Olivia K Young, PhD
Olivia is an interdisciplinary scholar of African Diaspora Studies whose interests are contemporary art, visual culture, black cultural history, queer theory, black feminisms, performance studies, and disability studies.
In 2021, they joined the Department of Art History and the Center of African and African American Studies (CAAAS) at Rice University as an Assistant Professor of African Diasporic Art. They are a graduate of the Department of African Diaspora Studies at the University of California, Berkeley with a designated emphasis in Women, Gender & Sexuality. In 2019, they were a Patricia and Phillip Frost Predoctoral Fellow at the Smithsonian American Art Museum and from 2020 to 2021, they were a University of California President’s Postdoctoral Fellow. Olivia is also a recipient of the 2018 Creative Capital | Andy Warhol Foundation Arts Writers Program Grant for a collaborative blog called: speculative: black art practices of the west.
Supervisors: Brandi Wilkins Catanese, PhD , Darieck B. Scott, PhD, Leigh Raiford, PhD , Julia Bryan-Wilson, PhD, and Uri McMillan, PhD
In 2021, they joined the Department of Art History and the Center of African and African American Studies (CAAAS) at Rice University as an Assistant Professor of African Diasporic Art. They are a graduate of the Department of African Diaspora Studies at the University of California, Berkeley with a designated emphasis in Women, Gender & Sexuality. In 2019, they were a Patricia and Phillip Frost Predoctoral Fellow at the Smithsonian American Art Museum and from 2020 to 2021, they were a University of California President’s Postdoctoral Fellow. Olivia is also a recipient of the 2018 Creative Capital | Andy Warhol Foundation Arts Writers Program Grant for a collaborative blog called: speculative: black art practices of the west.
Supervisors: Brandi Wilkins Catanese, PhD , Darieck B. Scott, PhD, Leigh Raiford, PhD , Julia Bryan-Wilson, PhD, and Uri McMillan, PhD
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Papers by Olivia K Young, PhD
of the visual realm—disrupting expectations of clarity and
repose for the sake of transformation. Vernon’s aesthetic
practice pushes the visual to the point of destruction until
new signifying practices begin to materialize, until what is
known begins to make way for the previously unimaginable.
As Marriott reminds, in order to “register” that which lies
beyond vision, “we must destroy [the] image in its present
form and create it in another form, transposing what it shows
in order to make it tell.”"
of the visual realm—disrupting expectations of clarity and
repose for the sake of transformation. Vernon’s aesthetic
practice pushes the visual to the point of destruction until
new signifying practices begin to materialize, until what is
known begins to make way for the previously unimaginable.
As Marriott reminds, in order to “register” that which lies
beyond vision, “we must destroy [the] image in its present
form and create it in another form, transposing what it shows
in order to make it tell.”"