Heather A. Diack‌

‌Assistant Professor of Art History

1540 Levante Avenue
Coral Gables, FL 33146


Heather A. Diack is Assistant Professor of Art History at the University of Miami where she teaches Modern and Contemporary Art, Theory, and the History of Photography. Though her teaching covers all aspects of art after 1945 and the legacies of the early avant-garde, Dr. Diack’s research focuses on conceptual art in relation to photography.

Diack received her Ph.D. from the University of Toronto, and is a graduate of the art history program of McGill University and the Independent Study Program of the Whitney Museum of American Art. Before joining the University of Miami faculty, Diack was a postdoctoral fellow and lecturer in the Department of Art History, Visual Art and Theory at the University of British Columbia, and a lecturer at the University of Toronto, York University, and the Nova Scotia College of Art and Design University. Her scholarship has been supported by the Social Sciences and Humanities Research Council of Canada, DAAD/ Goethe Institute, the National Endowment for the Humanities, the Jackman Humanities Institute, and the Canadian Centre for Architecture in Montreal, among others.

In 2014-2015, Diack was a faculty research fellow at the Center for the Humanities, University of Miami, and in 2015-2016, the Nadir Mohamed postdoctoral fellow at the Ryerson Image Centre, Ryerson University, Toronto.

Diack has been appointed the Terra Foundation for American Art Visiting Professor at the John F. Kennedy Institute for North American Studies at the Freie Universität in Berlin, 2016.

Areas of Academic interest: Contemporary Art and Critical Theory; History and Theory of Photography; Conceptual Art; American Art; Humor Studies; Issues of Globalization in Contemporary Art; Visual Culture; Curatorial Studies; Performance Studies; Aesthetic Philosophy and Civic Engagement.

Selected Publications:

Marks of Contingency: The Photographic Conditions of Conceptual Art. (Book manuscript, under review).

“Clouded Judgment: Conceptual Art and Photography,” Photography in Doubt, eds. Andrés Zervigón and Sabine Kriebel (London: Routledge Books, 2016). Forthcoming.

““We Two Form a Multitude”: Relations Within Douglas Huebler’s Conceptual Family of Man,” Douglas Huebler, eds. Christophe Viart, Alexander Streitberger, and Anaël Lejeune (Rennes, France: Presses Universitaires de Rennes, 2016). Forthcoming.

“Indecisive Moments: Proliferation and the Passerby in Conceptual Photography” The “Public” Life of Photographs, ed. Thierry Gervais. (Cambridge, Mass. and Toronto, Canada: M.I.T. Press and Ryerson Image Center, 2016). Forthcoming.

Blasted Allegories: Photography as Experience, ed. Heather Diack, exh. cat. (Coral Gables: Lowe Art Museum, 2016).

“Hand Over Fist: A Chronicle of Cold War Photography,” Visual Studies, Vol. 30, no. 2, eds. Thy Phu, Sarah Bassnett, Andrea Noble, (London: Routledge, 2015): 182-194.

“Facts of Matter: On the Malleability of Photographic Form,” Altarations: Built, Blended, Processed, eds. Rod Faulds and Jeanie Grieble (Boca Raton: Florida Atlantic University Gallery, 2015): 7-9.

“Liliane Tomasko and the Texture of Light,” Liliane Tomasko: Mother-Matrix-Matter, ed. Jill Deupi (Lowe Art Museum, Miami, 2015): 8-9.

“Amnesia and Abstraction: Lowell Bradshaw’s Recent Paintings,” Lowell Bradshaw: No Signal, (Chatham, Ontario: Thames Art Gallery, 2015). (Invited).

“Body of Evidence: The Modernisms of Manuel Alvarez Bravo,” Pan American Modernism: Avant-Garde Art in Latin America and in the U.S., ed. Nathan Timpano (Miami: Lowe Art Museum, 2013): 52-73.

Photography Collected Us, exh. cat. (Toronto: University of Toronto Art Centre, 2012) 9-31.

“Sleepless Nights: Contemporary Art & the Culture of Performance,” eds. Jennifer Fischer and Jim Drobnick, Public Issue 45: Art and Civic Spectacle, Spring 2012: 8-22.

“Humour as Conceptual Critique: A Historic Repression and a Contemporary Legacy,” eds. Dominic Hardy, Annie Gérin, Jean-Philippe Uzel, REVUE D’ART CANADIEN/CANADIAN ART REVIEW (RACAR), Special Issue: Humour in the visual arts and visual culture: practices, theories and histories / L’humour dans les arts et la culture visuels : pratiques, théories et histoires, (Spring 2012): 75-86.

““Nobody can commit photography alone”: Early Photoconceptualism and the Limits of Information,” Afterimage: journal of media arts and cultural criticism, Vol. 38.4(January-February, 2011: 14-19).

“Activating Exodus: The Art of Melissa Shiff,” Afterimage: journal of media arts and culturalcriticism, Vol. 36.7, Fall 2006: 58-62.

“Too Close to Home: Rethinking Representation in Martha Rosler’s Photomontages of War,” Prefix Photo 14 Fall/Winter 2006: 56-69.

Criticism and reviews:

[Exhibition and catalogue review] This Place, Norton Museum of Art, curator: Charlotte Cotton. caa.reviews (2016). Forthcoming (invited).

[Book review] Lisa Saltzman, Daguerreotypes: Fugitive Subjects, Contemporary Objects (University of Chicago Press, 2015), History of Photography (2016). Forthcoming (invited).

“Shannon Ebner: A Public Character” at Institute of Contemporary Art Miami, Artforum.com, December 2015.

“Egan Frantz” at Michael Jon and Alan Gallery, Miami, Artforum.com, December 2014.

“Dispatch: War Photographs in Print, 1854-2008,” curated by Thierry Gervais at Ryerson Image Center, Toronto. Artforum.com, October 2014.

“Urbes Mutantes: Latin American Photography 1944-2013” curated by Alexis Fabry and María Wills at International Center of Photography, New York, NY. Miami Rail, Fall 2014.

“Richard Hamilton” curated by Mark Godfrey, Paul Schimmel and Vicente Todolí with Hannah Dewar. Exhibition organised by the Museo Nacional Centro de Arte Reina Sofía in collaboration with Tate Modern, at Tate Modern, London, UK. Miami Rail, Summer 2014.

“Nina Katchadourian: Seat Assignment” at Cecilia Brunson Projects, London, UK. Artforum.com, May 2014.

“Yael Bartana: Inferno” at Perez Art Museum Miami, Artforum.com, January 2014.

“Permission to be Global: Latin American Art from the Ella Fontanals-Cisneros Collection” Miami Rail, Spring 2014: 62-64.

________. Chinese translation reprinted in Numero China, June 2014 Issue.

“Deferred Archive” at Cisneros Fontanals Art Foundation (CIFO), Miami, Artforum.com, October 2013.

“Dawoud Bey: Picturing People” at North Miami Museum of Contemporary Art, Miami, Artforum.com, August 2013.

“Martin Kippenberger: Sehr Gut” at Hamburgerbanhof, Berlin, GR. Artforum.com, August 2013.

“Annie MacDonell: Beside the midnight lake at Katherin Mulherin Gallery,” C magazine for Contemporary Art, no. 108, Winter 2010: 44-45.

[Book review] Maria Tippett's Portrait in Light and Shadow: The Life of Yousuf Karsh (Yale University Press, 2007), University of Toronto Quarterly: A Canadian Journal of the Humanities (Issue 79.1, Winter 2009/2010).

“Operating Without a License,” review of Appropriation: Documents of Contemporary Art ed. David Evans. (Cambridge: MIT Press, 2009), Afterimage: journal of media arts and cultural criticism, Vol. 36.6, May-June 2009: 36-37.

“Erwin Wurm: Ethics and Equilibrium,” review of UQAM exhibition in Canadian Art magazine, Spring 2009: 100-101.

“Sign Language as Politics,” (exh. review of ‘infinitu et contini: repeated histories, reinvented resistance’ at Smack Mellon, Brooklyn, New York, Nov. 17- Dec. 30, 2007), Afterimage: journal of media arts and cultural criticism, Vol. 35.5, March-April 2008: 17-18.