Daniel Ricardo Quiles
Assistant Professor, Art History, Theory & Criticism (2009). BA, 1997, Amherst College; MA, 2006, PhD, 2010, The Graduate Center, City University of New York. Publications: Caiana Journal, Artlas Bulletin, ArtMargins, Artforum, ArtNexus, Art in America, Arte al Dia International, Visual Resources, Americas Society Quarterly. Awards: 2013-2014 Postdoctoral Fellow, École Normale Supérieure, Paris; Warhol Foundation Arts Writers Grant; Milton Brown Dissertation Fellowship; Getty Research Institute Library Research Grant; Amherst College Memorial Fellow; Critical Studies Fellow, Whitney Independent Study Program.
Experience at SAIC
Faculty Senate Remuneration and Benefits Committee, 2012–present
Dual-Degree Coordinator, 2011–present
Co-Chair of Art History Self-Study Committee, 2012–2013
Art History Campus Facilities Study Committee, 2011–2012
Events and Exhibitions Committee, 2009–2011
Curriculum Committee, 2010–2011
Course Evaluation Committee, 2010–2011
Co-creator and faculty advisor, MA/MFA Studio Visit Group, 2010-2013
Current Major Projects
Ghost Messages: Argentine Conceptualism, 1965–1972. Book manuscript, to be completed 2014.
Catalogue Essays and Contributions to Scholarly Journals
"Technology for Communication and Containment in Argentine Conceptualism," in Sighting Technology in Modern and Contemporary Latin American Art. María Fernández, ed. Ithaca, NY: Institute for Comparative Modernities, 2015 (forthcoming).
"Dead Boars, Viruses, and Zombies: Roberto Jacoby's Art History," Art Journal, Spring 2015 (under consideration).
"Sifters: Overidentification in Latin American Conceptualism," in exhibition catalogue for Neue Slovenische Kunst retrospective, Moderna galerija / Museum of Modern Art, Ljubljana, 2014 (forthcoming).
Chapter contribution, A Companion To Modern and Contemporary Latin American and Latino Art. Robin Greeley and Megan Sullivan, eds. Boston: Wiley-Blackwell, 2014 (forthcoming).
"Black Box / Clear Box: Luis Benedit and Cybernetics," in Luis Benedit. Maria Torres, ed. Buenos Aires: Fundación Espigas, 2014 (forthcoming).
"Exhibition as Network, Network as Curator: Canonizing Art from 'Latin America,'" Artlas Bulletin, July 2014.
"Between Organism and Sky: Oscar Bony, 1965–1976," Caiana Journal, Summer 2014.
"My Reference is Prejudiced: David Lamelas's Publication," Art Margins, Fall 2013, pp. 31–62.
"Architectural History as Medium," in Osvaldo Romberg, Translocations: Mies and Melnikov, exh. cat. Plano, IL: National Trust for Historic Preservation, 2013.
"Distress," in Dimensional Lines: Art + Dress, exh. cat. (Chicago: Evanston Art Center, 2012).
"Conrad Freiburg: Out of Time," in Conrad Freiburg: It Is What It Isn't, exh. cat. (Chicago: Hyde Park Art Center, 2011).
"Response to Philip Derbyshire's 'Who Was Oscar Masotta?'" Radical Philosophy (Fall 2010).
"Contra-," Ramona (Buenos Aires) (Summer 2010).
"Mixed Fortunes," in Mariliana Arvelo: Mixed Fortunes, ed. José Guillermo Fantoni, exh. cat. (Cambridge, MA: David Rockefeller Center for Latin American Studies, Harvard University, 2009).
"Deciding the Best of Given Choices," in Carla Herrera-Prats: Prep Materials: Art in General New Commissions Program Vol. XIX, exh. cat., ed. Anne J. Barlow and Eva Diaz (New York: Art in General, 2008), 21–37.
"Interview with Roberto Jacoby," Americas Society Quarterly (November 2007), 323–330.
"Burn Out My Identity: Destruction and Collectivity in Greco and Minujín," in Beginning With A Bang! From Confrontation To Intimacy: An Exhibition of Argentine Contemporary Artists, exh. cat., ed. Gabriela Rangel Mantilla (Boston: Harvard University Press and Americas Society, 2007), 69–80.
Criticism and reviews
Arte al Dia International
Disclaimer: All work represents the views of the INDIVIDUAL ARTISTS & AUTHORS who created them, and are not those of the school or museum of the Art Institute.