatorial Practice