DOCSLIB.ORG

The Benefit of the Doubt: Regarding the Photographic Conditions of Conceptual Art, 1966-1973

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Benefit of the Doubt: Regarding the Photographic Conditions of Conceptual Art, 1966-1973 The Benefit of the Doubt: Regarding the Photographic Conditions of Conceptual Art, 1966-1973 by Heather A. Diack A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Art University of Toronto © Copyright by Heather A. Diack 2010 The Benefit of the Doubt: Regarding the Photographic Conditions of Conceptual Art, 1966-1973 Heather A. Diack Doctor of Philosophy Graduate Department of Art University of Toronto 2010 Abstract This dissertation offers a reconsideration of the uses of photography under the aegis of Conceptual Art between 1966 and 1973 by analyzing the ways photography challenged epistemological limits, and, despite the claims regarding the medium’s inherent indexicality, emphasized experience over exactitude, and doubt in place of certainty. By focusing on four American practitioners, I argue for the “benefit of the doubt;” in other words, for the value of disbelief and hesitation, marking the reorientation of art at this time towards critical methods which oppose all orthodoxies, including but not limited to formalist dogmas, and instead are committed to the denial of autonomy in favor of understanding meaning as infinitely contingent. The dissertation is divided among four key case studies, including Mel Bochner (n. 1940), Bruce Nauman (n. 1941), Douglas Huebler (1924-1997), and John Baldessari (n. 1931). Each chapter argues for the unique contribution of photography in relation to conceptual art practices, while also situating the projects of these individual practitioners within the broader history of the medium of photography. I explore specifically the concepts of seriality, transparency and theory in Bochner; performance, “worklessness,” and failure in Nauman; portraiture, mapping and impossibility in Huebler; humor, didacticism, choice and chance in Baldessari. This project looks back continuously to significant precursors, in particular the work of Marcel Duchamp ii (1887-1968), as a means of engaging the status and function of art after the Readymade, particularly as concerns de-skilling, disinterest, affirmative irony, and nominalism, as well as the dialectic between inclusivity and inconclusivity. iii Acknowledgments Though this dissertation is preoccupied with doubt—the one thing of which I am certain is that it would not have been conceivable without the insight, support, and tenacity of so many people. First I would like to thank my dissertation committee: Elizabeth Legge, Mark Cheetham, and Louis Kaplan. In particular my supervisor Louis is without a doubt the index that underscores this project. This dissertation project was developed under his guidance and scholarly influence. I will always be grateful for his remarkable intellectual generosity as well as his contagious enthusiasm, humour and friendship. I am also grateful to John Paul Ricco and Blake Stimson who joined the committee in the final stage and thoughtfully shared their insights. I have been fortunate to be inspired by the work, commitment, and wit of each of my committee members. This project also owes extensive theoretical and philosophical debt to Benjamin H. D. Buchloh, for his kindness and critical seriousness during my time as a Rubenstein Fellow in the Independent Study Program of the Whitney Museum of American Art in New York. This program was absolutely instrumental in my thinking through the politics of photography. In addition, the invaluable dialogue with my colleagues in the 2006-2007 Whitney Independent Study Program, in particular Brendan Fernandes, Marisa White-Hartman, Minnie Scott, Martin Braathen, Elisabeth Byre, Michael Sperlinger, Elaine Gan, Christine Davidson, Jesper Nordahl, Soyoung Yoon, and Alex Kitnick, and the generosity of Ron Clark, have encouraged and stretched my ideas and my thinking in immeasurable ways. I would like to thank the Art department of the University of Toronto for many years of support, and thank my colleagues in the program, especially Alex Hoare, Sarah Stanners, Alma Mikulinski, Sarah Guerin, Carolina Mangone, Betsy Purvis, Elena Napolitano, Margo Beggs, Irmgard Emmelhainz, and David Alexandre. I will always cherish our years together. I am also grateful for the numerous entities that have funded this project, including the Social Sciences and Humanities Research Council of Canada, the Jackman Humanities Institute, and the Centre for the Study of the United States. I am forever grateful for my many close friendships, my muses, especially Angela MacDonald who has been kicking it old school with me for as long as I can remember, Lisa DiQuinzio who knows me way too well, Nancy Clarke whose compassion always seems to have room for more, iv Farah Malik who is one of the strongest women I know, and Celine Heinbecker who motivates me constantly by her example and her vision of the world. You all mean so much to me. I am also thankful to Jennifer Murphy, Erinn Beth Langille, Melissa Shiff, Michael LeBlanc, Seth Bloom, Miriana DiQuinzio, John Turner, and Josh Thorpe. I love you all. I am thankful beyond belief for my big-hearted family, especially Grandma and Grandpa Diack, Rob and Lori Diack, Carol and Jim Bradley Williams, Jeff Thurlow and Cari Barrett, Jessica Thurlow and Todd Koffler, and Grandma Dee. To my brother, the best brother in the world, Ian Diack, I cannot think of a better model of determination and love, and I thank both you and Rocky Balboa for seeing me through. I thank my husband Erin Thurlow for his tireless support, for being a constant confidant, for spurring me to new questions, and for loving me without question. This project is absolutely indebted to you. I owe my deepest gratitude to my parents, Bruce and Rachelle Diack. I have been so immensely blessed by your love, counsel, and encouragement throughout my life. You have always compelled me to strive forward and to keep my priorities clear while maintaining a serious commitment to experiencing the joy in life. There is no doubt that this project is dedicated to you. Heather Diack, Toronto, April 2010. v Table of Contents Introduction: Marks of Contingency ……………………………………………..……………1 Chapter One: Dead Certainties: Mel Bochner Takes Photographic Measures ……………22 Picture This………………………………………………………………………………..……..24 No Thought Exists Without a Sustaining Support …………………………………………...….28 Preposterous Transparence/ Incredible Transcendence …………………………………………37 “There is a labyrinth which is a straight line…” ……………………………………… ………..47 Misunderstandings and Understatements ………………………………………………………. 59 Chapter Two: Performance Proof: Bruce Nauman and Photography ………………. …...72 The Incredible Lightness of Being and the Gravity of the Task ………………………………...94 Easy Does It ……………………………………………………………………………………104 Fountain of Doubt ……………………………………………………………………………...115 Chapter Three: Definitely Dubious Documents: On Douglas Huebler’s Photographs … 125 On the Dialectics of Art and Photography ……………………………………………………..126 Mapping the Subject: Limits and Dislocations ………………………………………………...139 Counter-Figurations ……………………………………………………………………………165 Familiar Resemblances and Irreconcilable Differences ……………………………………….176 Bodies in Motion Remain in Motion …………………………………………………………..180 Chapter Four: Suspension of Belief: John Baldessari’s Skeptical Photography ...……… 184 I Think Therefore I Art ……………………………………………………………………….. 186 On Painting, Pointing, and the Laws of Looking ………………………………………………205 Various Small Fires and Other “Art Signals” ………………………………………………….224 C-A-L-I-F-O-R-N-I-A ………………………………………………………………………... 231 Doubt and Didacticism ……………………………….………………………………………. 240 Between Choice and Chance ….………………………………………………………………..243 Who Laughs Last? ……………………………………………………………………………. 246 Conclusion: Beyond the Shadow of Doubt? ……………………………………………….. 248 Bibliography …………..………………………………………………………………………251 Appendix ……………...……………………………………………………………………… 282 vi List of Figures Figure 1. Mel Bochner, Working drawings and other visible things on paper not necessarily meant to be viewed as art (1966). Figure 2. Mel Bochner, 36 Photographs and 12 Diagrams (1966). Figure 3. Mel Bochner, H-2 (1966-67). Figure 4. Mel Bochner, Perspective: One Point (Positive) (1967). Figure 5. Mel Bochner, Perspective: Two Point (Negative) (1967). Figure 6. Mel Bochner, Viscosity (Mineral Oil) (1968). Figure 7. Mel Bochner, Grid (Shaving Cream) (1968). Figure 8. Mel Bochner, Transparent and Opaque (1968). Figure 9. Mel Bochner, Singer Lab Measurement (#1) (1968). Figure 10. Mel Bochner, Singer Lab Measurement (#2) (1968). Figure 11. Mel Bochner, Singer Lab Measurement (#3) (1968). Figure 12. Mel Bochner, Singer Lab Measurement (#4) (1968). Figure 13. Mel Bochner, Singer Lab Measurement (#5) (1968). Figure 14. Mel Bochner, Actual Size (Face and Hand) (1968). Figure 15. Mel Bochner, Measurement Room (1969). Figure 16. John Baldessari, Measurement Series: Measuring a Chair with a Coffee Cup (Top- Bottoms) (1975). Figure 17. John Baldessari, Three Metaphorical Measurements (1980). Figure 18. Mel Bochner, Misunderstandings (A Theory of Photography) (1967-70). vii Figure 19. Marcel Duchamp, Fresh Widow (1920). Figure 20. Mel Bochner, Surface Dis/Tension (1968). Figure 21. Bruce Nauman, Holograms (1968-69). Figure 22. Bruce Nauman, Grimaces (1970). Figure 23. Bruce Nauman, Grimaces (1970). Figure 24. Bruce Nauman, Composite Photograph of Two Messes on the Studio Floor (1967). Figure 25. Brassai and Salvador Dali, Sculptures Involontaires (1933). Figure 26. Victor Burgin, Photopath (1967). Figure 27. Bruce Nauman, Eleven Color Photographs (1966-67/1970).
Load more

Recommended publications
  • EDUCATOR GUIDE Story Theme: the Grey Eminences Subject: David Ireland Discipline: Visual Art (Conceptual)
    EDUCATOR GUIDE Story Theme: The Grey Eminences Subject: David Ireland Discipline: Visual Art (Conceptual) SECTION I - OVERVIEW ......................................................................................................................2 EPISODE THEME SUBJECT CURRICULUM CONNECTIONS OBJECTIVE STORY SYNOPSIS INSTRUCTIONAL STRATEGIES INSTRUCTIONAL OBJECTIVES EQUIPMENT NEEDED MATERIALS NEEDED INTELLIGENCES ADDRESSED SECTION II – CONTENT/CONTEXT ..................................................................................................3 CONTENT OVERVIEW THE BIG PICTURE RESOURCES – TEXTS RESOURCES – WEBSITES RESOURCES – VIDEO BAY AREA FIELD TRIPS SELECTED CONCEPTUAL ARTISTS SECTION III – VOCABULARY.............................................................................................................9 SECTION IV – ENGAGING WITH SPARK ...................................................................................... 10 Artist David Ireland beside the entrance to his retrospective exhibition at the Berkeley Art Museum. Still image from SPARK story, 2004. SECTION I - OVERVIEW To learn to “read” Conceptual Artworks and EPISODE THEME understand how they communicate The Grey Eminences To help students think conceptually by looking at, talking about and making conceptual art SUBJECT To introduce students to creative ideation by David Ireland beginning instead of materials GRADE RANGES K-12 & Post-secondary EQUIPMENT NEEDED SPARK story about David Ireland on DVD or VHS CURRICULUM CONNECTIONS and related equipment Visual Art
    [Show full text]
  • Catalogue Babble Mel Bochner
    BABBEL BY MEL BOCHNER SYBARIS COLLECTION Mel Bochner (Pittsburgh, 1940) Mel Bochner is one of the most important living American conceptual artists of today. Related to Joseph Kosuth and Bruce Nauman, his work has been exhibited in prestigious museums such as the Tate Modern in London or the MoMA in New York. Bochner’s pieces fuse interests in design, written language, and art to push the boundaries of conceptual art. His interests are geometry, color, and length; his art is transgressive and experimental. In his own words: “My feeling was that there were ways of extending, or reinventing visual experience, but that it was very important that it remain visual […] The viewer should enter the idea through a visual or phenomenological experience rather than simply reading it.” New York artist Mel Bochner stands in front of his painting 'Master of the Universe (2010)' at the Whitechapel Gallery PA/independent.co.uk Crazy, 2019 Monotype with collage, engraving and reliefs on hand-painted Twinrocker paper 127 x 165 cm Silence, 2019 Babble, 2019 Monotype with collage, engraving and reliefs Monotype with collage, engraving and reliefs on hand-painted Twinrocker paper on hand-painted Twinrocker paper 81 x 52 cm 160 x 120 cm Bozo, 2019 Monotype with collage, engraving and reliefs on hand-painted Twinrocker paper 109 x 119 cm Chuckle, 2016 Monotype with collage, engraving and reliefs on hand-painted Twinrocker paper 45 x 76 cm n/a Top Dog, 2019 Eradicate, 2019 Monotype with collage, engraving and reliefs Monotype with collage, engraving and reliefs on hand-painted Twinrocker paper on hand-painted Twinrocker paper 160 x 90 cm 81 x 52 cm Blah, Blah, Blah, 2019 Monotype with collage, engraving and reliefs on hand-painted Twinrocker paper 125 x 183 cm HA, HA, HA, 2019 Monotype with collage, engraving and reliefs on hand-painted Twinrocker paper 51 x 57 cm Fool, 2019 Monotype with collage, engraving and reliefs on hand-painted Twinrocker paper 127 x 167 cm SYBARISCOLLECTION.COM [email protected] +1 (832) 530 3996 +55 (55) 8435 4487 Ig Fb SybarisCollection.
    [Show full text]
  • PDF SVA Handbook 2020–21
    2020/2021 SVA Handbook SVA • 2020 / 2021 20 /21 SVA Handbook CONTENTS President’s Letter 2 The College 3 Academic Information 9 Student Information 23 Faculty Information 44 General Information 55 Standards, Procedures, Policies and Regulations 69 SVA Essentials 93 2020–2021 Academic Calendar 113 Index 119 SVA.EDU 1 THE SVA HANDBOOK provides faculty, students and administrative staff with information about the College, its administration, services and processes. In addition, the Handbook contains policies mandated by federal and state regulations, which all faculty, students and administrative staff need be aware of. In this regard, I would especially like to call your attention to the sections on attendance (pages 12 and 46), the Family Educational Rights and Privacy Act (FERPA) (page 85), Student Disruptive and Concerning Behavior (page 74), Title IX procedures (page 84) and the SVA policy on alcohol and drugs (page 70). We look forward to the 2020–2021 academic year. Our students, this year from 45 states, one U.S. territory and 49 countries, will once again pursue their studies with the focused guidance of our renowned professional faculty. DAVID RHODES President August 2020 2 SVA HANDBOOK THE COLLEGE Board of Directors 4 Accreditation 4 SVA Mission Statement 4 SVA Core Values 4 History of SVA 5 Academic Freedom 6 First Amendment Rights 6 SVA Student Profile 7 SVA.EDU 3 BOARD OF DIRECTORS The Interior Design program leading to the Brian Palmer Bachelor of Fine Arts in Interior Design is ac- Joseph F. Patterson credited by the Council for Interior Design Anthony P. Rhodes Accreditation (accredit-id.org), 206 Grand- David Rhodes ville Avenue, Suite 350, Grand Rapids, MI Lawrence Rodman 49503-4014.
    [Show full text]
  • Llyn Foulkes Between a Rock and a Hard Place
    LLYN FOULKES BETWEEN A ROCK AND A HARD PLACE LLYN FQULKES BETWEEN A ROCK AND A HARD PLACE Initiated and Sponsored by Fellows ol Contemporary Art Los Angeles California Organized by Laguna Art Museum Laguna Beach California Guest Curator Marilu Knode LLYN FOULKES: BETWEEN A ROCK AND A HARD PLACE This book has been published in conjunction with the exhibition Llyn Foulkes: Between a Rock and a Hard Place, curated by Marilu Knode, organized by Laguna Art Museum, Laguna Beach, California, and sponsored by Fellows of Contemporary Art, Los Angeles, California. The exhibition and book also were supported by a grant from the National Endowment for the Arts, Washington, D.C., a federal agency. TRAVEL SCHEDULE Laguna Art Museum, Laguna Beach, California 28 October 1995 - 21 January 1996 The Contemporary Art Center, Cincinnati, Ohio 3 February - 31 March 1996 The Oakland Museum, Oakland, California 19 November 1996 - 29 January 1997 Neuberger Museum, State University of New York, Purchase, New York 23 February - 20 April 1997 Palm Springs Desert Museum, Palm Springs, California 16 December 1997 - 1 March 1998 Copyright©1995, Fellows of Contemporary Art, Los Angeles All rights reserved. No part of the contents of this book may be reproduced, in whole or in part, without permission from the publisher, the Fellows of Contemporary Art. Editor: Sue Henger, Laguna Beach, California Designers: David Rose Design, Huntington Beach, California Printer: Typecraft, Inc., Pasadena, California COVER: That Old Black Magic, 1985 oil on wood 67 x 57 inches Private Collection Photo Credits (by page number): Casey Brown 55, 59; Tony Cunha 87; Sandy Darnley 17; Susan Einstein 63; William Erickson 18; M.
    [Show full text]
  • Double Embodiments
    6 DOUBLE EMBODIMENTS Felix Gonza lez-To rres's Certifi cate s AKING A SHEET OF PAPER OR A WRAPPED candy from a stack or pile by Felix Gonzalez-Torres ranks among T the most iconic contemporary art experiences (fig. 81). Even when one is told that the artist wanted viewers to break the "no touch" rule defining museum and gallery spaces, part ici­ pation feels transgressive . At least one viewer described feeling crimina lly complicit, nervously "scanning the exhibition space for surveillance cameras ."1 Others take candies by the handfu l (teenage boys are particularly eager). Audiences familiar with the story behind "Untitled" (Portrait of Ross in L.A.) take candy reverently, as if paying their respects to a grave in reverse. When the paper stacks are low, viewers sometimes take a sheet only to return it later, as if unwilling to deny someone else the oppor­ tunity of engagement. Massed into neat stacks or herded into a comer, the paper stacks and candy spills recall the rigorous geom­ etry of Minimalist sculpture. The rigor promises us, as critic Jennifer Doyle writes of museum and gallery experiences, free­ dom from "the burdens of an emotional life."2 But as the piles 191 FIGURE 8 1 Foreground: Felix Gonzalez-Torres , "Untitled," 19 89/90 . Print on paper, endless copies . 26 inch es (at ideal height) x 29 x 23 inches (original paper size). Background: Felix Gonzalez-Torres, "Untitled" (ForJ eff), 1992. Billboard , dimensions variable. Installation view: "Felix Gonzalez-Torres: This Place," Metropolitan Arts Centr e, Belfast, 2015-2016. © Felix Gonzalez-Torres Foundation.
    [Show full text]
  • Sito STORIA2 RS INGLESE REVISED
    You may download and print this text by Roberta Serpolli, solely for personal use THE PANZA COLLECTION STORY “The Panza Collection is entirely a couple’s affair. When my wife Giovanna and I discover works by a new artist, I look at her and she looks at me. I can see in her eyes if she wants to buy or not. So even between my wife and me, ‘looking’ is an issue.” Giuseppe Panza, 20091 Giuseppe Panza di Biumo, along with his wife Giovanna, is recognized as one of the world’s foremost collectors of contemporary art. The collection, originally composed of around 2,500 works of art, is mainly representative of the most significant developments in American art from post- World War II to the 21st century. Along with a need to fulfill spiritual and inner quests, both intuition and reflection have inspired the collectors’ choice that would demonstrate, retrospectively, their far- sightedness. By devoting themselves to an in-depth focus on emerging artists and specific creative periods, the Panzas contributed to acknowledging the new art forms among both the general public and the art market. The Beginnings of the Collection: On the Road to America The collection ideally began in 1954 when Giuseppe, at the age of thirty years, traveled to South America and the United States, from New York to Los Angeles, where he discovered the continents’ captivating vitality of economy and culture. Upon his return to Milan, he felt the need to take part in the international cultural milieu. In 1955, shortly after his marriage with Giovanna Magnifico, Giuseppe purchased his first work of art by Italian abstract painter Atanasio Soldati.
    [Show full text]
  • 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.
    [Show full text]
  • Dlkj;Fdslk ;Lkfdj
    THE MUSEUM OF MODERN ART ACQUIRES MAJOR COLLECTION OF CONCEPTUAL ART FROM SETH SIEGELAUB AND THE STICHTING EGRESS FOUNDATION, AMSTERDAM New York, June 10, 2011—The Museum of Modern Art has acquired a major group of works from the collection of exhibition organizer, publisher, and dealer Seth Siegelaub, a key supporter of artists working in dematerialized art practices in the late 1960s and early 1970s. The collection includes 20 defining works of Conceptual art by Vito Acconci, Robert Barry, Douglas Huebler, On Kawara, Joseph Kosuth, Robert Smithson, and Lawrence Weiner, all of whom moved away from the traditional production of objects and chose instead to explore language, sound, time, movement, or mapping as their primary mediums. In addition, Seth Siegelaub and the Stichting Egress Foundation have donated to The Museum of Modern Art Archives Siegelaub’s own extensive archives, containing correspondence, photographs, notes, exhibition proposals, and many other significant documents that offer a tremendous resource to scholars of this period. As part of the acquisition, Siegelaub has given the Museum four major works: Robert Barry’s 90mc Carrier Wave (FM), 1968, which transmits inaudible radio waves throughout a given space; Douglas Huebler’s Duration Piece No. 6 (1969), a series of photographs documenting the gradual dissemination of a rectangle made of sawdust on the floor of Siegelaub’s ―January 5–31, 1969‖ exhibition; Joseph Kosuth’s Titled (Art as Idea as Idea). The Word “Definition,” (1966- 1968), an early Photostat enlargement of a dictionary entry for the word ―definition;‖ and Lawrence Weiner’s A 36” x 36” Removal to the Lathing or Support Wall of a Plaster or Wallboard from the Wall (1968), a work which, according to the artist’s statement, can be fabricated or can simply exist as language.
    [Show full text]
  • CONTENTS INTRODUCTION to COSMOPOLITANISM AS CRITICAL and CREATIVE PRACTICE Eleanor Byrne and Berthold Schoene, Page 2
    CONTENTS INTRODUCTION TO COSMOPOLITANISM AS CRITICAL AND CREATIVE PRACTICE Eleanor Byrne and Berthold Schoene, page 2 THE WORLD ON A TRAIN: GLOBAL NARRATION IN GEOFF RYMAN’S 253 Berthold Schoene, page 7 THE PRECARIOUS ECOLOGIES OF COSMOPOLITANISM Marsha Meskimmon, page 15 ‘HOW DARE YOU RUBBISH MY TOWN!’: PLACE LISTENING AS AN APPROACH TO SOCIALLY ENGAGED ART WITHIN UK URBAN REGENERATION CONTEXTS Elaine Speight, page 25 TOWARDS A COSMOPOLITAN CRITICALITY? RELATIONAL AESTHETICS, RIRKRIT TIRAVANIJA AND TRANSNATIONAL ENCOUNTERS WITH PAD THAI Renate Dohmen, page 35 PARALLEL EDITING, MULTI-POSITIONALITY AND MAXIMALISM: COSMOPOLITAN EFFECTS AS EXPLORED IN SOME ART WORKS BY MELANIE JACKSON AND VIVIENNE DICK Rachel Garfield, page 46 OFFSHORE COSMOPOLITANISM: READING THE NATION IN RANA DASGUPTA’S TOKYO CANCELLED, LAWRENCE CHUA’S GOLD BY THE INCH AND ARAVIND ADIGA’S THE WHITE TIGER Liam Connell, page 60 TRICK QUESTIONS: COSMOPOLITAN HOSPITALITY Eleanor Byrne, page 68 GOOGLE PAINTINGS John Timberlake, page 78 Banner image: Maya Freelon Asante, Time Lapse, 2010, tissue paper sculpture, dimensions variable. Courtesy of the artist and Morton Fine Art, Washington, DC. www.mayafreelon.com. OPEN ARTS JOURNAL, ISSUE 1, SUMMER 2013 ISSN 2050-3679 www.openartsjournal.org 2 COSMOPOLITANISM AS Especially since 9/11 cosmopolitanism has asserted itself as a counterdiscursive response to globalisation CRITICAL AND CREATIVE and a critical methodology aimed at counterbalancing PRACTICE: the ongoing hegemony of what in The Cosmopolitan Vision Ulrich Beck has termed ‘the national outlook’. AN INTRODUCTION Invoking a world threatened by global risks Beck calls on communities to reconceive their nationalist Eleanor Byrne and Berthold Schoene, self-identification by opening up and contributing to Manchester Metropolitan University global culture with ‘[their] own language and cultural symbols’ (Beck, 2006, p.21).
    [Show full text]
  • 2016–2018 Exhibition Calendar Current As of November 2016
    2016–2018 Exhibition Calendar Current as of November 2016. Information is subject to change. For a listing of all exhibitions and installations, please visit www.lacma.org The Serial Impulse at Toba Khedoori John McLaughlin Paintings: Total Abstraction Renaissance and Reformation: Gemini G.E.L. German Art in the Age of Dürer and Cranach UPCOMING EXHIBITIONS Moholy-Nagy: Future Present February 12–June 18, 2017 The first comprehensive retrospective of the work of László Moholy-Nagy (1895–1946) in the United States in nearly 50 years, this long overdue presentation reveals a utopian artist who believed that art could work hand-in-hand with technology for the betterment of humanity. Moholy-Nagy: Future Present examines the career of this pioneering painter, photographer, sculptor, and filmmaker as well as graphic, exhibition, and stage designer, who was also an influential teacher at the Bauhaus, a prolific writer, and later the founder of Chicago’s Institute of Design. The exhibition includes more than 250 works in all media from public and private collections across Europe and the United States, some of which have never before been shown publicly in the U.S. Also on display is a large-scale installation, Room of the Present, a contemporary construction of an exhibition space originally conceived by Moholy-Nagy in 1930. Though never realized during his lifetime, the Room of the Present illustrates Moholy’s belief in the power of images and various means by which to disseminate them—a highly relevant paradigm in today’s constantly shifting and evolving technological world. Curators: Carol S. Eliel, Modern Art, LACMA; Karole P.B.
    [Show full text]
  • A Study of Harry Smith's Master Work, Film No. 18 Mahagonny in Relation to the Brecht-Weil
    City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-6-2021 Appropriation of the Highest Order: A Study of Harry Smith’s Master Work, Film No. 18 Mahagonny in relation to the Brecht- Weill opera The Rise and Fall of the City of Mahagonny and Duchamp’s The Large Glass Rose V. Marcus CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/723 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Appropriation of the Highest Order: A Study of Harry Smith’s Master Work, Film No. 18 Mahagonny in relation to the Brecht-Weill opera The Rise and Fall of the City of Mahagonny and Duchamp’s The Large Glass by Rose Marcus Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2021 May 6, 2021 Lynda C. Klich Date Signature May 6, 2021 Maria Antonella Pelizzari Date Signature i TABLE OF CONTENTS Acknowledgements………………………………………………………………………….iii List of Illustrations…………………………………………………………………………..iv Introduction: Smith Himself………………………………………………………………………………...1 Chapter 1: Hall of Mirrors………………………………………………………………………………11 Chapter 2: Fourth Walls………………………………………………………………………………...25 Chapter 3: Failed Unfinished Shattered, More………………………………………………………….44 Conclusion: Smith Beyond Discussion……………………………………………. …………………...58 8. Bibliography……………………………………………………………………………..62 9. Illustrations……………………………………………………………………………....67 ii ACKNOWLEDGEMENTS This paper came to fruition during what may be recognized as the year that led to the greatest awakenings in a generation.
    [Show full text]
  • A M I R Z a K I [email protected]
    Amir Zaki is a practicing artist living in Southern California. He received his MFA from UCLA in 1999 and has been regularly and actively exhibiting nationally and internationally since. Zaki has had solo shows at the Mak Center Schindler House in West Hollywood, LAXART in Los An- geles, Perry Rubenstein Gallery in New York, James Harris Gallery in Seattle, and Roberts and Tilton in Los Angeles. He has been included in many group exhibitions including The California Biennial: 2006 at the Orange County museum of Art, the Whitney Museum of American Art in New York, Andreas Grimm Gallery in Munich, Germany, Harris Lieberman Gallery in New York, Shane Campbell Gallery in Chicago, the California Museum of Photography, and the San Jose Museum of Art. Zaki’s work is part of numerous public and private collections across the country including the Whitney Museum of American Art, New York New Museum of Contemporary Art, the Henry Art Gallery in Seattle, Washington, the Orange County museum of Art, and the Santa Barbara Museum of Art. He has been included in the Phaidon Press anthology of contemporary photography, Vitamin Ph, and contributed to LACMA’s Words Without Pictures. Zaki recently completed his second monograph, a large format, limited edition fold-out book entitled Eleven Minus One, which was co-published by LAXART and Eighth Veil on the occasion of a solo exhi- bition at LAXART. Zaki has an ongoing interest in the rhetoric of authenticity, as it is associated with photogra- phy as an indexical media. Simultaneously, he is deeply invested in exploring digital technolo- gy’s transformative potential to disrupt that assumed authenticity.
    [Show full text]