This page introduces advanced doctoral candidates and recent graduates from the University of North Carolina at Chapel Hill currently seeking teaching appointments in the field of Art History:


Kim Bobier
Ph.D., UNC-Chapel Hill
M.A., UNC-Chapel Hill
B.A., Lake Forest College

bobiekr@gmail.com
https://unc.academia.edu/KimBobier

Research Interests: Modern and contemporary art, art of the United States, art of the African Diaspora, critical theory, critical race theory, gender and sexuality studies, postcolonial epistemologies, intellectual history, paradigms of representation, and issues of reproductive labor

Professional Biography: My concentrations are African American art history, modern and contemporary art history, and the politics of representation, including the study of capitalism, gender, race, and sexuality. By mobilizing these areas of inquiry, I seek to model how debates surrounding visual culture elucidate art’s broader societal functions, especially those pertaining to viable frameworks for social justice.

My work has been supported by fellowships from the Whitney Museum of American Art’s Independent Study Program, the Andrew Mellon Foundation Black Metropolis Research Consortium, and the Luce/ American Council of Learned Societies among other institutions. I have published articles and art criticism in Afterimage, African Arts Journal, Nka: Journal of Contemporary African Art, International Review of African American Art, Panorama: Association of Historians of American Art, and elsewhere. 

My dissertation investigates late twentieth-century United States-based artists’ appropriations of civil rights movement imagery. These artists’ recasting of the movement’s famous imagery posits it as a revealing entry point for analyzing 1980s and 1990s identity politics and questions of appropriation in contemporary art and beyond. My project focuses on Lorraine O’Grady, Glenn Ligon, Alfredo Jaar, and Kerry James Marshall whose artwork challenged the ways that late twentieth-century dominant culture’s portrayal of the movement obscured mid-twentieth-century civil rights activists’ efforts to overturn foundational American structures, which maintain racist oppression. In exploring how these artists reconfigured the civil rights movement’s conventional visual repertoire, my study offers a new set of coordinates for approaching influential late twentieth-century discourses about appropriation and what these discourses take for granted, particularly with respect to the black cultural politics of that period.

CV available upon request.