Robert C. Morgan is a writer, artist, critic, art historian, curator, and educator. Knowledgeable in the history and aesthetics of both Western and Asian art, Morgan has lectured widely, written hundreds of critical essays (translated into twenty languages), published monographs and books, and curated numerous exhibitions. He has written reviews for Art in America, Arts, Art News, Art Press (Paris), Sculpture Magazine, The Brooklyn Rail, and Hyperallergic. His catalog essays have been published by Gagosian, Pace, Sperone Westwater, Van Doren Waxter, White Cube (London), Kukje (Seoul), Malingue (Hong Kong), and Ink Studio (Beijing).

Since 2010, he has been New York Editor for Asian Art News and World Sculpture News, both published in Hong Kong. Many consider his book, The End of the Art World (Allworth, 1998), a classic in predicting the loss of critical judgment in art and its future direction as a marketing and investment phenomenon. In addition, he has written books and edited anthologies, published by Johns Hopkins University Press, Cambridge University Press, University of Minnesota Press. George Braziller, Inc. and Harry N. Abrams, Inc. In 1999, he was awarded the first ARCALE prize in International Art Criticism in Salamanca (Spain), and the same year served on the UNESCO jury at the 48th Biennale di Venezia.

In 2002, he was invited to give the keynote speech in the House of Commons, U.K. on the occasion of Shane Cullen’s exhibition celebrating the acceptance of “The Agreement” with Northern Ireland. In 2003, Dr. Morgan was appointed Professor Emeritus in Art History at the Rochester Institute of Technology, and, in 2005, became a Senior Fulbright Scholar in the Republic of Korea. In 2011, he was inducted into the European Academy of Sciences and Arts in Salzburg; and, in 2016, the Hesburgh Library, University of Notre Dame, acquired The Robert C, Morgan Collection on Conceptual Art.

Much of his work since the late 1990s has focused on art outside the West with books translated and published in Farsi, Korean, and Chinese. He continues to work with contemporary ink artists in the People’s Republic of China on whom he has frequently lectured and written. He has twice been invited to the Islamic Republic of Iran where he has lectured and juried major exhibitions. In addition to his scholarly pursuits, he has continued a parallel involvement as an artist (since 1970). Having had numerous exhibitions in past years, a major survey of his paintings and conceptual works was shown at Proyectos Monclova in Mexico City (2017), which published a detailed catalog focusing on his artistic career.