Curriculum Vitae 2017
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Tate Papers Issue 12 2009: Antony Hudek
Tate Papers Issue 12 2009: Antony Hudek http://www.tate.org.uk/research/tateresearch/tatepapers/09autumn/hudek... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL Landmark Exhibitions Issue From Over- to Sub-Exposure: The Anamnesis of Les Immatériaux Antony Hudek Although a number of twentieth-century exhibitions are already hailed as ‘landmark exhibitions’, one major and highly innovative exhibition has eluded the attention of scholars until recently: Les Immatériaux , co-curated in 1985 for the Centre Georges Pompidou in Paris by the philosopher Jean-François Lyotard and the design historian and theorist Thierry Chaput. 1 Among its many novel features was the fact that it was the first exhibition in which a philosopher played a leading role, opening the door to many other instances where intellectuals would become ad hoc curators. 2 Instead of the standard sequence of white cubes, Lyotard and Chaput divided the entire fifth floor of the museum with large sheets of uncoloured metal mesh hanging from the ceiling. Contrary to the neutral lighting of most exhibition environments, Les Immatériaux offered a theatrical setting – the work of young stage designer Françoise Michel – which played with stark contrasts between spotlit exhibits and areas of near total darkness.3 In Chaput’s words: ‘Decked in demanding grey, illuminated by improbable lighting, with unpredictable ideas allowed to hover, this hour, this day in this year, suspended, rigorously ordered yet without system, “The Immaterials” exhibit themselves between seeing, feeling and hearing.’ 4 Importantly, Les Immatériaux brought together a striking variety of objects, ranging from the latest industrial robots and personal computers, to holograms, interactive sound installations, and 3D cinema, along with paintings, photographs and sculptures (the latter ranging from an Ancient Egyptian low-relief to works by Dan Graham , Joseph Kosuth and Giovanni Anselmo ). -
HARD FACTS and SOFT SPECULATION Thierry De Duve
THE STORY OF FOUNTAIN: HARD FACTS AND SOFT SPECULATION Thierry de Duve ABSTRACT Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions (attribution, etc.) and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. KEYWORDS, Readymade, Fountain, Independents, Stieglitz, Sanitary pottery Then the smell of wet glue! Mentally I was not spelling art with a capital A. — Beatrice Wood1 No doubt, Marcel Duchamp’s best known and most controversial readymade is a men’s urinal tipped on its side, signed R. Mutt, dated 1917, and titled Fountain. The 2017 centennial of Fountain brought us a harvest of new books and articles on the famous or infamous urinal. I read most of them in the hope of gleaning enough newly verified facts to curtail my natural tendency to speculate. But newly verified facts are few and far between. -
CRITICAL THEORY Past, Present, Future Anders Bartonek and Sven-Olov Wallensein (Eds.) SÖDERTÖRN PHILOSOPHICAL STUDIES
CRITICAL THEORY Past, Present, Future Anders Bartonek and Sven-Olov Wallensein (eds.) SÖDERTÖRN PHILOSOPHICAL STUDIES The series is attached to Philosophy at Sder- trn University. Published in the series are es- says as well as anthologies, with a particular em- phasis on the continental tradition, understood in its broadest sense, from German idealism to phenomenology, hermeneutics, critical theory and contemporary French philosophy. The com- mission of the series is to provide a platform for the promotion of timely and innovative phil- osophical research. Contributions to the series are published in English or Swedish. Cover image: Kristofer Nilson, System (Portrait of a Swedish Tax Form), 2020, Lead pencil drawing on chalk paint, on mdf 59.2 x 42 cm. Photo: Jesper Petersen. Te Swedish tax form is one of many systems designed to handle and present information. Mapped onto the surface of an artwork, it opens a free space; an untouched surface where everything can exist at the same time. Kristofer Nilson Critical Theory Past, Present, Future Edited by Anders Bartonek & Sven-Olov Wallenstein Sdertrns hgskola Sdertrns University Library SE-141 89 Huddinge www.sh.se/publications © the Authors Published under Creative Commons Attribution 3.0 Unported License Cover layout: Jonathan Robson Graphic form: Per Lindblom & Jonathan Robson Printed by Elanders, Stockholm 2021 Sdertrn Philosophical Studies 28 ISSN 1651-6834 Sdertrn Academic Studies 83 ISSN 1650-433X ISBN 978-91-89109-35-3 (print) ISBN 978-91-89109-36-0 (digital) Contents Introduction -
Spring 2019 the State Is Not a Work of Art
AH 513 | Spring 2019 The State is Not a Work of Art Hans Haacke, Der Bevölkerung, 2000, detail Mondays 3:00‑5:30 | Prof: Blake Stimson | Office hours: Wednesdays 1:00‑2:00 It has been a commonplace for a century now that “to understand the esthetic”—this is John Dewey in 1934 —“one must begin with it in the raw.” Therein lies art’s autonomy, its capacity for critical distance. This course will question this assumption by drawing on the tradition in German philosophy that turns on Hegel’s assertion “The state is not a work of art.” By drawing on the continuities between the political and aesthetic philosophies of Kant, Hegel, Marx, Lukács and Adorno we will develop a working account of realism that might effectively respond to the tragic cultural politics of our own day. REQUIREMENTS Class parcipaon will count for 50% of your grade, one qurter each based on your aendance, wrien responses to the quesons posed online, three short essays each responding to any chosen assigned reading and presented in class, and your contribuon to classroom discussion. Your final project will count for 30% and your midterm presentaon 20%. The final paper assignment is in two parts. The first part is to be an inial dra of 7 pages presented like a 20‑minute conference paper with feedback from the rest of the class in the paper workshop. The final paper should be 15‑20 pages and focus on any point of intersecon between aesthecs and polics. Please submit as a Google doc through Google Classroom. -
An Interview with Thierry De Duve
“The glimpse of hope that religion or politics can no longer promise…” An Interview with Thierry de Duve jacob lund. In a conversation held in 2004 at the University College of Cork, Ireland, you claim that Kant got it right in the sense that his aes- thetic thinking is still valid and relevant. What is it Kant was right about? In the same conversation you state the following: ”The work that remains to be done would be to generalize Kant, in the way Einstein, for example, generalized Newton, so that the validity of what Kant had to say about aesthetic judgement could be expanded to include later developments in the arts.” Was he only right about the aesthetic judgement, or are there other issues in Kant which are of interest in relation to contemporary art and aesthetic culture? thierry de duve. Before we engage in this exchange, allow me to tell you that each of your questions is so complex that the proper answer would be a chapter in a book. I hope to be able to write such a book some day but it will not be done overnight. In the meantime, I beg your pardon if I elude some of your questions or give you a very sketchy answer. I believe that Kant was right on the issue of how to define aesthetic judgements: how do they function, what is at stake in them, what do we imply when we make them? – Things like that. You see, I tend to look at Kant as if he were a scientist who made a discovery about the true nature of aesthetic judgements. -
Rosado, Carlos Manuel Cunha, 1968- Devir-Crítica E Clínica Em Arquitectura
Universidades Lusíada Rosado, Carlos Manuel Cunha, 1968- Devir-crítica e clínica em arquitectura http://hdl.handle.net/11067/996 Metadados Data de Publicação 2014-07-21 Resumo A presente investigação tem como objectivo estudar o conhecimento do individuo na composição do pensamento arquitectónico pela apreciação intelectual crítica como um devir [pensar, questionar, entender e experimentar]. Para isso, é usado como impulso, metodologias próprias da filosofia e crítica cinematográfica no juízo da procura e na construção de questões e elaboração de respostas. Se por um lado pretendemos estudar o conhecimento pela idealização prosaica, sendo um entendimento do seu própri... Palavras Chave Arquitectura - - Filosofia, Serpentine Gallery Pavilion (Londres, Inglaterra), Kant, Immanuel, 1724-1804 - Crítica e interpretação, Duchamp, Marcel, 1887-1968 - Crítica e interpretação Tipo masterThesis Revisão de Pares Não Coleções [ULL-FAA] Dissertações Esta página foi gerada automaticamente em 2021-10-10T21:25:39Z com informação proveniente do Repositório http://repositorio.ulusiada.pt UNIVERSIDADE LUSÍADA DE LISBOA Faculdade de Arquitectura e Artes Mestrado integrado em Arquitectura Devir-crítica e clínica em arquitectura Realizado por: Carlos Manuel Cunha Rosado Orientado por: Prof. Doutor Arqt. Mário João Alves Chaves Constituição do Júri: Presidente: Prof. Doutor Arqt. Joaquim José Ferrão de Oliveira Braizinha Orientador: Prof. Doutor Arqt. Mário João Alves Chaves Arguente: Prof. Doutor Arqt. Rui Manuel Reis Alves Dissertação aprovada em: 16 de Julho -
A FUND for the FUTURE Francis Alÿs Stephan Balkenhol Matthew
ARTISTS FOR ARTANGEL Francis Alÿs Stephan Balkenhol Matthew Barney Janet Cardiff and George Bures Miller Vija Celmins José Damasceno Jeremy Deller Rita Donagh Peter Dreher Marlene Dumas Brian Eno Ryan Gander Robert Gober Nan Goldin Douglas Gordon Antony Gormley Richard Hamilton Susan Hiller Roger Hiorns Andy Holden Roni Horn Cristina Iglesias Ilya and Emilia Kabakov Mike Kelley + Laurie Anderson / Kim Gordon / Cameron Jamie / Cary Loren / Paul McCarthy / John Miller / Tony Oursler / Raymond Pettibon / Jim Shaw / Marnie Weber Michael Landy Charles LeDray Christian Marclay Steve McQueen Juan Muñoz Paul Pfeiffer Susan Philipsz Daniel Silver A FUND FOR THE FUTURE Taryn Simon 7-28 JUNE 2018 Wolfgang Tillmans Richard Wentworth Rachel Whiteread Juan Muñoz, Untitled, ca. 2000 (detail) Francis Alÿs Stephan Balkenhol Matthew Barney Janet Cardiff and George Bures Miller Vija Celmins José Damasceno Jeremy Deller Rita Donagh Peter Dreher Marlene Dumas Brian Eno ADVISORY GROUP Ryan Gander Hannah Barry Robert Gober Erica Bolton Nan Goldin Ivor Braka Douglas Gordon Stephanie Camu Antony Gormley Angela Choon Richard Hamilton Sadie Coles Susan Hiller Thomas Dane Roger Hiorns Marie Donnelly Andy Holden Ayelet Elstein Roni Horn Gérard Faggionato LIVE AUCTION 28 JUNE 2018 Cristina Iglesias Stephen Friedman CONDUCTED BY ALEX BRANCZIK OF SOTHEBY’S Ilya and Emilia Kabakov Marianne Holtermann AT BANQUETING HOUSE, WHITEHALL, LONDON Mike Kelley + Rebecca King Lassman Laurie Anderson / Kim Gordon / Prue O'Day Cameron Jamie / Cary Loren / Victoria Siddall ONLINE -
Kierkegaard, Construction of the Aesthetic
Theory and History of Literature Edited by Wlad Godzich and Jochen Schulte-Sasse Volume 61 . Theodor W. Adorno Kierkegaard: Construction of the Aesthetic Kierkegaard Volume 60. Kristin Ross The Emergence of Social Space: Rimbaud and the Paris Commune Volume 59. Edjted by Lindsay Waters and Wlad Godzich Reading De Man Reading Construction of Volume 58. F.W.J . Schelling The Philosophy of Art Volume 57. Louis Marin Portrait of the King Volume 56. Peter Sloterdijk Thinker on Stage: Nietzsche's Materialism the Aesthetic Volume 55. Paul Smith Discerning the Subject Volume 54. Reda Bensmai'a The Barthes Effect Volume 53. Edmond Cros Theory and Practice of Sociocriticism Volume 52. Philippe Lejune On Autobiography Volume 51 . Thierry de Duve The Readymade: Marcel Duchamp, Painting and Modernity Volume 50. Luiz Costa Lima The Control of the Imaginary Theodor W. Adorno Volume 49. Fredric Jameson The Ideologies of Theory: Essays 1971-1986, 2 Volume 48 . Fredric Jameson The Ideologies of Theory: Essays 1971-1986, I Volume 47. Eugene Vance From Topic to Tale: Logic and Narrativity in the Translated, edited, and with a foreword by Middle Ages Robert Hullot-Kentor Volume 46. Jean-Fran ~oi s Lyotard The Differend Volume 45 . Manfred Frank What is Neostructuralism? Volume 44. Daniel Cottom Social Figures: George Eliot, Social History, and Literary Representation Volume 43 . Michael Nerlich The Ideology of Adventure, Volume 2. Volume 42. Michael Nerlich The Ideology of Adventure, Volume I . Theory and History of Literature, Volume 61 Volume 41 . Denis Hollier The College of Sociology Volume 40. Peter Sloterdijk Critique of Cynical Reason Volume 39. -
F18 IRC Web Rev.Pdf
Fall 2018 Guide to Subjects Contact Information African American History 21-3, 26, 34, 41- Studies 1, 49, 53, 60 3, 45-7, 50, 54, 58, 62, If you wish to evaluate our titles for translation, please write to us at American History 9, 71-2 [email protected] and we will arrange to send a 30-1, 33-5, 45-7, 68 Law 15, 35, 69 PDF for review purposes when available upon publication. Although it is our policy not to grant exclusive options, we will attempt to inform Anthropology 35, 38- Linguistics 29 you as soon as possible if we receive an offer for translation rights into 40 Literary Criticism 57- your language for a book under your consideration. Architecture 21 61 Art 2-3, 18-20, 36 Literature 9-11 For a complete index of our publications and catalogs by subject, Art History 19 Media Studies 26 please visit us at: http://www.press.uchicago.edu/books/subject.html. Asian Studies 39, 42 Medicine 28 You may also wish to browse our rights catalogs at: Biography 6, 14, 24, Music 6, 14, 18, 48-51 http://bit.ly/UCPrights 66-7 Nature 4, 13, 49 Business 45 Philosophy 18-9, 25, 27- Classics 29, 62 30, 52, 55, 72 Please feel welcome to contact us with any questions about our books – we look forward to hearing from you! Cooking 5 Poetry 10, 16 Cultural Studies 23 Political Science 15, 28, Current Events 7, 12 30-4, 53 With best wishes, Economics 39, 51-2, 57, Reference 70 63, 72 Religion 38, 42, 53-5, Education 1, 7 59, 62 Ethnomusicology 37 Science 5, 8, 21-5, 43-4, Béatrice Bourgogne Eo-Jean Kim 65, 71 International Rights Manager International Rights Consultant European History 40, [email protected] [email protected] 44, 46 Sociology 20, 32, 56-7, [email protected] [email protected] 72 Fiction 11 Sports 35 Film Studies 34 Women’s Studies 56 Gay and Lesbian Lucina Schell Studies 45, 52-3, 56 International Rights Associate [email protected] [email protected] Catalog design by Brian Beerman EVE L. -
Press Release
Press Release Whitney Museum of American Art Contact: 945 Madison Avenue at 75th Street Whitney Museum of American Art New York, NY 10021 Stephen Soba, Leily Soleimani whitney.org/press 212-570-3633 Tel. (212) 570-3633 Fax (212) 570-4169 [email protected] A FEW FRAMES: PHOTOGRAPHY AND THE CONTACT SHEET OPENS AT THE WHITNEY September 25, 2009–January 3, 2010 David Wojnarowicz (1954–92), Untitled, 1988. Synthetic polymer on two chromogenic prints, 11 x 13 1/4 in. (27.9 x 33.7 cm). Whitney Museum of American Art, New York; purchase with funds from the Photography Committee 95.88. Courtesy of The Estate of David Wojnarowicz and P.P.O.W. Gallery, New York, NY New York, September 24, 2009 — In this selection of works drawn principally from the Whitney’s permanent collection, the repetitive image of the proof sheet is the leitmotif in a variety of works spanning the range of the museum’s photography collection, including the works of Paul McCarthy, Robert Frank, Ed Ruscha, and Andy Warhol. The exhibition is co-curated by Elisabeth Sussman, Whitney Curator and Sondra Gilman Curator of Photography, and Tina Kukielski, Senior Curatorial Assistant. A Few Frames opens on September 25, 2009 in the Sondra Gilman Gallery and runs through January 3, 2010. Decisions about which photograph to exhibit or print are frequently the end result of an editing process in which the artist views all of the exposures he or she has made on a contact sheet—a photographic proof showing strips or series of film negatives— and then selects individual frames to print or enlarge. -
Dan Graham to Be Presented at Whitney, June 25-October 11, 2009
Press Release Whitney Museum of American Art Contact: 945 Madison Avenue at 75th Street Whitney Museum of American Art New York, NY 10021 Stephen Soba, Leily Soleimani whitney.org/press 212-570-3633 Tel. (212) 570-3633 Fax (212) 570-4169 [email protected] RETROSPECTIVE OF PIONEERING ARTIST DAN GRAHAM TO BE PRESENTED AT WHITNEY, JUNE 25-OCTOBER 11, 2009 Dan Graham performing Performer/Audience/Mirror at P.S.1 Institute for Contemporary Art, Long Island City, NY, 1977. Photo courtesy of the artist. NEW YORK, March 26, 2009 -- Dan Graham, one of the pioneering figures of contemporary art, is the subject of a landmark retrospective opening at the Whitney Museum of American Art on June 25. Dan Graham: Beyond is the first-ever comprehensive museum survey of Graham’s career to be done in the United States. The show is co-curated by Chrissie Iles, the Whitney’s Anne and Joel Ehrenkranz Curator, and Bennett Simpson, MOCA associate curator. Organized by The Museum of Contemporary Art, Los Angeles, in collaboration with the Whitney, it examines Graham’s extensive body of work in photographs, film and video, architectural models, indoor and outdoor pavilions, conceptual projects for magazine pages, drawings, prints, and writings. Dan Graham: Beyond is the latest in a trio of collaborations between the Whitney and MOCA, following Gordon Matta-Clark: You Are the Measure and Lawrence Weiner: As Far As the Eye Can See, celebrating the work of three major figures in American art, each of whom emerged in the 1960s. Following its presentation at the Whitney from June 25 to October 11, 2009, the Graham exhibition travels to the Walker Art Center, Minneapolis, from October 31, 2009 to January 31, 2010. -
A Vocabulary of Water: How Water in Contemporary Art Materialises the Conditions of Contemporaneity
A VOCABULARY OF WATER HOW WATER IN CONTEMPORARY ART MATERIALISES THE CONDITIONS OF CONTEMPORANEITY Tessa Elisabeth Fluence Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy School of Culture and Communication The University of Melbourne March 2015 ABSTRACT This thesis provides an in-depth analysis of how water in three contemporary artworks provides an affective vocabulary that gives material expression to the forces and dynamics that shape our current era. It argues water is not simply a medium or metaphor; in the artworks, it articulates and is symptomatic of the conditions of contemporaneity. Focusing on the dynamics of time, placemaking and identity, it argues water in the artworks makes present our era’s fluid, multiple, precarious, contingent, complex, disorientating, immersive and overwhelming nature. This dissertation uses Terry Smith’s theory of contemporaneity as a lens through which to identify the dynamics and forces of this era. By focusing on water in three artworks, it amplifies and extends his work to consider how the particular vocabulary of water materialises these forces. This is demonstrated through three case studies of exemplary artworks in different mediums, made between 2000 and 2004, by Zhu Ming, Roni Horn and Bill Viola. Drawing on Mieke Bal’s approach of conceptual travelling, I do a close reading of each artwork, orchestrating a conversation between the work, the concept of water and the theory of contemporaneity. Focusing on the role of water in each work, I argue water provides a potent comment on the conditions of contemporaneity, offering a new ontology that is appropriate to, and symptomatic of, today’s complex conditions.