Jongwoo Jeremy Kim
Associate Professor Carnegie Mellon University
Biography
Areas of Expertise
Media
Social
Education
New York University
B.A.
Art History
1998
Institute of Fine Arts at New York Universit
M.A.
Art History
2001
Yonsei University
B.A.
English Literature
1999
Northwestern University:
M.A.
Art History
2000
Institute of Fine Arts at New York University
Ph.D
Art History
2007
Affiliations
- Historians of British Art
- Queer Caucus for Art
- The North American Victorian Studies Association
- The College Art Association
Languages
- English
- Korean
Event Appearances
Panelist
(2021) Intersections of Performance, Visual Arts, and Activism in Korea and the Korean Diaspora Rhode Island School of Design
Speaker, c. 1600-1900, Center for Advanced Study in the Visual Arts
(2022) Art Academics: Europe and the Americas Washington, DC
Panelist, “Art Writing Futures”
(2021) Association Internationale des Critiques d'Art (AICA-USA)
Led a conversation with the artist Sutapa Biswas on Lumen (2021)
(2022) Radical Victorians The Frick Pittsburgh
Speaker, c. 1600-1900, Center for Advanced Study in the Visual Arts
(2021) Art Academics: Europe and the Americas Munich, Germany
Articles
City of Gold and Mud: Painting Victorian London by Nancy Rose Marshall
Victorian Studies2015
The theoretical underpinnings of Nancy Rose Marshall’s City of Gold and Mud: Painting Victorian London are compelling and urgent for newer generations of art historians who specialize in nineteenth-century Britain—or any form of modernism and modernity of that period and beyond. Marshall rightly asserts that “pictures can productively be read against themselves,” and “their ostensible, often overdetermined and obvious reiterations of hegemonic ideologies” are rarely stable.
Filming the Queerness of Comfort Women: Byun Young-Joo's The Murmuring, 1995
Positions: East Asia Cultures Critique2014
This essay does not concern the history of comfort women per se; rather, it treats disruption and transgression in the discourse of comfort women, as filmmaker Byun Young-Joo sets in motion in The Murmuring (1995). This essay is particularly concerned with Byun's visual language in The Murmuring, which exceeds or is independent of the film's dialogue and narration, spoken to defy and subvert the tyranny of the social norms that regulate gender and sexuality.
Pre-Raphaelite Masculinities: Constructions of Masculinity in Art and Literature
Victorian Studies2016
There is no doubt that scholars, including myself, will consult Yeates’s wellorganized and well-researched essay for the vile examples in which Victorian England pathologized, shamed, and oppressed variants of the male sex and their representations, but Yeates misses an opportunity to inform her readers of her scholarly position on the history of sexes, in which there is no neutrality that does not favor the oppressor.
Picturing the Edwardian Family Man: The Nicholsons at Home
Art History2019
(Mr Darling arrives […]. He is really a good man as breadwinners go […]. In the city where he sits on a stool all day, as fixed as a postage stamp, he is so like all the others on stools that you recognize him not by his face but by his stool, but at home the way to gratify him is to say that he has a distinct personality. He is very conscientious, and in the days when Mrs Darling gave up keeping the house books correctly and drew pictures instead (which he called her guesses), he did all the totting up for her, holding her hand while he calculated whether they could have Wendy or not, and coming down on the right side.
Pictures-within-Pictures in Nineteenth-Century Britain
Victorian Studies2018
Roach focuses on five artists—John Scarlett Davis, JMW Turner, John Everett Millais, Emma Brownlow King, and William Powell Frith—who produced some of the most significant examples of such pictures. Roach shows that, integral to their amusement, these paintings had (and still have) a serious and generally conservative social function. By displaying pictorial pedigrees laboriously traced back to Raphael, Anthony van Dyck, Joshua Reynolds, and so on, pictures-within-pictures encourage a reverence that reasserts class stratification.
