Oral History Interview with Douglas Crimp
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Michel Foucault and Modernist Art History
Manet, museum, modernism: Michel Foucault and modernist art history Alexander Kauffman Michel Foucault’s writing transformed the field of museum studies.1 As Kevin Hetherington reflected in a recent state-of-the-field volume, ‘Foucault can be seen as one of the two leading theoretical inspirations for critical museum studies since the 1980s [along with Pierre Bourdieu].’2 Foucault himself wrote little about the subject, but devoted substantial attention to the concurrent institutional formations of the prison, the clinic, and the asylum. Adaptations of those writings by Tony Bennett, Eilean Hooper-Greenhill, and other museum studies scholars triggered a reconfiguration of the field, sometimes known as ‘the new museology’ or ‘critical museum studies.’3 Instead of fading over time, Foucault’s presence has only grown as scholarship and public discourse around museums has increasingly focused on issues of power, authority, and subjectivity. Modernist art history enacted a parallel reception of Foucault, one that was transformative for that field as well, but is less well recognised today. Central to that reception was the art historian, critic, and curator Douglas Crimp, who died in 2019 at the age of seventy-four. Nearly a decade before Bennett and Hooper-Greenhill introduced Foucault to museum studies, Crimp wrote in an essay he boldly titled ‘On the Museum’s Ruins’: ‘Foucault has concentrated on modern institutions of confinement: the asylum, the clinic and the prison; for him, it is these institutions that produce the respective discourses of madness, illness, and criminality. There is another institution of confinement ripe for analysis in Foucault’s terms: the 1 This article originated in a paper for the 2019 College Art Association Annual Conference panel ‘Foucault and Art History’, convened by Catherine M. -
Louise Lawler: the Early Work, 1978-1985
RE-PRESENTING LOUISE LAWLER: THE EARLY WORK, 1978-1985 By MARIOLA V. ALVAREZ A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Mariola V. Alvarez To my parents. ACKNOWLEDGMENTS I would like to acknowledge Alexander Alberro for his continuing guidance through the years, his encouragement during my writing process, and his intelligence, both tireless and nuanced, which serves as an exemplary model of scholarship. I would also like to thank both Eric Segal and Susan Hegeman for their perspicacious suggestions on my thesis and for their formative seminars. I am grateful to the rest of the faculty, especially Melissa Hyde, staff and graduate students at the School of Art and Art History whom I had the pleasure of working with and knowing. My friends deserve endless gratitude for always pushing me to be better than I am and for voluntarily accepting the position of editor. They influence me in every way. Finally, I thank my family for making all of this possible. iv TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iv LIST OF FIGURES ........................................................................................................... vi ABSTRACT..................................................................................................................... viii CHAPTER 1 INTRODUCTION ........................................................................................................1 -
New Media and the White Cube
University of Pennsylvania ScholarlyCommons CUREJ - College Undergraduate Research Electronic Journal College of Arts and Sciences September 2007 Within, Without: New Media and the White Cube Alexandra T. Nemerov University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/curej Recommended Citation Nemerov, Alexandra T., "Within, Without: New Media and the White Cube" 03 September 2007. CUREJ: College Undergraduate Research Electronic Journal, University of Pennsylvania, https://repository.upenn.edu/curej/71. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/curej/71 For more information, please contact [email protected]. Within, Without: New Media and the White Cube Keywords New Media, White Cube, Postmodernism, Interviews, Humanities, Visual Studies, Ingrid Schaffner, Schaffner, Ingrid This article is available at ScholarlyCommons: https://repository.upenn.edu/curej/71 Within, Without: New Media and the White Cube Visual Studies Senior Honors Thesis University of Pennsylvania Alexandra Nemerov Table of Contents: Introduction……………………………………………….2 Postmodernism……………………………………………6 New Media……………………………………………….16 Interviews………………………………………………...38 Barbara London………………………………...39 Roberto Bocci ………………………………….46 Douglas Crimp………………………………….52 Golan Levin…………………………………….59 Frazer Ward…………………………………….70 Works Cited……………………………………………….80 Within, Without: Nemerov 2 A new artistic platform has emerged, one reflecting and facilitating a global society’s obsession with endlessly updating, installing, applying, connecting, and configuring its representations of human experience. New Media, or digitally generated art, has become a paradigm for artists concerned with entering and mediating our relationship to technology while underscoring the increasingly surrogate experience technology affords in its supplanting of human relationships and interactions. As with any term associated with technology, New Media’s definition is constantly outdated, expanded, and updated. -
News Douglas Crimp (1944–2019)
7/28/2020 Douglas Crimp (1944–2019) - Artforum International NEWS Douglas Crimp. Photo: Dorothea Tuch. July 05, 2019 at 2:40pm DOUGLAS CRIMP (1944–2019) Douglas Crimp—the art historian, critic, and curator who generated some of the most enduring, foundational texts on postmodern art, queer theory, and institutional critique, and whose later writings on dance galvanized the field and synthesized histories of ballet, modern dance, and postmodern performance—died of multiple myeloma early Friday morning in Manhattan. He was seventy-four years old. Crimp’s earliest attention arrived from his 1977 exhibition “Pictures,” a tiny yet epochal show at Artists Space. The show and, perhaps more significantly, the revised version of the catalogue essay that he published in the spring 1979 issue of October, snapped into focus the attitude of a generation of artists who had grown up with, and who sought critical distance from, a new era of mass-media American image culture: Cindy Sherman, Sherrie Levine, Philip Smith, Troy Brauntuch, Jack Goldstein, Robert Longo, Laurie Anderson, https://www.artforum.com/news/douglas-crimp-1944-2019-80228 1/17 7/28/2020 Douglas Crimp (1944–2019) - Artforum International and Louise Lawler among them. In 2009, the Metropolitan Museum of Art used the show as a touchstone for its expanded exhibition “The Pictures Generation, 1974–1984.” His 2016 book Before Pictures, a heady mix of memoir and theory in the 1960s and ’70s, captures some of the lived moments leading up to the show. Born August 19, 1944 in Coeur d’Alene, Idaho, Crimp studied art history at Tulane University in New Orleans before moving to New York, where he briefly took a job as a curatorial assistant at the Solomon R. -
The Anti-Aesthetic ESSAYS on POSTMODERN CULTURE
The Anti-Aesthetic ESSAYS ON POSTMODERN CULTURE Edited by Hal Foster BAY PRESS Port Townsend, Washington Copyright © 1983 by Bay Press All rights reserved Printed in the United States of America First edition published in 1983 Fifth Printing 1987 Bay Press 914 Alaskan Way Seattle, WA 98104 Library of Congress Cataloging in Publication Data Main entry under title: The Anti-aesthetic. I. Modernism (Aesthetics) -Addresses, essays, lectures. 2. Civilization, Modern-1950-Addresses, essays, lectures. I. Foster, Hal. BH301.M54A57 1983 909.82 83-70650 ISBN 0-941920-02-X ISBN 0-941920-0 I-I (pbk.) Contributors JEAN BAUDRILLARD, Professor of Sociology at the University of Paris, is the author of The Mirror of Production (Telos, 1975) and For a Critique of the Political Economy of the Sign (Telos, 1981). DOUGLAS CRIMP is a critic and Executive Editor of October. HAL FOSTER (Editor) is a critic and Senior Editor at Art in America. KENNETH FRAMPTON, Professor at the Graduate School of Architecture and Planning, Columbia University, is the author of Modern Architecture (Oxford University Press, 1980) . .. JURGEN HABERMAS, present~y associated with the Max Planck Institute in Starnberg, Germany, is the author of Knowledge and Human Interests (Beacon Press, 1971), Theory and Practice (Beacon Press, 1973), Legitima tion Crisis (Beacon Press, 1975) and Communication and the Evolution of Society (Beacon Press, 1979). FREDRIC JAMESON, Professor of Literature and History of Conscious ness, University of California at Santa Cruz, is the author of Marxism and Form (Princeton University Press, 1971), The Prison-House of Language (Princeton University Press, 1972), Fables of Aggression (University of California Press, 1979) and The Political Unconscious (Cornell University Press, 1981). -
Clinical Encounters in Sexuality: Psychoanalytic Practice and Queer Theory
clinical encounters in sexuality advance praise for clinical encounters in sexuality “In this terrific book, the psychoanalysts and the queer theo- rists — who are sometimes the same person, but usually not — are less in “conversation” about sexuality than they are pondering whether they have the same desires for sexuality. Is it perverse enough, is it dirty enough, is it ecstatic enough? Is it available to be “used” to cure as well as to make shattering bearable; to imagine as well as to capture truth? There is a lot of talking across each other in this book — sexual difference takes shape so many ways, as does the relation between structures and norms. But if interdisciplinarity is rarely achieved, there is also a lot of generous listening and imagining on both sides, about what it would be like to want cure and care where the object sexuality and its subject are only ever provisionally stable. It’s thrilling and frustrating to read this, and I am so glad I did. It will be great for teaching.” — Lauren Berlant, University of Chicago, author of Cruel Opti- mism, The Female Complaint, and Desire/Love. “No book in psychoanalysis could be more timely than Clini- cal Encounters in Sexuality. Here, psychoanalysis, often accused of heterosexism, is challenged to rethink its approach to sexu- alities. The accusation is justified, at least historically, and the responses here by leading analysts and theorists from a variety of orientations are as diverse as they are illuminating. There is the guilty-as-charged response which calls for a rethink of ana- lytic concepts. -
Spring 1989 CAA Newsletter 9 NEWS SOLO SHOWS by ARTIST MEMBERS
newsletter Volume 14, Number 1 Spring 1989 1989 ANNUAL MEETING AWARDS AND CONVOCATION CAA CONVOCATION HELD AT The Distinguished Artist Award for Lifetime presentation at the CAA Convocation. Any THE PALACE OF FINE ARTS Achievement went to Louise Bourgeois foreign scholars who reside outside of THEATER "as a sign of our appreciation of this North America are eligible for the grant for important artist's distinguished career and the 1990 meeting in New Yark. Please write ongoing crcative achievements." to the CAA offices in New York to request Awards for excellence in scholarship, an application fann. teaching, criticism and studio work were In addition, the College Art Association is presented at the Convocation ceremonies of very pleased to announce that the The Convocation was followed by a the 77th CAA Annual Meeting held on Librairie Leonee Laget, a prominent reception at The Exploratorium at which Friday evening. February 17. in the Palace international bookseller located in Paris, box dinners were available. An unusual of Fine Arts Theatre. Harry S. Parker, which specializes in fine arts and design, performance entitled Pneumatic Men was III, Director of the Fine Arts Museums of has generously presented the College Art given by Chico MacMurtrie and his San Francisco, delivered the opening Association with a grant of $750 to support mechanical/hydraulic performers. Also, greeting. Phyllis Pray Bober, the travel of a foreign art historian residing there was the lively Leung's White Crane President of the College Art Association, outside of North America to attend the Kung Fu Association in dragon costumes presided. meeting in San Francisco. -
Analyzing the Postmodernistvisual Art Events from Douglas Crimp's
Vol.15/ No.58/ Apr. 2018 Received 2017/10/23 Accepted 2018/01/17 Persian translation of this paper entitled: تحلیل رویداد پسامدرنیسم، در هنرهای تجسمی از نگاه داگﻻس کریمپ is also published in this issue of journal. Analyzing the PostmodernistVisual Art Events from Douglas Crimp’s Viewpoint Somayeh Saffari Ahmadabad* Sara Saffari** Seyed Mostafa Zaravandian*** Abstract Postmodernism attitude towards ?all of the arts varies from one art filed another both in terms of motivation and temporal framework. The issue has been largely attended to and investigated in various areas of art by the contemporary critics. Douglas Crimp is amongst the contemporary art critics whohave investigated visual arts, especially the effect of photography on the paintings as well as the functions of museums in modernism era and their whereabouts in the postmodernism era based on Walter Benjamin’s discussions onthe process of mass reproduction and also the archeological notions proposed by Michel Foucault. Thus, the present study aimed to analyze their ideas about the postmodernism art events in order to elucidate the end of painting theory and the effects of photography and the mass reproduction process on the failure of the originality and the dissolution of the sacred Aura of the artworks which will finally lead to such a crisis as the isolation of the museums in the contemporary era. Based on the findings of present study, Crimp’s opinion has been based on this important principle stating that art postmodernism is radically segregated from artistic modernism -
Screening the Closet: the Discourse of Visibility, Sexuality, and Queer
Screening the Closet: The Discourse of Visibility, Sexuality, and Queer Representation in American Film and Television, 1969-Present By Melanie E. S. Kohnen M.A., Heinrich-Heine-Universitaet, Duesseldorf, Germany, 2001 A.M., Brown University, 2002 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of American Civilization at Brown University Providence, Rhode Island May 2010 © Melanie E.S. Kohnen 2010 This dissertation by Melanie E. S. Kohnen is accepted in its present form by the Department of American Civilization as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date __________ ___________________________________ Lynne Joyrich, Advisor Recommended to the Graduate Council Date __________ ___________________________________ Wendy Hui Kyong Chun, Reader Date __________ ___________________________________ Robert Lee, Reader Approved by the Graduate Council Date __________ ___________________________________ Sheila Bonde, Dean iii Curriculum Vitae Melanie E. S. Kohnen was born on July 23, 1975 in Duisburg, Germany. She completed her Magister Artium degree in English Languages and Literatures with a minor in Media Studies at Heinrich-Heine-Universität in Düsseldorf, Germany. During her studies there, she received a one-year DAAD (German Academic Exchange Service) scholarship to attend Wesleyan University in Middletown, CT. At Wesleyan, Melanie focused on American government, history, material culture and cultural studies. Upon her return, she began research for her thesis, eventually titled Crossing Borders, Re-Locating Our Selves: Chinese American Women’s Identities After 1965. While working on her thesis, Melanie received two additional scholarships. The first scholarship was a DAAD research grant that allowed Melanie to attend ifu, the International Women's University, a pilot project sponsored by the European Union. -
Illusion and Disillusionment in the Works of Jeff Wall and Gerhard Richter: Picturing (Post)Modern Life
ABSTRACT Title of Document: Illusion and Disillusionment in the Works of Jeff Wall and Gerhard Richter: Picturing (Post)Modern Life Virginia Adams, Ph.D. 2007 Directed By: Professor Steven A. Mansbach, Department of Art History and Archaeology This study is a meta-critique of the discourse surrounding the emergence of large-scale, color photography around 1980 and the concurrent “return to painting” through an examination of the art praxes of Jeff Wall and Gerhard Richter. As Western avant-garde art shifted from conceptual practices toward large-scale, figurative painting and photography during the late 1970s and early 1980s, there developed a vociferous discourse that, to a large degree, was highly critical of the changes that were taking place. The most strident aspect of the discourse emanated from fundamentally Marxist critics and academicians who viewed the turn to more aesthetically-based art forms as an undesirable capitulation to the political hegemony of the conservative administration in the United States, and to a burgeoning and increasingly international art market fueled by improving economic conditions. This criticism looked less than carefully at the art and the stated positions of the artists. This study mines the critical writings about both Wall and Richter in order to illuminate the discourse and elucidate the limits of art-historical writing that arises from rigid theoretical positions. It focuses particularly on the writings of Benjamin Buchloh, Douglas Crimp, Rosalind Krauss and Jean-François Chevrier. The writings of Wall and Richter are also given considerable weight and their voices are invoked as full participants. The works of Wall and Richter involve inextricable combinations of photography and painting in very different ways, and the role of medium within the discourse is examined. -
THOMAS LAWSON Born 1951, Glasgow, Scotland Lives and Works in Los Angeles, CA EDUCATION 1979 Graduate Center, City University Of
THOMAS LAWSON born 1951, Glasgow, Scotland lives and works in Los Angeles, CA EDUCATION 1979 Graduate Center, City University of New York, New York, NY 1975 University of Edinburgh, Edinburgh, Scotland 1973 University of St. Andrews, St. Andrews, Scotland SELECTED SOLO / TWO PERSON EXHIBITIONS (* indicates a publication) 2015 Klaus von Nichtssagend Gallery, New York, NY 2014 *DB14, Dallas Biennial, Dallas, TX 2012 In the Shadow of the Beast, David Kordansky Gallery, Los Angeles, CA 2009 Thomas Lawson: 1977 – 1987, David Kordansky Gallery, Los Angeles, CA 2007 History/Painting, LAXART, Los Angeles, CA 2004 The Suburban, Chicago, IL 2001 Sleeper, Edinburgh, Scotland 1998 Project Wall, Rosamund Felsen, Los Angeles, CA 1995 Viennese Paintings, Anthony Reynolds Gallery, London, England; Norwich School of Art and Design, Norwich, England 1993 Sylvie Ferre, Lyon, France 1992 Sylvie Ferre, Lyon, France [email protected] www.davidkordanskygallery.com T: 323.935.3030 F: 323.935.3031 1990 *Third Eye Centre, Glasgow, Scotland; Battersea Arts Centre, London, England Anthony Reynolds Gallery, London, England Battersea Arts Centre, London, England 1989 Metro Pictures, New York, NY T.O.O. Gallery, Vancouver, British Colombia, Canada 1988 Kuhlenschmidt/Simon, Los Angeles, CA 1987 The Party’s Over, Metro Pictures, New York, NY *Anthony Reynolds Gallery, London, England La Jolla Museum of Contemporary Art, La Jolla, CA 1986 Civic Virtues, City University Graduate Center Mall, New York, NY 1985 Metro Pictures, New York, NY 1984 Or Gallery, -
Hannah Wilke
HANNAH WILKE Born: New York, NY 1940 Died: Houston, TX 1993 SELECTED SOLO EXHIBITIONS 2019 Ronald Feldman Gallery, New York, NY, Force of Nature, September – October. Temple Contemporary, Tyler School of Art, Temple University, Philadelphia, PA, Hannah Wilke: Sculpture in the Landscape, April 25 – July 12. (catalogue) 2018 Alison Jacques Gallery, London, United Kingdom, Hannah Wilke, September 27 – December 21. 2014 Alison Jacques Gallery, London, United Kingdom, Hannah Wilke: Scultpure 1960’s – 80’s, April 24 – May 29. 2012 Gallery Paule Anglim, San Francisco, CA, Hannah Wilke, April 4 – April 28. 2011 Alison Jacques Gallery, London, United Kingdom, Hannah Wilke: Selected Work from the ‘60’s & ‘70s, June 10 – July 9. 2010 Ronald Feldman Fine Arts, New York, NY, Early Drawings, September 11 – October 30. Alison Jacques Gallery, London, United Kingdom, Elected Affinities, June 4 – August 14. 2008 Neuberger Museum of Art, Purchase, NY, Hannah Wilke: Gestures, October 3 – January 4, 2009. 2007 Ronald Feldman Fine Arts, New York, Intra-Venus Tapes 1990 –1993, September 8 – October 13. Alison Jacques Gallery, London, England, Hannah Wilke, September 6 – October 6. 2006 Artium–Centro Museo Vasco de Arte Contemporaneo, Vitoria-Gasteiz, Spain, Exchange Values, October 4 – January 7, 2007. Ronald Feldman Fine Arts at the Armory, New York, NY, Hannah Wilke, March 9 – March 13. Solway Jones, Los Angeles, CA, Hannah Wilke: Advertisement for Living. 2005 Mary Porter Sesnon Art Gallery, Santa Cruz, CA, The Rhetoric of the Pose: Rethinking Hannah Wilke, October 5 – December 3. 2004 Solway Jones, Los Angeles, California, Hannah Wilke: Selected Work 1960 - 1992, January 10 – February 21.