- UC Santa Cruz
- Visual Studies PhD
Derek Conrad Murray is an interdisciplinary theorist specializing in the history, theory and criticism of contemporary art, African-American/African Diaspora art and culture, Post-Black art and aesthetics, theoretical approaches to identity and representation, critical issues in art practice, and the methodologies and ethics of Art History and Visual Studies. He has contributed to leading magazines and journals of contemporary art such as American Art, Art in America, Parachute, Art Journal, Exit EXPRESS, the Documenta 12 Magazine Project, Public Art Review, Third Text and Nka: Journal of Contemporary African Art (Duke University Press), where he currently serves as Associate Editor. Murray was extensively interviewed in MSNBC correspondent Toure’s book Who’s Afraid of Post Blackness: What It Means to Be Black Now (Atria Books, 2012).
Derek Conrad Murray, University of California at Santa Cruz, Porter Faculty Services, 1156 High Street, Santa Cruz, CA 95064
“Mickalene Thomas: Afro-Kitsch and the Queering of Blackness,” in American Art (Special issue on Post-Identity), Spring 2014, Vol. 28, no. 1(forthcoming)
Book Review of T.J. Demos' The Migrant Image: The Art and Politics of Documentary during Global Crisis (Durham: Duke University Press, 2013) Third Text, Vol. 27, No. 6, 806-814, 2013.
“Post-Black Art and the Resurrection of African-American Satire” in Post-Soul Satire: An Interdisciplinary Critical Overview, eds. Derek C. Maus and James Donahue (University Press of Mississippi, 2014 forthcoming)
"Queer Feminist Durationality and the Subject as Becoming." Review/Article
of Amelia Jones’ book Seeing Differently: A History and Theory of Identification and the Visual Arts (London: Routledge, 2012),
in Art Journal, Winter 2013
“Public Ritual: William Pope .L and Exorcisms of Abject Blackness,” in Public Art Review, Issue 43, Fall/Winter 2010
“Uneasy Bedfellows: Canonical Art Theory and the Politics of Identity” in Contemporary Literary Criticism, Vol. 252, (Bristol: Gale Group, 2008).
“Post Post-Black: Some Politically Incorrect Thoughts on the Reception and Contemplation of African-American Art” Review of Darby English’s How To See A Work Of Art In Total Darkness, in Art Journal, Volume 66, Number 4 (Winter 2007): 112-114.
“Splendid Bodies: Kehinde Wiley,” in NKA: Journal of Contemporary African Art, Number 21, Fall 2007. p. 90-101.
“On Art and Contamination: Performing Identity in Global Art Practices,” in Madrid-based magazine EXIT EXPRESS, April 2007.
“Obscene Jouissance: The Visual Poetics of Labor Exploitation,” in Third Text, Issue Number 84, Vol. 21, Issue 1, January 2007.
“Carceral Subjects: The Play of Power in Artur Zmijewski’s Repetition,” in Parachute, Issue Number 124, October 2006.
“Obscene Jouissance: Aesthetics and the Visual Poetics of Labor Exploitation,” in Parachute, Issue Number 122, April 2006.
“Uneasy Bedfellows: Canonical Art Theory and the Politics of Identity,” co-authored with Soraya Murray, in Art Journal, March 2006.
“A Rising Generation & the Pleasures of Freedom,” in The International Review of African- American Art, Volume 20, Number 2, 2005: 2-11.
“Hip-Hop vs. High Art: Notes on Race as Spectacle,” in Art Journal, Volume 63, No. 2, Summer 2004: 4-19.
“Okwui Enwezor in Conversation with Derek Conrad Murray,” in NKA: Journal of Contemporary African Art Number 18, Spring/Summer 2003: 40-47.
The history, theory and criticism of contemporary art, African-American/African Diaspora art and culture, Post-Black art and aesthetics, identity and representation, the methodologies and ethics of art history and visual studies, critical issues in art practice, contemporary photography.