The Seminar Series: Contemporary Practice and Scholarship in Art

Elena Filipovic Friday March 8
Huey Copeland Thursday March 28
Pamela Lee Friday April 19

3:00PM - 5:00PM

Graduate Fine Arts Building (IFT)
Lecture Forum
3001 S. Flower Street
Parking on Figueroa & Flower Streets/Shuttle Route A

The USC Department of Art History and the USC Roski School of Fine Arts are pleased to present The Seminar Series, a forum on contemporary practice and scholarship in art. This series, ongoing throughout spring 2013, will bring together students from Dornsife, Roski, and the Visual Studies graduate program to participate as academic peers in dialogue with leading figures from the fields of contemporary art history and curatorial practice. The Seminar Series is a rare opportunity for intimate exchange with the author of an idea, alongside a group comprised of diverse visual practitioners. All seminars will be held in the Graduate Fine Arts Building (IFT). Registered participants will receive a modest reading list in preparation for each seminar to facilitate discussions.

RSVP Required


Elena Filipovic, Senior Curator, Wiels Contemporary Art Centre
Filipovic is Senior curator at WIELS Contemporary Art Centre, Brussels. She co-curated the 5th Berlin Biennial (2008) with Adam Szymczyk, and co-edited The Biennial Reader: Anthology on Large-Scale Perennial Exhibitions of Contemporary Art (2010), with Marieke van Hal and Solveig Øvstebø. She has curated a number of traveling retrospectives, including Marcel Duchamp: A Work that is not a Work "of Art" (2008-2009), Felix Gonzalez-Torres. Specific Objects without Specific Form (2010-2011), and Alina Szapocznikow: Sculpture Undone, 1955-1972, co-curated with Joanna Mytkowska (2011-2012), in addition to organizing solo exhibitions with artists such as Leigh Ledare, Klara Lidén, Lorna Macintyre, Melvin Moti, Tomo Savic-Gecan, and Tris Vonna-Michell. She has, since 2007, been tutor of theory/exhibition history at De Appel postgraduate curatorial training program and advisor at the Rijksakademie in Amsterdam. Her writings have appeared in numerous artists' catalogues as well as in Afterall, Artforum, frieze, Kaleidoscope, and Mousse.


Huey Copeland, Director of Graduate Studies and Associate Professor, Art History, Northwestern University
Copeland's work has appeared in Art Journal, Callaloo, Parkett, Qui Parle, Representations, and Small Axe as well as in numerous edited volumes and international exhibition catalogues, including the award-winning Modern Women: Women Artists at the Museum of Modern Art. Notable among his forthcoming publications is Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America, a book funded by a Creative Capital/Warhol Foundation Arts Writers Grant that will be published by the University of Chicago Press. Focused on the work of Renée Green, Glenn Ligon, Lorna Simpson, and Fred Wilson, this project considers how slavery shaped American art in the last decades of the twentieth century in order to argue for a reorientation of modern and contemporary art history where the subject of race is concerned. The book, like much of Copeland's work, derives from research into theories of subject formation, twentieth-century sculpture, histories of slavery, gender and sexual difference, site-specific practices, and African American cultural discourse. These interests are also reflected in his interdisciplinary course offerings, which range from the introductory survey "Global Modernisms" to the upper-level seminar "Black Collectivities."


Pamela Lee, Professor, Art & Art History, Stanford University
Lee's work has appeared in October, Artforum, Assemblage, Res: Anthropology and Aesthetics, Les Cahiers du Musee national d'arte moderne, Grey Room, Parkett and Texte zur Kunst. Lee has published four books in addition to journal articles, reviews and catalogue essays. Her publications include Object to be Destroyed: The Work of Gordon Matta-Clark (Cambridge: The MIT Press, 2000); Chronophobia: On Time in the Art of the 1960s (Cambridge: The MIT Press, 2004); Forgetting the Art World (Cambridge: The MIT Press, 2012); New Games: Postmodernism After Contemporary Art (Theories of Modernism and Postmodernism in the Visual Arts) (London: Routledge, 2012).