Photo of Milena Tomic
mtomic@faculty.ocadu.ca
Photo of Milena Tomic
Milena Tomic
Instructor
Faculty of Liberal Arts and Sciences, Graduate Studies
mtomic@faculty.ocadu.ca

Area(s) of Expertise

Contemporary Art, Art Criticism, Critical Theory

Overview

Milena Tomic is an art historian and writer based in Toronto. Her research specialty is contemporary art after 1970, with an emphasis on quotational strategies. She completed her PhD at University College London and held a SSHRC Postdoctoral Fellowship at McGill University. Her peer-reviewed articles have appeared in Word & Image, Oxford Art Journal, Tate Papers, OBJECT, and TOPIA. She has also written for frieze, Art in America, ARTMargins Online, C Magazine, Border Crossings, Fillip, Journal of Curatorial Studies, CritCom, and other venues.

Education

PhD, History of Art, University College London (2008-12) MA, Art History, University of British Columbia (2006-08) BFA, Visual Arts, York University (2002-06)

Awards \ Grants

SSHRC Postdoctoral Fellowship, Social Sciences and Humanities Research Council of Canada (2014–16) Inspired Teaching Award, Faculty & Curriculum Development Centre, OCAD University (2014) SSHRC Doctoral Fellowship, Social Sciences and Humanities Research Council of Canada (2008–12) Graduate School Research Projects Fund Travel Grant, University College London (2011) Terra Foundation for American Art Research Travel Grant (2010) University Graduate Fellowship, University of British Columbia (2007–08) Andrew MacIntosh Memorial Book Prize in Fine Arts, University of British Columbia (2008) CGS Master's Scholarship, Social Sciences and Humanities Research Council of Canada (2006–07) Faculty of Arts Grant Supplement Award, University of British Columbia (2006–07) President's Scholarship, York University (2002–06) Dean's Prizes for Excellence, Faculty of Fine Arts, York University (2004)

Selected Publications

Book manuscript (in progress): Corpse of Art:  Copy as Network in Yugoslavia and After

Peer-reviewed articles and reviews:

“Reinvention as Parallax: Allegorical and Other Afterlives of Allan Kaprow’s Un-Art,” Word & Image, vol. 33, no. 2 (2017): 109–26

“Biopolitical Effigies: The Volatile Life-Cast in the Work of Paul Thek and Lynn Hershman Leeson,” Tate Papers, no. 24 (Fall 2015), http://www.tate.org.uk/research/publications/tate-papers/24/biopolitical-effigies-paul-thek-and-lynn-hershman-leeson

“Fidelity to Failure: Re-enactment and Identification in the Work of Mike Kelley and Paul McCarthy,” Oxford Art Journal, vol. 36, no. 3 (2013): 437–56

“Re-enacting OHO: Some Interventions in a Neo-avant-garde Field,” OBJECT, no. 14 (2012): 100–25

Entry on IRWIN, Oxford Art Online, Oxford University Press (December 2012): http://www.oxfordartonline.com/subscriber/article/grove/art/T2228608

Entry on “Body Art in Eastern Europe,” Oxford Art Online, Oxford University Press (December 2012): http://www.oxfordartonline.com/subscriber/article/grove/art/T2228585

Exhibition review, “Move: Choreographing You – Art and Dance since the 1960s” at the Hayward Gallery, Journal of Curatorial Studies, vol. 1, no. 1 (February 2012): 104–108

“Reframing the Invisible: On the Uses of ‘Bare Life’ in Art,” TOPIA: Canadian Journal of Cultural Studies, no. 22 (Fall 2009): 159–78

Other publications:

Book review of Anna Dezeuze’s Almost Nothing: Observations on Precarious Practices in Contemporary Art, The Burlington Magazine, forthcoming

Ydessa Hendeles at The Power Plant, Art in America, vol. 105, issue 8 (September 2017), 128

Book chapter: “Painting (in) the Black Box: Radenko Milak’s Endless Movie,” forthcoming

Exhibition essay: “Model Dystopias: Young & Giroux’s Sculptures and Films,” for Dan Young and Christian Giroux’s “Tangerine Panther” at 8eleven, Toronto (2017): http://8eleven.org/model-dystopias-young-girouxs-sculptures-and-films-an-essay-by-milena-tomic/

Iris Häussler at The Art Gallery of York University and Scrap Metal, Art in America, vol. 105, no. 2 (February 2017): 107-08

Franz Erhard Walther at The Power Plant, Art in America, vol. 104, no. 10 (November 2016): 159–60

Vanessa Maltese and Nathalie Du Pasquier at Cooper Cole, Frieze, issue 182 (October 2016), 248-49

Sharon Hayes at Studio Voltaire, Art in America, vol. 104, no. 9 (October 2016): 162–63

David Maljković at VOX, Art in America, vol. 104, no. 4 (April 2016): 121

Exhibition essay: “Dead Men Displayed with Their Pictures: Remediating Violent History in Radenko Milak & Roman Uranjek’s DATES,” in Radenko Milak & Roman Uranjek’s DATES 2, Museum of Contemporary Art, Zagreb, 2015, 7–24; translated into Serbo-Croatian and reprinted for the Belgrade Cultural Centre, Podroom Gallery, January 2016

Charles Stankievech at Prefix ICA, Art in America, vol. 103, no. 11 (December 2015): 145–46

“Hommage à Malevich: Black Square Continued, City Art Gallery, Ljubljana,” ARTMargins Online (October 16, 2015): http://www.artmargins.com/index.php/3-exhibitions/768-2015-10-16-23-47-54

Vera Frenkel at MOCCA, Art in America, vol. 103, no. 3 (March 2015): 166

Mark Lewis at Daniel Faria, Art in America, vol. 103, no. 2 (February 2015): 113

Book review: Pavlína Morganová’s Czech Action Art: Happenings, Actions, Events, Land Art, Body Art and Performance Art Behind the Iron Curtain, Reviews and Critical Commentary (CritCom): A Forum on Research & Commentary on Europe, Council for European Studies, Columbia University (Dec 9, 2014): http://councilforeuropeanstudies.org/critcom/czech-action-art-happenings-actions-events-land-art-body-art-and-performance-art-behind-the-iron-curtain/

Rebecca Belmore at Justina M. Barnicke, Art in America, vol. 102, no. 9 (October 2014): 184–185

“Material Self: Performing the Other Within” at the Museum of Contemporary Canadian Art, Border Crossings, vol. 33, issue 3 (Sept-Nov 2014): 116–17

Chris Curreri at Daniel Faria, Art in America, vol. 102, no. 4 (April 2014): 122–23

Jack Goldstein at The Jewish Museum, Border Crossings, vol. 33, no. 1, issue 129 (March 2014): 97–98

Duane Linklater at Susan Hobbs, Art in America, vol. 101, no. 11 (December 2013): 161

Jimmy Robert at The Power Plant, C Magazine, no. 120 (December 2013): 52

Althea Thauberger at The Power Plant, Art in America, vol. 101, no. 6 (June 2013): 168–69

Julia Dault at Jessica Bradley, Art in America, vol. 101, no. 5 (May 2013): 175–176

Dayanita Singh at Frith Street, Art in America, vol. 101, no. 4 (April 2013): 122

Ed Atkins at Chisenhale, Art in America, vol. 101, no. 1 (January 2013): 114           

Edmund de Waal at Alan Cristea, Art in America, vol. 100, no. 11 (December 2012): 195

Nathan Coley at Haunch of Venison, Art in America, vol. 100, no. 10 (November 2012): 178–79

Sarah Sze at Victoria Miro, Art in America, vol. 100, no. 9 (October 2012): 183–84

Book review: Judith Rodenbeck’s Radical Prototypes: Allan Kaprow and the Invention of Happenings, C Magazine, no. 114 (June 2012): 60

“Rearview Mirror: New Art from Central and Eastern Europe” at The Power Plant, ARTMargins Online (August 2011): http://www.artmargins.com/index.php/2-articles/643-rearview-mirror-new-art-from-central-and-eastern-europe. Reprinted in Câtâlin Gheorghe and Cristian Nae, eds, Exhibiting the “Former East”: Identity Politics and Curatorial Practices after 1989: Critical Reader (Iaşi: SC Masterprint SRL, 2013): 65–69

“Universal Code: Art and Cosmology in the Information Age” at The Power Plant, Fillip, no. 11 (Spring 2010): 75–77

“Everyday Every Other Day: Johanna Billing, Ilya and Emilia Kabakov, Ivan Grubanov, Phil McCrum, and Marina Roy” at the Blackwood Gallery, Border Crossings, vol. 25, no. 4, issue 100 (2006): 107–108

Exhibition essay: Mark Bell’s “The Truth about Falling” at YYZ Artists’ Outlet, YYZine, vol. 6, no. 5 (2006): 4–5