Professor Michael Corris (Ph.D. History of Art, University College London; M.F.A. Painting/Media, MICA, Baltimore; B.A. Art with Honors, Brooklyn College/City University of New York) is an artist and writer on art whose work is most closely identified with the critical practices and attitudes of Conceptual art.
As a participant in the collective Art & Language in New York (1972-76), Corris exhibited and published internationally, was a founding editor of The Fox, engaged in the organization of artists, and contributed to the debate surrounding the conjunction of avant-garde art and political activism. Such issues and contingent practices — once contentious and divisive of the art world — have coalesced since the mid-1980s to form stable and manageable forms of art and social engagement. These attitudes and practices are familiar to us as “institutional critique,” “interventionist art” and “art & social practice,” among other terms. For Corris, these practices continue to function as cultural formations open to critical inquiry and productive destabilization.
Corris’s practice as an artist exemplifies versatility. His art utilizes a variety of discursive platforms — public exhibitions, essay writing, exhibition organizing, and historical research — that are essentially situational, self-managed and generated by collaborative and conversational encounters that take place within and outside the art world.
Corris’s work may be found in public and private collections internationally, including the Museum of Modern Art (New York), Le Consortium (Dijon), Victoria and Albert Museum (London), Tate Britain (London), Staatsgaleri (Stuttgart), Le Musée des Beaux-Arts (La Chaux-de-Fonds, Switzerland), Progressive Art Collection (Cleveland and Tampa), Collection Ghislain Mollet-Viéville (Paris), Collection Phillippe Méaille/Château du Montsoreau-Museum of Contemporary Art (Montsoreau), and the Getty Research Institute (Los Angeles).
Corris’s research and artistic practice has been supported by grants and fellowships from the National Endowment for the Arts, the British Academy, the Arts Council of England, the Sam Taylor Fellowship, the Gerald R. Ford Senior Research Fellowship, Dedman College Interdisciplinary Institute, and the University Research Council (SMU).