Huey Copeland Associate Dean, Academic Affairs, The Graduate School; Associate Professor, Art History

Huey Copeland (Ph.D., History of Art, University of California, Berkeley, 2006) is Associate Dean for Academic Affairs in The Graduate School and Associate Professor of Art History with affiliations in the Gender and Sexuality Studies Program and the Department of African American Studies. His writing—which has been translated into French, German, and Spanish—focuses on modern and contemporary art with an emphasis on articulations of blackness in the Western visual field. A Contributing Editor of Artforum, Copeland has also published in Art Journal, Callaloo, Camera Obscura, Nka, Parkett, Qui Parle, Representations, and Small Axe as well as in numerous international exhibition catalogues and edited volumes, such as the award-winning Modern Women: Women Artists at the Museum of Modern Art, edited by Cornelia Butler and Alexandra Schwartz.

Notable among Copeland's 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 Program Grant and 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. At present, Copeland is at work on a new book, In the Shadow of the Negress: A Brief History of Modern Artistic Practice, which explores the constitutive role played by fictions of black womanhood in Western art from the late-eighteenth century to the present. He has also begun refining a companion volume—tentatively entitled Touched by the Mother: Contemporary Artists, Black Masculinities, and the Ends of the American Century—that brings together many of his new and previously published critical essays.

Copeland's various research interests are reflected by his interdisciplinary course offerings, which range from the graduate seminar "The Transnational 1960s," to an introductory survey focused on European and American modernisms and their global entanglements. Alongside his work as a teacher, critic, scholar, and administrator, he has co-curated exhibitions such as Interstellar Low Ways (with Anthony Elms), co-organized international conferences like "Black Collectivities" (with Naomi Beckwith), and co-edited several journal volumes, including "New World Slavery and the Matter of the Visual" (with Krista Thompson). An alumnus of the 2003 Whitney Independent Study Program and the 2013 Johannesburg Workshop in Theory and Criticism, Copeland has received support from the Alice Kaplan Institute for the Humanities, the American Council of Learned Societies, the Georgia O'Keeffe Museum Research Center for American Modernism, the Program of African Studies, the Terra Foundation for American Art, and the W.E.B. Du Bois Institute for African and African American Research at Harvard University.

Program Area: Africa and the African Diaspora, Contemporary Art, Twentieth-Century Art

Regional Specialization: African American/African Diaspora, Global Networks/Diasporas/Comparative, North America

Selected Publications

Huey Copeland, Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America (Chicago: University of Chicago Press, 2013).
Huey Copeland, "Dark Mirrors: Theaster Gates and Ebony," Artforum 52.2, October 2013, 222-229.
Huey Copeland & Krista Thompson, "Perpetual Returns: New World Slavery and the Matter of the Visual," Representations 113 (Winter 2011): 1-15.
Huey Copeland, "In the Wake of the Negress," in Modern Women: Women Artists at the Museum of Modern Art, ed. Cornelia Butler and Alexandra Schwartz (New York: Museum of Modern Art, 2010), 480-497.