Bio

Noah Simblist is Chair of Painting and Printmaking and Associate Professor of Art at Virginia Commonwealth University. He works as a curator, writer, and artist and has contributed to Art Journal, Modern Painters, Art in America, Art Papers, Terremoto, Art Lies, Art Pulse, Art21 and other publications. His dissertation Digging Through Time: Psychogeographies of Occupation focused on the ways that contemporary artists in Israel-Palestine and Lebanon address history. He edited the book Places of a Present Past (New York: Publication Studio, 2015), contributed to Beyond the Aesthetic and the Anti-Aesthetic (eds. James Elkins and Harper Montgomery, Penn State University Press, 2013), Public Servants: Art and the Crisis of the Common Good edited by Johanna Burton (New Museum and MIT Press, 2016), and is in the process of editing a volume about Tania Bruguera’s, The Francis Effect, a project co-produced by the Guggenheim Museum, the Santa Monica Museum of Art, and SMU. He has published interviews with Kader Attia, Khaled Hourani, AL Steiner and AK Burns, Omer Fast, Jill Magid, Walead Beshty, Yoshua Okon, and Nicholas Schaffhausen. His curatorial projects include False Flags with Pelican Bomb in New Orleans (2016), Emergency Measures at the Power Station (2015), Tamy Ben Tor at Testsite (2012), Out of Place at Lora Reynolds Gallery (2011), Queer State(s) at the Visual Arts Center in Austin (2011), Yuri’s Office by Eve Sussman and the Rufus Corporation at Ft Worth Contemporary Arts (2010) and was the curatorial team for the 2013 Texas Biennial. In 2016, he was the co-curator and co-producer for New Cities Future Ruins, a convening that invited artists, designers and thinkers