JOAN KEE Department of the History of Art, University of Michigan 110 Tappan Hall, 855 S. University Ave, Ann Arbor, MI 48109 [email protected] EDUCATION 2008 Institute of Fine Arts, New York University, Ph.D Dissertation: Points, Lines, Encounters, Worlds: Tansaekhwa and the Formation of Contemporary Korean Art 2000 Harvard Law School, J.D. 1997 Yale University, B.A., History of Art, Magna Cum Laude, Phi Beta Kappa EMPLOYMENT 2019-present Professor, History of Art, University of Michigan, Ann Arbor 2014-2019 Associate Professor, History of Art, University of Michigan, Ann Arbor 2008-2014 Assistant Professor, History of Art, University of Michigan, Ann Arbor 2006 Visiting Lecturer, History of Art Department, Cornell University, Ithaca, NY 2001-2003 Associate, Capital Markets, Simpson Thacher and Bartlett, New York and Hong Kong 2000-2001 Associate, Corporate Group, Hughes Hubbard and Reed, New York BOOKS 2022 The Geometries of Afro Asia, advance contract, University of California Press 2019 Models of Integrity: Art and Law in Post-Sixties America, (Berkeley and London: University of California Press) • Excerpt published in e-flux 96 (January 2019) • Reviewed in Art News, Center for Art and Law, Journal for the Semiotics of Law • Reviews forthcoming in Art History, Oxford Art Journal, Burlington, Panorama: Journal of the Association of Historians of American Art, Law and Literature, Law, Culture and the Humanities 2015 To Scale (co-editor: Emanuele Lugli) (Malden: Wiley-Blackwell) From All Sides: Tansaekhwa on Abstraction, (Los Angeles: Blum & Poe) 2013 Contemporary Korean Art: Tansaekhwa and the Urgency of Method, (Minneapolis: University of Minnesota Press) • Finalist, 2014 Charles Rufus Morey Book Award, College Art Association • Reviewed in Art Journal, Journal of Asian Studies, caa.reviews, Journal of Korean Studies, Third Text, Pacific Affairs, Orientations, Art Asia Pacific, Art Newspaper, Art Libraries Society of North America, Korean Quarterly, New Books Network • Noted/featured in The Nation, The New Yorker, South China Morning Post, Joongang Ilbo (Korea), KoreAm Journal, Ocula 1 October 2019 EDITED VOLUMES 2021 “Art and Law,” Law and Literature, in preparation 2015 “To Scale,” Art History (co-editor: Emanuele Lugli) 38:2 2011 “Contemporaneity and Art in Southeast Asia,” Third Text (co-editor: Patrick Flores) 25:4 2004 “Intersections: Issues in Contemporary Art,” Positions: East Asia Cultures Critique 12:3 PEER-REVIEWED ARTICLES (SELECTED) 2020 “Corroborators in Arms: The Early Works of Mel Edwards and Ron Miyashiro,” Oxford Art Journal (Spring), in press 2019 “Jung Tak-young and the Making of Abstract Ink Painting,” Art Bulletin 101 (December): 117-141, forthcoming 2018 “The Property of Contemporary Chinese Art” Law and Humanities 12:2 (December): 251-277. “Free Art and a Planned Giveaway (1969),” Archives of American Art 57:1 (Spring 2018): 44-61. “Modern Art in Late Colonial Korea: A Research Experiment,” Modernism/Modernity 25:2 (April 2018): 215-243. 2016 “Towards Law as an Artistic Medium: William E. Jones’ Tearoom,” Journal of Law, Culture and the Humanities 12:3 (October 2016): 693-715. “Art Before the Law: The Case of Yoko Ono’s Rape,” Law and Literature 28:2 (2016): 187-208. “Orders of Law in the One Year Performances of Tehching Hsieh,” American Art 30:1 (March 2016): 72-91. 2015 “Why Performance in Authoritarian Korea,” Tate Papers 23 (May) • Reprinted in revised form, Cultures of Yushin, ed. Youngju Ryu, (Ann Arbor: University of Michigan Press, 2018), 245-278. • Reprinted in Institute of Asian Performance Art Reader, (London: David Roberts Art Foundation, 2018), 96-121. “The Measure of the World: Scenes From a Journey to Kaesŏng,” Art History 38:2 (April 2015): 364-385. 2014 “What Scale Affords Us: Sizing Up the World Through Scale,” Art Margins 3:2 (June 2014): 3-30. 2013 “Contemporary Art in Early Colonial Korea: The Self Portraits of Ko Hui-dong,” Art History 36:2 (April 2013), 392-417. “Use on Vacation: The Non-Sculptures of Lee Seung-taek,” Archives of Asian Art 63:1 (Spring 2013): 103-129. 2012 “Connoisseurship and Its Potential in Matters of Copyright,” Journal of Law, Culture and the Humanities 8:2 (June 2012): 364-380. 2011 “Contemporaneity as Calculus: The View from Postwar Korea,” Third Text 25:5 (October 2011): 563-576. 2010 “The Curious Case of Contemporary Ink Painting,” Art Journal 69:2 (Fall): 88-113. 2008 “Points, Lines, Encounters: The World According to Lee Ufan,” Oxford Art Journal 31:3 (October 2008): 403-424. 2 October 2019 • Reprinted in Oxford Art Journal, 40th Anniversary Issue (one of 12 articles selected), 2018 2004 “Trouble in ‘New Utopia,’” “Intersections: Issues in Contemporary Art,” Positions: East Asia Cultures Critique 12:3 (Winter 2004): 667-686. 2003 “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. 2001 “Envisaging Hollowness in Contemporary Singapore,” Art Journal 60:3 (Fall): 66-75. • Reprinted in Histories, Practices, Interventions: A Reader in Contemporary Singapore Art, eds. Jeffrey Say and Seng Yu Jin, (Singapore: Institute of Contemporary Arts, 2016), 94-104. “Reclaiming Sites of Independence in Pak Ch’ŏl-su’s 301/302,” “Asia Pacific Cinemas: A Spectral Surface,” Positions: East Asia Cultures Critique, eds. Esther Yau and Kyung Hyun Kim, 9:2 (Fall 2001): 449-466. 1998 “(Re)sexualizing the Desexualized Asian Male in the Works of Ken Chu and Michael Joo,” Jouvert: A Journal of Postcolonial Studies 2:1 BOOK CHAPTERS 2019 “The Long Breath: Postwar Korean Art, 1953-1979,” A Companion to Korean Art, eds. Burglind Jungmann, J.P. Park and Juhyung Rhi, (Malden, MA: Wiley Blackwell), forthcoming 2018 “Artists’ Rights in the United States, or, a Remembrance of Claims Occasionally Checked” Artist, Authorship and Legacy: A Reader, ed. Daniel McClean, (London: Ridinghouse), 31-46. 2015 “The Scale Question in Contemporary Asian Art,” The 1990s: The Making of Art with Contemporaries, (Tokyo: Japan Foundation Asia Center, 2015), 34-41. 2013 “The World in Plain View: Form in the Service of the Global,” Contemporary Art: 1989 to the Present, eds. Alexander Dumbadze and Suzanne Hudson, (Malden, MA: Wiley-Blackwell, 2013), 95-104. 2007 “Visual Reconnaissance,” Alien Encounters: Asian American Popular Culture, eds. Thuy Linh Tu Nguyen and Mimi Nguyen, (Durham: Duke University Press, 2007), 130-149. 2002 “Thinking About ‘Contemporary Asian Art’: Some Reflections on Space Traffic,” Space Traffic, (Melbourne and Hong Kong: West Space and Para/Site, 2002), 25- 28. CATALOGUE ESSAYS 2020 “Trials of the Heart,” Kader Attia: The Field of Emotion, (Toronto: Powerplant), forthcoming 2019 “The Minimalism Factor,” Elmgreen & Dragset, (Dallas: Nasher Sculpture Center), 231-262. 2018 “Minimalism by All Means,” Minimalism: Space, Light, Object, (Singapore: National 3 October 2019 Gallery of Singapore), 64-74. “Stand in the Place Where You Are,” Lee Kunyong, (Seoul and Beijing: Pace Gallery), 28-47. “Not in the Guidebook,” Ungmang, (Seoul: Ilmin Museum of Art), 682-696. 2016 “The Commons of Contemporary Southeast Asian Art,” Singapore Biennale 2016: An Atlas of Mirrors, (Singapore: Singapore Art Museum), 22-29. 2015 “In Plain View,” Ha Chonghyun, (Los Angeles: Blum & Poe, 2015), 6-35. • Reprinted in Korean in Art and Culture (September 2015): 76-92. “Tansaekhwa, Inside and Out,” From All Sides: Tansaekhwa on Abstraction, (Los Angeles: Blum & Poe, 2015), 6-42. • Reprinted in Korean in Resonance of Dansaekhwa (Seoul: Korea Arts Management Service and the Ministry of Culture, Sports and Tourism, 2016): 3 4- 57. 2014 “As the World Turns in Nineties America,” Come as You Are: Art of the 1990s, (Berkeley and Montclair: University of California Press and Montclair Art Museum, 2014), 55-64. 2013 “Kim Ku-lim: Touching Base,” Kim Ku-lim: Like You Know It All, (Seoul: Seoul City Museum of Art, 2013), 95-100. 2012 “Field and Stream: The Terrain of Contemporary Asian Art,” The Asia-Pacific Triennial of Contemporary Art, (Brisbane: Queensland Art Gallery, 2012), 66-71. “A Fine Occupation,” Anish Kapoor/Objects, (Seoul: Leeum Museum, 2012), 45-49. 2011 “True Believer,” Park Seobo, (Seoul: Kukje Gallery, 2011), 8-18. • Reprinted in Korean in Misul kwa pipy’ŏng 23 (Spring 2011): 28-35. • Revised version published in Park Seobo, (Seoul: National Museum of Modern and Contemporary Art of Korea, 2019). 2009 “Tea and Sympathy,” The Enlightenments, (Edinburgh: Edinburgh Art Festival), 20-21. “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 County Museum of Art), 16-28. 2008 “Collection Agency,” Sasa [44]: Exhibited Works in Chronological Order, (Seoul: Kukje Gallery), 11-13. “Work and Play,” Donghee Koo: Synthetic Experience, (Seoul: Atelier Hérmès), 70-74. 2007 “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. • Revised version published in Contemporary Art in Asia: A Critical Reader, eds. Melissa Chiu and Benjamin Genocchio, (Cambridge and London: MIT Press, 2011), 347-369. 2003 “Housewarming: A Statement of Intent,” Housewarming, (Hong Kong: Para/Site), 4-11. “Evanescent Terrain: The Unknowable Home in the Works of Do-Ho Suh,” Home and Away: The New Globalism, (Vancouver: Vancouver Art Gallery), 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. • Translated into Korean in the same volume as “Kunyang chakp’umdul,” 116-121. 4 October 2019 “Who’s Afraid of Asian American Art?,” Tradeshow: New Currents in Recent Asian American Art, (Shanghai: CR2 Gallery, 2003), 32-43.