Chad Elias

Academic Appointments

Assistant Professor of Art History
Tate Modern Research Fellow, 2015-18

My first book, Posthumous Images: Contemporary Art and Memory Politics in Post-Civil War Lebanon, was published by Duke University Press in 2018. In collaboration with the Hood Museum, I recently organized a multidisciplinary symposium which explored questions relating to resource extraction, carbon imaginaries, species extinction and evocations of the deep past and worlds-to-come in contemporary art. A third research project in progress analyzes how contemporary artists critically engage with AI, machine vision, virtual reality and 3D printing as rapidly evolving forms that are marked by indeterminancies. It argues that these technologies serve to unsettle identity formations that span ontological boundaries (i.e. between human and nonhuman actants) and established hierarchies that are encoded across racial and gender lines.

Department(s): 
Art History
Education: 
PhD Northwestern University

Selected Publications

"Whose Digital Heritage? Contemporary Art, 3D Printing and the Limits of Cultural Property," Third Text 159. 33 (July 2019). Forthcoming.

"A Face in the Cloud: Visual Culture, Artificial Intelligence, and the Physiognomic Turn," in Wiley Balckwell Companion to Visual Culture, ed. Aubrey Anable and Catherine Zuromskis (Hoboken: Wiley Blackwell, forthcoming 2019). Commisioned critical essay.

Posthumous Images: Contemporary Art and Memory Politics in Post-Civil War Lebanon  (Duke University Press, 2018).

“Preservation By Other Means: Contemporary and the Deconstruction of Heritage,” special issue edited with Mary Coffey, Future Anterior 15.1 (Summer 2018).

"The Artist as Collector: A Dialogue on the Possibilities and Limits of an Institution," in Against Photography: An Annotated History of the Arab Image Foundation (Barcelona: Museu d'Art Contemporani de Barcelona), 40-44.

“Landscape Photography’s ‘New Humanism’,” in Photography Reframed: New Visions in Contemporary Photographic Culture, ed. Ben Burridge and Annebella Pollen (London: I.B. Tauris, 2018).

Kader Attia: Reason’s Oxymorons (Hanover: The Hood Museum, 2018).

“Emergency Cinema and the Dignified Image: Cell Phone Activism and Filmmaking in Syria,” Film Quarterly  31, no. 1 (2017): 18-31.

“Citizen Photography in Fouad Elkoury’s Beyrouth Aller-Retour,” photographies 10, issue 3 (2017): 265-282.

“On War and Love: A Conversation with Akram Zaatari,’  in Queer (Documents in Contemporary Art), ed. David Getsy (Cambridge, Mass: MIT Press, 2016), 185-188.

“The Museum Past the Surpassing Disaster: Walid Raad’s Projective Futures,” in Archival Dissonance: Knowledge Production and Contemporary Visual Culture, ed. Anthony Downey (London: I. B. Tauris, 2015), 215-231.

“On Three Posters’ by Rabih Mroué.” In Focus (London: Tate Modern, 2014), n.p.

+ View 4 more