Juli Carson is Professor of Art at the University of California, Irvine, where she directs the Critical and Curatorial Area in the Department of Art. She is also Director of UCI’s University Art Galleries. From 2018-2019 she was Philippe Jabre Professor of Art History and Curating in the Department of Fine Art and Art History at the American University of Beirut, where she curated the exhibition caesura-a moment in time, again rubbed smooth, https://www.againrubbedsmooth.org. Her books on the convergence of psychoanalysis, hermeneutics and conceptual art include: Exile of the Imaginary: Politics, Aesthetics, Love (Vienna: Generali Foundation, 2007), The Limits of Representation: Psychoanalysis and Critical Aesthetics (Buenos Aires: Letra Viva Press, 2011) and The Hermeneutic Impulse: Aesthetics of an Untethered Past (Berlin: PoLyPen, b_books Press, 2019). She is also author of the website pharmakon.art, which hosts the Life Worth Living Series -- a rotation of conversations among filmmakers, artists and scholars on contemporary cultural phenomenon – as well as an archive of Carson’s select exhibitions and essays.
“Beirut Lab: 1975(2020), or, caesura__a moment in time, again, rubbed smooth,” Where is Art, ed. Sean Lowery, (Routledge, forthcoming).
“Beirut Lab: 1975(2020),” Room Gallery Exhibition Brochure, (UC Irvine, Fall, 2019).
“Oscar Masotta,’s I Committed a Happening” Art Critique Revisited, Lüneburg University, Forthcoming, 2019
The Hermeneutic Impulse: Aesthetics of an Untethered Past, (Berlin: Polypen, a subsidiary of b_books Press, 2019). Solo Authored Book.
“Truly Spun Never,” Andrea Geyer, Retrospective Monograph, (Dancing Foxes Press, 2019). Peer Reviewed Book Chapter.
“Rounding the Bases,” Dorit Margreiter, Retrospective Monograph, (Vienna: MUMOK, 2019). Peer Reviewed Book Chapter.
“Welcome to The End of the World at the Edge of the Earth,” Retrospective Monograph, (The Luckman Gallery, Luckman Fine Arts Complex, Cal State LA, 2019). Andy Warhol Foundation for The Visual Arts. Peer Reviewed Book Chapter.
“Another Light and Space,” Larry Bell, Exhibition Catalogue, (Miami: ICA, 2019). Peer Reviewed Book Chapter.
“Curating as a Verb: 100 Years of Nation-States,” A Companion to Curation, eds., Brad Buckley and John Conomos, (Hobokan: Wiley Blackwell Press, 2019). Peer Reviewed Book Chapter
“Kienholz: A Real Screen-of-Consciousness,” Exhibition Catalogue, Ed and Nancy Kienholz, (Miami: ICA, 2017). Solo Authored Exhibition Catalogue.
“Libidinal Economies,” Who Runs the Artworld: Money, Power, Ethics, eds., Brad Buckley and John Conomos, (Oxfordshire: Libri Publishing, 2017). Peer Reviewed Book Chapter.
Schmitt, You and Me, UAG Exhibition Brochure, Omar Mismar (UC Irvine: Room Gallery, 2017).
“Aesthetics of an Untethered Past,” Mary Kelly: The Practical Past, Monograph, (New York: Mitchell-Innes & Nash, 2017). Peer Reviewed Book Chapter.
“In Praise of Heretics, Or: What if Women Ruled Our World?” in Yael Bartana, Exhibition Catalogue, (Lausanne: Musée cantonal des Beaux-Arts, 2017).
“After, After Before,” (UC Irvine: Room Gallery, 2016).
“Dora Chastain,” (UC Irvine: University Art Gallery, 2016).
“A Viral Scaffolding of Signifiers,” Berlin Journal, Fall 2016
On Consciousness: Kerry Tribe’s Performative Aesthetics, (UC Irvine: Contemporary Arts Center Gallery, 2016)
Ed Moses: Cross-Section, (UC Irvine: University Art Gallery, 2015).
“Libidinal Economies: Art in the Age of Bull Markets,” (UC Irvine: Contemporary Arts Center Gallery, 2015).
“Drawing on a Sense of Place,” Dolores Zinny & Juan Maidagan, (Munich: Galerie Sabine Knust, 2014).
“Jock,” Self-Timer Stories, (Salzburg: Anton Pustet, 2014).
“The Politics of Falling,” Exhibition Catalogue, Daniel Joseph Martinez’s The Report of My Death is an Exaggeration; Memoirs: Of Becoming Narrenschiff, (Los Angeles: Roberts and Tilton Gallery, 2014).
“Salò Island,” Exhibition Brochure, Yoshua Okón, Salò Island, UCI Contemporary Arts Center Gallery, Winter, 2014.
“Faces of Consciousness: Repetition and Time” eds., Brad Buckley and John Conomos, Erasure: The Spectre of Cultural Memory (Libri Publishing Ltd., 2014).
“The Symbolic Landscape: Pictures Beyond the Picturesque,” Exhibition Catalogue, University Art Galleries, UCIrvine, September, 2013.
"The Popular and the Conceptual," Generali Reader, ed Sabine Folie, (Vienna: Generali Foundation, 2013).
“A Soundtrack for Collective Engagement,” in Koki Tanaka: abstract speaking sharing uncertainty and collective acts,exhibition catalogue for 55th Venice Biennale, Japanese Pavilion, (Nero and Japan Foundation, 2013).
“That Obscure Object of Gender: Kerry Tribe’s Critical Mass,” in The Challenge of the Object / Die Herausforderung des Objekts, Congress Proceedings, T. 1-3. Edited by G. Ulrich Großmann/Petra Krutisch. (Nuremberg 2013).
“Arguments for an Abstract Space,” in Florian Pumhösl: Works in Exhibitions 1993-2012, (Kunsthaus Bregenz, 2013).
“On Realism, Reality and the Real: CRASH SITE: My_Never_Ending_Burial_Plot,” in Constanze Ruhm: Coming Attractions, (Vienna: Schleebrügge and the Academy of Fine Arts, 2013).
“Drawing on a Sense of Place,” Exhibition Brochure for Juan Maidagan and Dolores Zinny’s Cabo Nombre, UCI Contemporary Arts Center Gallery, Winter, 2013.
“Art of the Impossible: The Jewish Renaissance Movement in Poland (JRMiP),” in Yael Bartana: And Europe will be Stunned, (Vienna: The Secession, 2013).
“V.A.L.I.S.: Modernity’s Buried Present,” in Connie Samaras: Tales of Tomorrow, (Pasadena: The Armory, 2013).
“Watercolor in the Brain,” Texte Zur Kunst, issue no. 87, “Conflict,” September, 2012.
“Everything Else Has Failed! Don’t You Think It’s Time for Love?” Sharon Hayes: There’s So Much I Want to Say to You, (Museum of American Art, Summer, 2012).
“Aesthetics of Repetition: A Case for Oscar Masotta,” X-TRA Contemporary Art Quarterly, Vol 14, No 3, Spring, 2012.
“A Soundtrack for Collective Engagement,” exhibition brochure for Koki Tanaka’s A Piano Played by Five Pianists at Once (First Attempt), UCI Room Gallery, Winter 2012.
"Free Radical Aesthetics: Barbara T. Smith's Birthdaze, Exhibition Brochure, The Radicalization of a '50s Housewife, Pacific Standard Time, UCI Gallery, Fall 2011.
The Limits of Representation: Psychoanalysis and Critical Aesthetics (Buenos Aires: Letra Viva Press, 2011).
"Postcards from the Real: The Jewish Renaissance Movement in Poland," in A Cookbook for Political Imagination, exhibition catalogue for "...and Europe will be stunned (Yael Bartana)," Polish Pavillion, 54th Biennale, Venice 2011.
"Constanze Ruhm's Galaxy of Signifiers," in The 5th International Video Art Biennale in Israel: Videozone V (Tel Aviv Contemporary Center of Art, 2010).
“Post-Partum Document: An Introduction,” in Dominique Heyse-Moore, ed., Mary Kelly: A Retrospective, (Manchester: The Whitworth Art Gallery, 2010).
“Andrea Geyer’s Criminal Case 40/61: Reverb,” Andrea Geyer Exhibition Brochure, UCI Gallery, Fall, 2010.
“Erika Vogt’s Secret Traveler Navigator,” Erika Vogt Exhibition Brochure, UCI Gallery, Fall, 2010.
“On Consciousness: Kerry Tribe’s Performative Aesthetics,” in Kerry Tribe: Dead Star Light, (London: Arnolfini, 2010).
“Galaxy of Signifiers: Constanze Ruhm’s Crash Site / My_Never_Ending_Burial_Plot,” in Texte Zur Kunst, Spring 2010.
“Hang Fire: Juan Maidagan and Dolores Zinny’s Curtain Call,” in Sabine Breitweiser, ed., Utopia and Monument, exhibition catalogue, steirischer herbst festival, Graz, Austria, 2010.
“In Praise of Love: The Poetics of Critique,” in Comrades of Time, exhibition catalogue, Published by PAVILION – journal of politics and culture, English/Romanian, February 2010.
“X Love Scenes / Pearls without a String,” Juli Carson, ed., Constanze Ruhm Exhibition Brochure, UCI Room Gallery, Winter 2010.
“Legacies of Resistance,” in Griselda Pollock, ed., Digital and Other Virtualities, (Leeds University Press, 2009).
“Roberto Jacoby’s 1968: el culo te abrocho,” Roberto Jacoby Exhibition Brochure, UCI Gallery, Fall, 2009.
“Curriculum and Practice in the Age of Post-Studio Art Production,” in Brad Buckley, ed., Re-thinking the Contemporary Art School, (Nova Scotia: NSCAD University Press, 2009).
“Florian Pumhösl’s Critical Aesthetics,” in Modernism as Ruins, (Vienna: Generali Foundation, 2009).
“A Just Noticeable Difference: Kenny Berger and Juli Carson in Conversation,” Exhibition Brochure, UCI Room Gallery, Winter 2009.
“The Surfing Memory Syndrome,” Steve Fagin Exhibition Brochure, UCI Gallery, Winter, 2009.
“What is a Picture?” in POVERTY HOUSING, Americus Georgia, (Vienna: MAK Center, 2009).
“In Praise of Love: The Poetics of Critique,” X-Tra, Winter 2009.
“Thinking with One’s Feet,” Kelly Barrie Exhibition Brochure, UCI Room Gallery, Fall 2008.
“Mary Kelly Interviewed by Juli Carson,” in OCMA Biennial Exhibition Catalogue, Fall 2008.
“Artforumism,” in Texte Zur Kunst Anthology, ed. Catherine Chevalier and Andreas Fohr, (Paris: Les Presses du Réel, 2008) French Translation by Michele Veubret.
“Molly Corey’s Live Like Him!” Exhibition Brochure, UCI Room Gallery, Winter, 2008.
“Legacies of Resistance,” Mary Kelly Exhibition Brochure, UCI Gallery, Fall, 2007.
“Cristóbal Lehyt’s Reduced to Insults,” Exhibition Brochure, UCI Room Gallery, Fall 2007.
Exile of the Imaginary: Politics / Aesthetics / Love, (Vienna: Generali Foundation, 2007).
Paradox and Practice: Architecture in the Wake of Conceptualism, (UC Irvine: University Art Gallery, 2007).
“Shana Lutker’s The Future of an Illusion,” Exhibition Brochure, UCI, Room Gallery, Winter 2007.
“Adrià Julià’s Theatre of Eclipse,” Exhibition Brochure, UCI, Room Gallery, Fall 2006.
Ken Gonzales-Day’s Lynching in the West, (NY: Cue Art Foundation, 2006).
“The Jouissance of Institutional Critique,” in Institutional Critique and After, ed. John Welchman, (Zurich: JRP/Ringier, 2006).
“Chop Shop: A Conversation between Juli Carson and Stephanie Taylor,” Exhibition Brochure, UCI, Room Gallery, Winter, 2006.
“The Greenhouse Effect,” Exhibition Brochure, UCI, Room Gallery, Fall, 2005.
“On Discourse as Monument: Institutional Spaces and Feminist Problematics,” in Museums After Modernism: Strategies of Engagement, ed. Griselda Pollock, (New York: Blackwell Press, 2005).
“Atrocity and Empathy: On Reading Virilio through Eisenman,” in artUS, #10, Fall 2005.
“Five Paragraphs on Sol LeWitt,” in artUS, #8, Spring, 2005.
“The Trouble with Fanon,” in Minority Report: Challenging Intolerance in Contemporary Denmark, (Aarhus Festival of Contemporary Art, Denmark, 2004). Also in: http://www.artbrain.org/phantomlimb/carson.html
“A Minimal Future? Art as Object 1958-1968,” www.collegeart.org, (Summer, 2004).
“Dematerialisms: The Non-Dialectics of Yves Klein,” in Francois Perrin, Curator, Air Architecture, (Los Angeles: MAK Center, 2004).
“1989” in Theory in Contemporary Art Since 1985, eds. Simon Leung et. al., (New York: Blackwell Press, 2004).
“Two Walls: 1989,” Surface Tension, eds. Brandon Labelle, et. al., (Los Angeles: Errant Bodies Press, 2003).
“On Critics, Sublimation and the Drive: The Photographic Paradoxes of the Subject,” in Art: Sublimation or Symptom, ed. Parveen Adams, (New York: The Other Press, 2003).
“Conceptualism and the Single Work of Art,” Art Journal, (Winter 2002).
“On Discourse as Monument: The New Museum and Feminist Problematics,” in Alternative Art New York,1965-85, ed. Julie Ault, (Minnesota Press, 2002).
“Excavating Discursivity: ‘Post-Partum Document’ in the Conceptualist, Feminist and Psychoanalytic Fields,” Dissertation, MIT, 2000.
“Mea Culpa,” Art Journal, (Winter, 1999).
“Excavating Post-Partum Document: A Conversation between Mary Kelly and Juli Carson,” Exhibition Catalogue, (Vienna: Generali Foundation,1999).
“Simon Leung,” Documents, no. 14 (Winter, 1999).
“Re-Viewing Mary Kelly’s Post-Partum Document,” Documents, no. 13 (Fall, 1998).
“The Trouble with Fanon,” Zing, (Fall, 1998).
"Artforum-ism, or the Mythical Andy Warhol," Modernity, (Spring, 1997).
"Artforum-ismus," Texte Zur Kunst, (August, 1996).
"Questions of Feminism: 25 Responses," October #71 (Winter 1995).
"Letter to the Editors," October #71, (Winter 1995).