Conceptual Art, Feminism, and Their Discontents A
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Elizabeth Anderson's Vita File:///C:/Users/Liz/Documents/Pub/Liz%20Webpages/Vita.Htm
Elizabeth Anderson's Vita file:///C:/Users/Liz/Documents/Pub/Liz%20Webpages/vita.htm ELIZABETH S. ANDERSON John Dewey Distinguished University Professor of Philosophy and Women's Studies Arthur F. Thurnau Professor University of Michigan, Ann Arbor Department of Philosophy Angell Hall 2239 / 435 South State St. Ann Arbor, MI 48109-1003 Office: 734-763-2118 Fax: 734-763-8071 E-mail: [email protected] Web: http://www-personal.umich.edu/~eandersn/ EMPLOYMENT University of Michigan, Ann Arbor: John Dewey Distinguished University Professor of Philosophy and Women's Studies, 2013-. John Rawls Collegiate Professor of Philosophy and Women's Studies, 2005-. Arthur F. Thurnau Professor, 2004-. Professor of Philosophy and Women's Studies, 1999-2005. Associate Professor of Philosophy and Women's Studies, 1993-1999. Adjunct Professor of Law, 1995, 1999, 2000. Assistant Professor of Philosophy, 1987-1993. Swarthmore College, Visiting Instructor in Philosophy, 1985-6. Harvard University, Teaching Fellow, 1983-1985. EDUCATION Harvard University, Department of Philosophy, 1981-1987. A.M. Philosophy, 1984. Ph.D. 1987. Swarthmore College, 1977-1981. B.A. Philosophy with minor in Economics, High Honors, 1981. HONORS, GRANTS AND FELLOWSHIPS Nominee, Prospect’s World Thinkers 2014 Vice-President/President-Elect, Central Division, American Philosophical Association, 2013-15 Named John Dewey Distinguished University Professor, 2013 John Simon Guggenheim Memorial Foundation Fellowship, 2013 ACLS Fellowship, 2013 Michigan Humanities Award, 2013 (declined) Three -
Hotsy-Totsy Bar & Grill | and the Sidecar Speakeasy
THE SIDECAR SPEAKEASY CLASSIC COCKTAILS CRAFT COCKTAILS WHITE LADY $11 THE SIDECAR $11 Hayman’s Old Tom Gin, Orange Liquor, Bache Gabrielsen Tre Kors Cognac, & lemon juice apricot liquor & lemon juice SAZERAC $12 MEZCAL NEGRONI $10 Rough Rider Bullmoose Rye, bitters & Peleton de la Muerte Mezcal, Cappelletti Leopold Bros. Absinthe Apertivo & Cocchi Vermouth di Torino PENICILLIN $11 EARL LEOPOLD $11 Great King Street Scotch, lemon juice Leopold Bros NY Apple Whiskey, & honey ginger syrup earl grey syrup & lemon juice MARY PICKFORD $10 KRIS’S KISS $11 Bly White Rum, Maraschino liquor, Hangar One Vodka, St Elder Liquor pineapple juice & cherry juice grapefruit & lemon juice BATHTUB GIN $10 COPPER HEAD $10 Hayman’s Old Tom Gin, St Elder Elderflower, Snake Venom, ginger beer, celery bitters, lemon juice & club soda lime juice & mint leaves EL DIABLO $10 SANGRIA $9 Cimarron Reposado Tequila, Creme de Cassis, Red Wine with fresh fruit ginger beer & lime juice WINES BY THE GLASS WHITE WINES RED WINES Syltbar Prosecco-Italy $10 Milbrandt Merlot-Washington $10 Zenato Pinot Grigio-Italy $9 Juggernaut Cabernet-California $13 Ponga Sauvignon Blanc-New Zealand $9 Le Charmel Pinot Noir-France $10 Freemark Abbey Chardonnay-California $12 Catena ‘Vista Flores’ Malbec-Argentina $9 Heinz Riesling-Germany $9 OVR Red Wine Blend-California $10 Justin Rose-California $10 Donna Laura ‘Alie’ Sangiovese-Italy $9 BEERS MOCKTAILS Michelob Ultra $5 PINEAPPLE GINGER $6 Full Sail Amber $6 Pineapple juice, honey gnger syrup & Stella Artois $6 lime juice Left Hand ‘Nitro’ Milk Stout $6 Fin du Monde $7 GRAPEFRUIT SPARKLER $5 Ballast Pt IPA $6 Grapefruit juice, rhubarb bitters, Modelo Especial $6 lime juice & club soda 20% OFF FOR ANYONE IN FULL 1920S ATTIRE. -
BAR MENU a Comprehensive List of Goods
BAR MENU A comprehensive list of goods BAR STAFF Tommy Ho Jordan Pitts Qwesha Byrd Alejandro Medina Brandon Choate Kory Nguyen Bobby Heugel Zulcoralis Rodriguez Isaias Praxedes PROPERTY OF: ANVIL BAR & REFUGE BAR FOOD 1 CHEESES & CHARCUTERIE served with house accoutrements & bread from Magnol French Baking each sold individually for 8 THE CHOICES FIOR D’ARANCIO Italy, Cow, Blue LOS CAMEROS Spain, Cow/Sheep/Goat Blend, Semi-Firm LITTLE HOSMER Vermont, Cow, Soft SERRANO Spain SALAME SCHIACCIATA PICCANTE Italy PASTRAMI USA SANDWICHES PASTRAMI herb schmear, arugula, tomato, aged cheddar- served cold ���������������� 12 TURKEY calabrese peppers, bibb lettuce, tomato, pickles, mayo - served cold ����������� 12 SERRANO olives, Manchego, mustard, tomato - served hot ������������������������������ 12 MUSHROOM vegetarian - caramalized onion, melty cheese - served hot ���������� 12 DELICIOUS EATS SALTED PEAS ���������������������������������������������������������������������������������������� 4 SESAME STICKS ����������������������������������������������������������������������������������� 4 OLIVES castelvetranos, topped with orange zest ������������������������������������������������� 7 THE 100 LIST 2 THE 100 LIST debuted at Anvil a month or so after we opened the bar in March of 2009. Originally, this list of classic cocktails began as a laminated training guide for the bar staff - a minimal list of required cocktail recipes every bartender should know by heart. Our new staff was routinely seen studying this list of recipes when we opened, and frequently, guests would ask to see it. Eventually, we succumbed to their requests and added the list of classic cocktails to our printed menu. While the list has changed slightly over time as we occasionally rediscover lost classics, it has also become an iconic part of our bar and a wonderful way to explore the world of classic cocktails. -
Conceptual Art: a Critical Anthology
Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R. -
Adrian Piper: a Catalyst for Social Change
1 Dwayne Hallager Professor Leah Peterson D-COM: Digital Media 19 April 2012 Adrian Piper: A Catalyst for Social Change Adrian Piper is more than meets the eye – literally. Piper can best be described as a conceptual artist with an ever-changing identity that reflects the struggles of black Americans and women in society. As a first-generation conceptual artist, her vast educational record attending and teaching at Harvard University, along with several other high scholastic institutions, allowed her to address issues of race, gender, and inequality as she transformed her body and physical presence to share her ideas. By incorporating her own identity in her work, and through the extensive practice of education and philosophy, Adrian Piper has exercised several mediums to produce art that has acted as a catalyst for social change. Similar to most artists, Adrian Piper has a compelling story for when she first recognized her inspiration to become an artist. In an interview with George Yancy, Piper describes her early childhood experiences growing up in a confusing and conflicting middle class neighborhood where her family was one of few black families in the area. It was here that Piper, a product of a German, Madagascan, and Nigerian lineage, first became aware of the situation that allowed her and several of her relatives to pass for white (Yancy 52). Piper claims that her parents and grandmother were responsible for her burning desire and passion to practice art and philosophy. The journey began first with her grandmother teaching her to draw and paint before age three; then following, the influence of her father’s being a lawyer and strong advocate for education, in addition to her mother’s analytical reasoning and logical 2 thinking, propelled Piper in her direction toward philosophy and an interest in artful expression (Yancy 55). -
Women of Color As Artists
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1996 Volume III: Race and Representation in American Cinema Women of Color as Artists Curriculum Unit 96.03.09 by Val-Jean Belton The New Haven public school system is a melting pot of many different cultures. The Fair Haven Middle school where I am one of two art teachers, is culturally very diverse. The student body is 65% Hispanic, 25% African American, and 10% White or other. I have observed that these students have little appreciation for visual arts. By offering lessons that center on various themes that are associated with their cultural heritage, I am able to gain and retain their attention. My lessons are taught in this particular manner in the hope that my students might better understand each others’ cultural heritage through hands-on experience in art. Despite my efforts to develop and teach art lessons that are not only culturally enriching but offer hands-on experience, I have had a tendency not to include information about the vast number of women artists. I have especially failed to include African American and Hispanic women artists who have contributed to our cultural experience. Although women artists have made major contributions to the art world, the extent of their accomplishments have been overshadowed by male artists such as Pablo Picasso, Jacob Lawrence, and Henri Matisse. There is little information available concerning women artists of African American and Hispanic descents available in our art curriculum, so they have not been included in the visual art classes that I teach. -
Tate Papers Issue 12 2009: Lucy R. Lippard
Tate Papers Issue 12 2009: Lucy R. Lippard http://www.tate.org.uk/research/tateresearch/tatepapers/09autumn/lippa... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL Landmark Exhibitions Issue Curating by Numbers Lucy R. Lippard Cultural amnesia – imposed less by memory loss than by deliberate political strategy – has drawn a curtain over much important curatorial work done in the past four decades. As this amnesia has been particularly prevalent in the fields of feminism and oppositional art, it is heartening to see young scholars addressing the history of exhibitions and hopefully resurrecting some of its more marginalised events. I have never become a proper curator. Most of the fifty or so shows I have curated since 1966 have been small, not terribly ‘professional’, and often held in unconventional venues, ranging from store windows, the streets, union halls, demonstrations, an old jail, libraries, community centres, and schools … plus a few in museums. I have no curating methodology nor any training in museology, except for working at the Library of the Museum of Modern Art, New York, for a couple of years when I was just out of college. But that experience – the only real job I have ever had – probably prepared me well for the archival, informational aspect of conceptual art. I shall concentrate here on the first few exhibitions I organised in the 1960s and early 1970s, especially those with numbers as their titles. To begin with, my modus operandi contradicted, or simply ignored, the connoisseurship that is conventionally understood to be at the heart of curating. I have always preferred the inclusive to the exclusive, and both conceptual art and feminism satisfied an ongoing desire for the open-ended. -
Criticism As a Form of Cognition
Filozofski vestnik | Volume XL | Number 3 | 2019 | 161–179 Curtis L. Carter* Criticism as a Form of Cognition I. Erlebnis and Erkenntnis and Art Criticism Erlebnis, here refers to as knowledge by acquaintance, is knowledge attained in the presence of an object or event, for our purposes here a work of art. Erlebnis is not a vague or content less gesture toward the inefable. Rather, Erlebnis con- sists of an ordered, intelligible, symbolic process through which the producer artist sends out as information consisting of feeling, form, or ideas that com- prise the work of art, which is then received by an observer such as the art crit- ic. Erkenntnis is knowledge about something and consists of a description and interpretation of an object or event. It is based on internalizing perceptual ob- servation and reasoning processes such as analysis, association, comparison, appeal to prior knowledge, as well as judgment which may include assessment. In the case of art, however, a critic’s description, interpretation, or evaluation based solely on Erkenntnis seldom, if ever amounts to an exhaustive charac- terization of the work. It is necessary to supplement Erkenntnis with Erlebnis which is supplied by seeing, hearing, or undergoing, in the actual presence of the visual or performative artwork. Hence both Erkenntnis and Erlebnis have a major place in the creation of art criticism. My intent is not, therefore, to propose that Erkenntnis and Erlebnis constitute a dualism of knowledge with respect to art criticism. There are in fact elements 161 of both at work in the responses to a work of art whether a painting, a musical composition, theater performance or a dance. -
The Early Works of Maria Nordman by Laura Margaret
In Situ and On Location: The Early Works of Maria Nordman by Laura Margaret Richard A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Associate Professor Julia Bryan-Wilson, Chair Professor Whitney Davis Professor Shannon Jackson Associate Professor Jeffrey Skoller Summer 2015 Abstract In Situ and On Location: The Early Works of Maria Nordman by Laura Margaret Richard Doctor of Philosophy in History of Art and the Designated Emphasis in Film Studies University of California, Berkeley Associate Professor Julia Bryan-Wilson, Chair This dissertation begins with Maria Nordman’s early forays into capturing time and space through photography, film, and performance and it arrives at the dozen important room works she constructed between 1969 and 1979. For these spaces in Southern California, the San Francisco Bay Area, Italy, and Germany, the artist manipulated architecture to train sunshine into specific spatial effects. Hard to describe and even harder to illustrate, Nordman’s works elude definition and definitiveness, yet they remain very specific in their conception and depend on precision for their execution. Many of these rooms were constructed within museums, but just as many took place in her studio and in other storefronts in the working-class neighborhoods of Los Angeles, San Francisco, Milan, Genoa, Kassel, and Düsseldorf. If not truly outside of the art system then at least on its fringes, these works were premised physically and conceptually on their location in the city. -
Belligerence, Booty, and Boosterism
Belligerence, Booty, 138 and Boosterism: 139 ON ETHICS AND ARTS JOURNALISM BY CARLIN ROMANO THE MIDWAY REBORN ALAN HESS BELLIGERENCE, BOOTY, AND BOOSTERISM: Since virtually no arts reporters or critics rise to the administrative top ON ETHICS AND ARTS JOURNALISM of American journalistic organizations—the industry would be shocked if, notwithstanding their Pulitzer Prizes, book critic Michiko Kakutani of The New York Times or Washington Post music critic Tim Page were named executive editors of their papers—virtually no one who ends up a journalism-ethics pun- dit by this route focuses much on the arts. A second group of ethics experts might be called the “Peripateti.” Like their Greek namesakes, they get around. They advise media organizations on ethical issues, and often organize workshops for newspapers and TV stations. This group is typified by Michael Josephson and his California-based ethics institute. The raison d’être and often the business of the Peripateti is to enlighten working journalists about ethics, usually in onsite visits that stir dol- lops of Kant and utilitarianism with case-studies of ethical dilemmas taken from everyday practice. Since most journalists are not arts journalists, little hinkers and pontificators on journal- quality time goes to arts journalism. 140 istic ethics—a twain that sometimesT meet—typically ignore arts coverage, the Finally, there are the “Professori,” university intellectuals who may, like 141 neon sheep of journalism that includes both reporting and criticism of the arts. N.Y.U.’s Jay Rosen, boast some reporting experience, or may not. Almost uni- The reasons divide into the sociological and philosophical. -
'Wack!' the Art of Feminism As It First Took Shape
Friday, March 9, The New York Times 'Wack!' The Art of Feminism as It First Took Shape By HOLLAND COTTER. 2007 Opening of the first-ever museum show of feminist art at the Museum of Contemporary Art, Los Angeles. Holland Cotter’s feature-length review was illustrated by four works, including Mlle Bourgeoise Noire. LOS ANGELES, March 4 — If you’ve held your breath for 40 years waiting for something to happen, your feelings can’t help being mixed when it finally does: “At last!” but also “Not enough.” That’s bound to be one reaction to “Wack! Art and the Feminist Revolution” at the Museum of Contemporary Art here, the first major museum show of early feminist work. Let me be clear: The show is a thrill, rich and sustained. Just by existing, it makes history. But like any history, once written, it is also an artifact, a frozen and partial monument to an art movement that was never a movement, or rather was many movements, or impulses, vibrant and vexingly contradictory. One thing is certain: Feminist art, which emerged in the 1960s with the women’s movement, is the formative art of the last four decades. Scan the most innovative work, by both men and women, done during that time, and you’ll find feminism’s activist, expansionist, pluralistic trace. Without it identity-based art, crafts-derived art, performance art and much political art would not exist in the form it does, if it existed at all. Much of what we call postmodern art has feminist art at its source. -
Curriculum Vitae Table of Contents
CURRICULUM VITAE Revised February 2015 ADRIAN MARGARET SMITH PIPER Born 20 September 1948, New York City TABLE OF CONTENTS 1. Educational Record ..................................................................................................................................... 2 2. Languages...................................................................................................................................................... 2 3. Philosophy Dissertation Topic.................................................................................................................. 2 4. Areas of Special Competence in Philosophy ......................................................................................... 2 5. Other Areas of Research Interest in Philosophy ................................................................................... 2 6. Teaching Experience.................................................................................................................................... 2 7. Fellowships and Awards in Philosophy ................................................................................................. 4 8. Professional Philosophical Associations................................................................................................. 4 9. Service to the Profession of Philosophy .................................................................................................. 5 10. Invited Papers and Conferences in Philosophy .................................................................................