Credit: Paris Preston  @imrsn_thrpy

Credit: Paris Preston @imrsn_thrpy

Andy Johnson is a DC-based art historian, curator, and arts writer. He is Director of Gallery 102 at the Corcoran School of the Arts & Design; contributing editor at DIRT; and serves as Assistant Curator and Artist Liaison for Art on the Vine, hosted by the Agora Culture. He was the 2018 Apprentice Curator for the DC Arts Center, and a 2019 Visiting Arts Writer and Critic for The Chart.

His research traces the systemic and interrelated brutality of white supremacy, colonialism, the nation-state, patriarchy, and masculinity. He is also interested in the politics of pleasure, the erotic, and queer aesthetics. Through his publishing, curatorial practice, and research, he points to the violences these systems inflict upon particular bodies as they move through distinct spaces — rendering them invisible, hypervisible, or both. Subsequently, his work underlines the importance through which individuals and communities create and sustain space as a means of survival, relying on an illegibility of sorts to ensure a futurity.

His work is influenced and informed by queer theory, queer-of-color critique, feminist and black feminist theories, critical race theory, affect theory, cultural studies, porn studies, and sexuality studies. His curatorial and artistic interests center around photography, video, installation, performance art, and visual culture. He has begun to develop an artistic practice investigating queerness, masculinity, pleasure, queer desire and eroticism. He has exhibited work at Washington Project for the Arts, Otis Street Arts Projects, Stevenson University, Greater Reston Arts Center, and has published his work in two Homie House Press publications — The Shadow Means It’s Real and First Fronteras.

He has curated and juried exhibitions with Gallery 102, DC Arts Center, Duke Ellington School of the Arts, Dupont Underground, the Smithsonian Institution, among others. He has presented research and spoken on panels at universities, galleries, and museums including Rutgers University, UC Santa Barbara, University of Georgia, Urban Institute for Contemporary Arts, GW Museum, Washington Project for the Arts, and others. He has published articles, exhibition reviews, and catalogue essays with DIRT, The Chart, Common Field’s Field Perspectives, The Rib, Pelican Bomb, BmoreArt, and more. He holds a M.A. in Art History from The George Washington University.

Click here to view CV.