JOERILEY.WORK





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Photo: Natalie Conn

 Joe Riley is an artist, historian, and Ph.D. candidate at UC San Diego Visual Arts in a joint environmental research program with Scripps Institution of Oceanography’s Center for Marine Biodiversity and Conservation. 

  Joe’s research has recently been supported by the Getty Scholars Program, a UCSD Rita L. Atkinson Fellowship, and the UC Humanities Research Institute. His dissertation, Fixing the Sea: Case Studies Toward A Critical Environmental History of Ocean Art and Science since 1970, foregrounds and critically examines histories and practices of interaction between artists, oceanographers, and marine life situated within California’s university-military-research complex.

  From 2020–2025 Joe has been a participating artist and co-curator for the Pacific Standard Time exhibition Embodied Pacific, featuring projects by thirty artists working with researchers in laboratories, field sites, and archives in Southern California and the Pacific Islands. 

  Previously, he was an Ocean Fellow with TBA21-Academy and participated in the Whitney Independent Study Program. Joe holds a BFA from The Cooper Union School of Art and has taught at UC San Diego, Cal State San Marcos, Stevens Institute of Technology, and The Cooper Union.
IN PROGRESS







Fixing the Sea: Case Studies Toward a Critical Environmental History of Ocean Art and Science since 1970

2020-present
UCSD Visual Arts


My dissertation explores the interaction between artists and oceanographers in late-20th and early 21st-century environmental art. Mobilizing evidence from research spanning the studio, laboratory, and archives, I argue for a critical oceanic turn led by interdisciplinary networks situated in Southern California. I examine the institutional contours of modernist and conceptual art’s integration with environmentalism, tightening proximities between Southern California’s oceanographers and an environmental art avant-garde, and artists’ apprehension of technological solutionism and conservationist frameworks in the context of marine ecological crises. 

Photocollage detail from The Second Lagoon: Sea Grant (1974). Helen Mayer Harrison (center) and Newton Harrison (right) gazing into a large aquaculture tank they created for their Sea Grant-funded study of Scylla Serrata crabs. John D. Isaacs (left) is depicted overseeing the artists at work in the studio/laboratory.
Allan Sekula, Fish Story, Third revised English edition (London: MACK, 2018).

I track these developments through ecocritical case studies of Helen and Newton Harrison’s aquacultural experimentation in The Second Lagoon: Sea Grant (1974) and Allan Sekula’s engagement with capitalism’s oceanic crises in Fish Story (1995) and The Forgotten Space (2010). These two historical cases ground a participatory account of seaweed research conducted by contemporary artists and scientists in relation to intersecting histories of how we model and understand colonization, maritime capitalism, and globalization. By integrating visual-historical and ecocritical research methods and embedding their inquiry in art practice and marine science, the project offers an informed revision of standard historical narratives of environmental defense and repair through the lens of ocean science and art. 



  




R/V: Research Vessel

2025-present


This visual research focuses on the quotidian tasks, non-spectacular (even monotonous) forms of labor, and the everyday practices and instruments of doing scientific research at sea. My attention to the overlooked aspects of the “research vessel” (maritime abbreviation: R/V) brings into relief the visual history of oceanography, which tends to operate within what we might call a blue box. Echoing Bruno Latour’s adoption of the black box—a mainstay object of science and technology studies—the blue box is field-specific to the unique social, technical, and environmental circumstances of oceanic knowledge-making generated through oceanographic expeditions. For Latour and numerous other STS scholars, laboratories typically are microcosmic sandboxes where scientists generate referential knowledge about an external world. Oceanographers, however, are adept at turning the outside (i.e., the ocean) into a laboratory, working in or around the sea by carrying the laboratory's forms, structures, and protocols with them. The mundane platforms, drafting tables, and everyday instruments of the lab thus figure as mobile and scalable infrastructures, or vessels, for making the blue box and doing the “graphic” work of oceanographic research—that is, writing, drawing, and modeling the ocean.

Through a montage of newly created and archival media, this essay film seeks different ways of looking into, if not opening up, oceanography’s blue box. In doing so, the project takes a critical stance toward the over-instrumentalization of hybrid practices of art and science by turning attention toward the instruments and operations of a research vessel. Using participatory ethnographic and visual arts research methods (including photography, video, and sound recording), R/V continues prior work that I have pursued in laboratories and at coastal field sites of observing, attending, and assisting (where helpful) with marine ecological experiments. Visual materials and media collected during oceanographic survey cruise will be used to create a visual montage of the links and affinities between shipboard workers and their tools and actions within the research vessel’s apparatus. By inhabiting a research vessel—a heterotopia modified and bounded by scientific logic—this project investigates how the techniques deployed in maritime navigation and marine science shape, and in some cases determine, how ocean environments are socially assembled, perceived, and (mis)understood. 

Image samples:






  


Smith Family Calendar, 20XX, 8.5 x 11,” Courtesy of Dr. Milton Smith, DDS, and the Smith family. 


Looking for Anita Hall

2021-present


Anita B. Smith Hall (1911-1999), was an ichthyologist who co-founded the Department of Marine and Environmental Sciences at Hampton Institute (now Hampton University), the first such program in the nation’s Historically Black Colleges and Universities (HBCUs). A professor at Hampton for over forty years, Hall was also the first Black graduate student to have attended the Scripps Institution of Oceanography (Scripps/SIO) and the first Black marine biology Ph.D. student in the University of California system (Day 2002). 

The history of Professor Hall’s time at Scripps, her long career at Hampton, and her contributions to marine science and marine science teaching in HBCUs have, so far, gone largely unexamined. Many of the materials that illuminate the outlines of Hall’s story are misclassified, hidden out of view, rendered incidental, private, or subjugated to another story. Yet Hall’s history has not been entirely forgotten or erased. 

Memories of “Ma Hall,” as she was known to her students and community, are cherished and kept in the relations, images, and correspondences held dear by Hall’s family, kin, and colleagues at Hampton. These are ways of knowing Ma Hall that endure but are not necessarily matters of official or institutional record. Although Hall’s extensive papers were lost or misplaced, partial records of her research and accomplished career are extant on the edges and margins of an array of institutional archives.

Looking for Anita Hall follows her path—one that tracks with the arc of the Civil Rights movement—throug images and records from Hall’s early years growing up in Selma, Alabama, her time as an undergraduate at Talladega College, graduate studies in zoology at the University of Michigan, her research and pursuit of a PhD at SIO, and teaching at Hampton. The research undertaken to locate these materials and situate Hall’s presence is a process of working through and with scattered documents and images of a figure whose subjugated history must be uncovered obliquely and with care. 

The papers of Hall’s Ph.D. advisor, Dr. Carl Leavitt Hubbs, reveal a chapter of Hall’s story at Scripps, where she became a part-time graduate student in 1945. By 1964, Hall had completed all the requirements for the degree but was denied the opportunity to defend her doctoral thesis. This outcome is brought into sharp relief by Hall’s subsequent achievements at Hampton, including the establishment of the Center for Marine Science and Coastal Environmental Studies in 1981. Notably, the center’s library was launched with support and donations offered by Scripps oceanographer Walter Munk. Since then, Hampton’s program has precipitated the careers of hundreds of Black marine and environmental scientists, including current and recent PhDs from Scripps. 

While Hall can be identified as a “first in her field,” the point of gathering and tracking her story is not about essentializing her career or tokenizing her tenure at Scripps. Instead, the history of Hall’s life and work offers a chance to understand better the significant role played by science education, not only as a training domain but also as a set of institutional frameworks through which historically embedded patterns of anti-Blackness recursively impact the scope and structure of scientific research performed in university settings. More, if not most importantly, Ma Hall’s story is one of survivance—emphasizing presence and vitality over historical absence—that asks us to challenge assumptions about how, where, and for whom histories of science and learning are shared, celebrated, and heard.