- 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).
Murray is Associate Editor of Nka: Journal of Contemporary African Art (Duke University Press) and is currently serving on the Editorial Advisory Board of Third Text.
Murray recently joined the Editorial Board of Art Journal (CAA) and will serve until 2020.
Derek Conrad Murray, University of California at Santa Cruz, Porter Faculty Services, 1156 High Street, Santa Cruz, CA 95064
Murray's book entitled Queering Post-Black Art: Artists Transforming African-American Identity After Civil Rights (2015) was recently published by I.B. Tauris (UK). See I.B. Tauris Link See Amazon Link
Murray’s book Regarding Difference: Contemporary African-American Art and the Politics of Recognition will be published by Manchester University Press (UK) as a part of the series Rethinking Art’s Histories (ed. Amelia Jones and Marsha Meskimmon).
Selected Peer-Reviewed Essays/Reviews/Articles:
“Notes to Self: The Visual Culture of “Selfies” in the Age of Social Media," Special Issue: Consumption Markets & Culture Journal, Theme: Communicating Identity/Consuming Difference, ed. Jonathan Schroeder, Vol. 18, No. 6, pp. 490-516, 2015
“Post-Black Art and the Resurrection of African-American Satire” in Post-Soul Satire: Black Identity After Civil Rights,
eds. Derek C. Maus and James Donahue (University Press of Mississippi, 2014).
“Mickalene Thomas: Afro-Kitsch and the Queering of Blackness,” in American Art (Special issue on Post-Identity), Spring
2014, Vol. 28, no. 1
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.
"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
“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
“Uneasy Bedfellows: Canonical Art Theory and the Politics of Identity,” co-authored with Soraya Murray, in Art Journal,
“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: