Stony Brook University Stony Brook University Stony Brook University College of Arts and Sciences

Art History & Criticism Lecture Series

Upcoming | 2015-2016 | 2014-2015 | 2013-2014 | 2012-2013 | 2011-2012 | 2009-2010 | 2008-2009 | 2007-2008 | 2006-2007 | 2005-2006 | 2004–2005 | 2003-2004 | 2002–2003 | 2001-2002 | 2000–2001 | 1999-2000 | 1998–1999 | 1997-1998 | 1996-1997 | 1995-1996 | 1994-1995 | 1992-1993

About the Series

The Art History & Criticism Lecture Series is organized by the graduate students of the Department. Every year, the graduate students invite notable scholars and artists to share their research with the Stony Brook community and the public at large. The series is intended to foster dialogue and develop camaraderie across institutions, and to provide insight into works and practices that have particularly affected recent scholarship. All lectures are free and open to the public.

 

Upcoming…

2015–2016 Art History & Criticism Lecture Series
Stony Brook Manhattan

Friday, NOVEMBER 13, 7:00pm

Robert Whitman, Reflections on Recent Works: Swim and Local Report

20151109_Robert-Whitman_750x380Multimedia artist Robert Whitman will discuss his two latest projects: Swim (2015) and Local Report (2012). Whitman’s career spans multiple decades and disciplines. In the 1960s, he associated with a group of artists, including Allan Kaprow, Jim Dine, and Claes Oldenburg, who staged innovative theatrical performances on Manhattan’s Lower East Side. In 1966, Whitman joined ten other New-York-based artists to work with Billy Klüver at Bell Laboratories, creating artwork which utilized computer media and other emergent technologies.20151109_Robert-Whitman2_750x380 He received the Guggenheim Fellowship for Creative Arts in 1976, and has been the subject of retrospectives at such prominent institutions as DIA and MoMA. His recent theatrical performances employ telecommunications networks and multisensory elements to conceive new communities of spectatorship in the theater and gallery alike. For more information on LOCAL REPORT you can visit the projects’s website: http://whitmanlocalreport.net

This event celebrates the 50th anniversary of the Experiments in Art and Technology (E.A.T.) founded by Robert Whitman among others. It is a vibrant community of artists that redefined what constituted art in the twentieth century.

 

2015-2016

Lev Manovich, Instagram as a Medium and Message: Art History Meets Data Science

Lev-Manovich

New media theorist Lev Manovich speaks about his latest project SELFIECITY, a data science investigation of self-portraiture in five cities around the world. Manovich is the author of seven books including Software Takes Command (2013), Soft Cinema: Navigating the Database (2005), and The Language of New Media (2001). His current research concerns the development of Cultural Analytics, or the computational analysis and visualization of massive cultural visual datasets in the humanities. In addition to his academic commitments, Manovich works with computer media as an artist, exhibiting his artwork across the world. He is the recipient of a number of grants and fellowships, most notably from the Guggenheim foundation, the Andrew Mellon foundation, National Endowment of the Arts, and the National Science Foundation. He received his PhD in Visual and Cultural Studies from the University of Rochester in 1993. For more information on SELFIECITY you can visit the project’s website: http://selfiecity.net

 

2014-2015

Robert Storr, On Louise Bourgeois and the Privilege of Sublimation
Louise Bourgeois Paddle Woman

Louise Bourgeois, Paddle Woman, 1947, Bronze, 57 3/4 x 16 1/4 x 12 inches, Edition of 6. Courtesy of Cheim & Reid.

Renowned art critic and curator Robert Storr derives his lecture from his forthcoming book, Intimate Geometries: The Work and Life of Louise Bourgeois (2014). Storr was curator in the Department of Painting and Sculpture at the Museum of Modern Art, New York, from 1990 to 2002, where he organized exhibitions on Elizabeth Murray, Gerhard Richter, Max Beckmann, Tony Smith, and Robert Ryman. In addition to writing for numerous art publications, he has taught at the Institute of Fine Arts, CUNY graduate center, and the Bard Center for Curatorial Studies, as well as the Rhode Island School of Design, New York Studio School, and Harvard University. He is currently Professor of Painting/Printmaking and Dean of the School of Art at Yale University.

 

Candice Breitz, From A to B and Back Again
CandiceBreitz

Candice Breitz, Factum Kang, 2009, Dual-Channel Installation: 2 Hard Drives, Duration: 69 minutes, 10 seconds, Commissioned by The Power Plant, Toronto.

Candice Breitz is a Berlin-based artist whose moving image installations have been shown internationally. She has been a tenured Professor at the Hochschule für Bildende Künste in Braunschweig since 2007. Breitz has spent long stretches of time producing works in Jamaica, Italy, Germany, Austria, Japan, Sweden, Great Britain, Ukraine, South Africa, the United States, India, and Nigeria. Her immersive practice seeks to capture and observe the nuanced ways in which individuals relate to and are determined by the dense social constellations in which they exist. She will talk about and screen footage from several works that she has made on the road over the last decade, discussing the ways in which her creative practice has been shaped by the myriad of people and places that each work must negotiate as it comes into being.

 

Paul Chan, Odysseus as Artist
PaulChan

Paul Chan, Master Argument, 2013 (detail), Installation view, Paul Chan – Selected Works, Schaulager, Basel, 2014. Courtesy Greene Naftali gallery and Paul Chan.

In this lecture, artist and founder of the publisher Badlands Unlimited Paul Chan explores the following: that moment, elation, “echo reconciles,” Adorno, form, “fatefulness,” the Odyssey, Calypso, cave, Odysseus, contemporary art, homesickness, zones of engagement, Ithaca, luxury, alienation, the Iliad, force, gravity, cunning, polutropos, Athena, sophia, honor, themis, aristoi, Hesiod, aidos, glory, demos, bow and arrow, harbinger, reason, Athenian democracy, and art as cunning. Chan’s book, Paul Chan: Selected Writings 2000–2014, was recently published in conjunction with his exhibition Selected Works at Schaulager in Basel, Switzerland (April 11–October 19, 2014).

 

2013-2014

Jens Hoffmann, Curatorial Déjà vu

20140325_JensHoffman_yellow_1000px

In his lecture, Jens Hoffmann explores the recent trend in exhibition making to revisit, recurate or otherwise reanimate historically important exhibitions. Hoffmann discusses his thoughts and ideas that culminated in his recent revival of two legendary shows from the 1960s: Primary Structures (The Jewish Museum, New York, 1966) and Live in your Head: When Attitudes Become Form (Kunsthalle Bern, 1969), resulting in Other Primary Structures (The Jewish Museum, New York, 2014) and When Attitudes Became Form Become Attitudes (CCA Wattis Institute for Contemporary Art, San Francisco, 2012).

Jens Hoffmann is an exhibition maker and writer, and is currently Deputy Director of The Jewish Museum, New York.

Watch the lecture here.

 

Yvonne Rainer, The Aging Dancer and Her Dis/contents
20140303_YvonneRainer_1000pxw

Dancers Patricia Hoffbauer, Emmanuélle Phuon, Yvonne Rainer, Pat Catterson, Keith Sabado, and Emily Coates. Photographer: Ian Douglas.

Yvonne Rainer’s lecture includes autobiographical accounts and excerpts from a documentation of her most recent choreography Assisted Living: Do You Have Any Money? (2013), an amalgam of movement and speech derived from a number of different sources, including Rainer’s own choreographic imagination and her collaborative process with her dancers. The piece presents new challenges for the group in that they are required to deliver long monologues while performing intricate steps. Following her customary penchant for radical juxtaposition, Rainer has taken the risky route of pairing vaudevillian pratfalls with solemn socio-economic analyses. The dire times in which we live seem to demand such an approach.

Watch the lecture here.

 

Mary Kelly, Projects: 1973-2010
Mary Kelly, Documenta 12, Kassel, 2007.

Mary Kelly, Documenta 12, Kassel, 2007.

In her lecture, Mary Kelly explored the questions of sexuality, identity and historical memory that have prompted her project-based work for over four decades. She considered how these questions are shaped by a debate-specific site and why her narrative installations rely not only on the story unfolding between words and objects, but also on the viewer’s experience of space.

Watch the lecture here.

The 2013-2014 Art History & Criticism Lecture Series is generously funded by the Stony Brook Graduate Students Organization, the Building Graduate Communities Initiative of the Graduate School, and the Department of Art at Stony Brook University.

 

2012-2013

Okwui Enwezor, Intense Proximity: The Disappearance of Distance
Exhibition view « La Triennale, Intense Proximité », 04/12/12 – 08/26/12, Palais de Tokyo (Paris). Photo: André Morin. Annette Messager, Motion/Emotion, 2012, Courtesy of the artist and Marian Goodman Gallery, New York, Paris,ADAGP Paris 2012.

Exhibition view « La Triennale, Intense Proximité », 04/12/12 – 08/26/12, Palais de Tokyo (Paris). Photo: André Morin. Annette Messager, Motion/Emotion, 2012, Courtesy of the artist and Marian Goodman Gallery, New York, Paris,ADAGP Paris 2012.

Okwui Enwezor (Nigeria, 1963) is an international curator and the Director of the Haus der Kunst in Munich, Germany. He has curated many exhibitions and festivals all over the world including the Johannesburg Biennale in South Africa (1997), the Bienal Internacional de Arte Contemporaneo de Sevilla, in Spain, the Gwang-ju Biennale in South Korea (2008), and Intense Proximity: La Triennale 2012, in France. He was the artistic director of Documenta 11 in Kassel, Germany, in 2002, and was Dean of Academic Affairs and Senior Vice President of San Francisco Art Institute (2005-2009).

Watch the lecture here.

 

Thierry de Duve, The Invention of Non-Art

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Now out of fashion but endemic in the art criticism of the 1960s, the expression ‘non-art’ usually refers to works by Dada or Neo-Dada artists that deliberately eschew or mock the look of art. Some critics even credit a single artist for the paternity of non-art, claiming that it came into being with Marcel Duchamp’s invention of the readymade. De Duve shall argue that this is an optical illusion resulting from the confusion between author and messenger. He shall then defend the view that non-art is actually a side-effect of the 19th century French Beaux-Arts system, an involuntary consequence of the binary structure of aesthetic judgment at the Salon.

The 2012-2013 Art History & Criticism Lecture Series was generously funded by the Stony Brook Graduate Students Organization, the Building Graduate Communities Initiative of the Graduate School, and the Department of Art at Stony Brook University.

Watch the lecture here.

 

2011-2012

Claire Bishop, Delegated Performance: Outsourcing Authenticity
Still from Phil Collins, They Shoot Horses, 2004

Still from Phil Collins, They Shoot Horses, 2004

One of the most prevalent tendencies in visual art performance since the early 1990s has been the hiring of non-professionals to do performances, rather than these events being undertaken by the artists themselves (as was the case in the majority of body art works of the 1960s through the 1980s). Because this type of performance involves the artist using other people as the material of his or her work, it has occasioned heated debate over the ethics of representation.

In her lecture, Claire Bishop will argue against such ethical readings of these more recent performances, and in favor of a more complex and troubling understanding of the social dynamics they enact. Informed by Pierre Klossowski’s text La Monnaie Vivante (1970), and the French curator, Pierre Bal-Blanc’s itinerant European performance project inspired by Klossowski’s writings, Bishop will propose that the outsourcing of labor in delegated performance reveals our persistent desire to be exhibited and exploited.

 

Ina Blom, Cinema, Architecture and Collectivity: Report on a Reversed Movie Production
Still from Tobias Rehberger, On Otto, 2007 (courtesy Tobias Rehberger & Fondazione Prada, Milano)

Still from Tobias Rehberger, On Otto, 2007 (courtesy Tobias Rehberger & Fondazione Prada, Milano)

Imagine a reversed movie production process – one starting with the advertising campaign and – moving backwards through all the normal stages of postproduction and production, – ends where it all normally starts: with the writing of a screenplay. Imagine next the screening situation for the outcome of this production: an architectural environment built from the cinematic materials of this production – a veritable Cinecitta if there ever was one. No mere fantasy, such a project was in fact realized in 2007 under the direction of the German artist Tobias Rehberger and starring Hollywood luminaries such as Kim Basinger, Willem Dafoe and Danny de Vito, among many others.

In her lecture Blom will discuss the wider ramifications of an artistic project that is only one (if perhaps the most spectacular) among a series of recent artworks that stage encounters between architecture and moving image media such as cinema and television. The mediatic aspects of contemporary architecture are well known, as are the architectural qualities of various types of media spaces. However, by raising the very encounter between cinema and architecture to a principle, these works above all bring out the question of how collectivity is thought or figured within such an environment. The wider framework for the discussion is the question between art and social ontologies, brought on by the influx of so-called “social” or “relational” art productions.

The 2013-2014 Art History & Criticism Lecture Series is generously funded by the Stony Brook Graduate Students Organization, the Building Graduate Communities Initiative of the Graduate School, and the Department of Art at Stony Brook University.

 

2009-2010

Ruben Gallo, Freud’s Mexico: Psychoanalysis and the Non-European.
Madeline del toro Cherney, Goya as Postmodern Ethnographer: The Legacy of Spanish Art in Latin American Cultural Identity (SBU Faculty Brown Bag speaker)
David Reinfurt and Stuart Bailey (Dexter Sinister), Applied Art
Adam Pendleton, Artist Talk
Richard Gerrig, Experiencing Narrative Worlds (SBU Faculty Brown Bag speaker)
Eve Meltzer, By Turns: Antihumanism, the Anti-Aesthetic, and the Expanded Field

 

2008-2009

Chrissie Iles, Between the Still and Moving Image
Zabet Patterson, Discussion of No Ghost, Just a Shell (SBU Faculty Brown Bag speaker)
Michele Bogart, Politics of Display in Manhattan and Queens: Lessons from the Monument Lifecycle (SBU Faculty Brown Bag speaker)
Alexander Nemerov, The Aesthetics of Abraham Lincoln
Branden Joseph, Coke, Communism and Stupidity: Andy Warhol and Emile de Antonio, ca. 1963

 

2007-2008

Ciaran Bennett, James Johnson Sweeney: International Curator and Second Director of the Solomon R. Guggenheim Museum
Marita Sturken, Tourists of History: Memory, Kitsch, and Consumerism from Oklahoma City to Ground Zero
Marianne Hirsch and Leo Spitzer, Street Photographs: ‘Before, During, and After’ the Holocaust
Coco Fusco, Artist Talk
Katherine Manthorne, Celebrating the Eight, 1908 – 2008: Film and the Art of the Ashcan School
David Levi Strauss, In Case Something Different Happens in the Future: Joseph Beuys and 9/11
Wesley Miller, Contemporary Art and Television

 

2006-2007

Lynn Catterson, Michelangelo’s Laocoon?
Daniel Harkett, The Bonds that Unites Friends: Art and Sociability in Post-Revolutionary Paris
Barbara McCloskey, Collectivism After Fascism: The Problem of Socialist Realism in East German Art

 

2005-2006

Bonnie Yochelson, Jacob Riis: Photographer ‘After a Fashion’
Annie Cohen-Solal, From Alfred Barr to Leo Castelli: A New Approach to the US Art World
Thomas McDonough, Working in the Archives of Debauchery: Thomas Hirschhorn and the Legacies of the Sixties
Victoria Cooke, Coping with Katrina: Saving the New Orleans Museum of Art
Max Page, The City’s End: Two Centuries of Fantasies, Fears, and Premonitions of New York’s Destruction
Lisa Gail Collins, Activists Who Yearn for Art that Transforms: Parallels in the Black Arts and Feminist Art Movements in the United States

 

2004–2005

Joan Marter, The Perils of Progress: American Sculptors and Technological Developments, 1935 – 1950
Sokari Douglas Camp
Peter Campus

 

2003-2004

Emily Apter, Thinking Red: Ethical Militance and the Group Subject
Edward Casey, Earth-Mapping: Earth Artists Who Map
Abigail Solomon-Godeau, Taunting and Haunting: Critical Tactics in a Minor Mode

 

2002–2003

Giuliana Bruno, Atlas of Emotion: Journeys in Art, Architecture, and Film
Max Kozloff, Portrait Photography: A Neglected Idiom
Christina Mehring, Blinky Palermo: Wall-Painter

 

2001-2002

Eduardo Cadava, Music on Bones
Carol Duncan, Shopping in the Museum: The Newark Museum in the Early Twentieth Century
Tom Gunning, Inside Out: Walter Benjamin’s Arcades and the Detective Story
Joseph Grigely, My Aunt Fucked Elvis
Mary Rawlinson
Martin Powers

 

2000–2001

Michael Ann Holly, Of Origins Known and Unknown
John Welchman, Faces and Power
Andreas Huyssen, Memory Practices in Sculpture, Architecture, and Monuments
Geoffrey Batchen, Becoming Photography: A Vernacular History
Joachim Pissarro, Pissarro/Cezanne and Rauschenberg/Johns: Two Modernist Duologues
Ira Livingston

 

1999-2000

Aesthetic States, Symposium
Michael Barnett, Mike Davis, Oleg Kharkhordin, Herman Lebovics, Michael McGovern, Daniel Monk, Ido Oren and Colleen Wai Lye
Self and Other: The Individual in Contemporary African Art, lectures in conjunction with University Art Gallery Exhibit Distinguished Identities: Contemporary African Portraiture
Catherine Bernard, Manthia Diawara, Salah Hassan and Ikem Okoye
Michele Addington, Thinking Air
Thomas Crow, Robert Rauschenberg and Allegory
Jose Munoz, The Souls of Latinos: Ethnicity and the Politics of Affect
Ivan Karp, Real Objects – Simulated Contexts: Rethinking Primitivism
Herman Lebovics, Mona Lisa Does D.C.: France’s Cold War Politics of Grandeur
Kathy O’Dell, Marking Time: Acts of Endurance in Performance Art
Krzysztof Wodiczko, New Public Projections

 

1998–1999

David Craven, Temporal Mestizaje: artistic Practice and Uneven Historical Development
Joanna Frueh, Hypermuscular Performance
Daniel Monk, An Aesthetic Occupation: Totem War in British Palestine
Judith Wolfe, Alfonso Ossorio: In Context
Eleanor Heartney, Postmodern Heretics
Ann Higonnet, On Sentimentality: Art History’s Abject
Ann Gibson and Mary Rawlinson, Remarking the Subject of Art and Philosophy
Sarah Burns

 

1997-1998

Diane Barthel, Back to Utopia: Staged Symbolic Communities
Keith Moxey, Art History’s Hegelian Unconscious
Jack Spector, Rebus: The Fusion of Word and Image in the Education and Mature Productions of the French Avant-Garde
Robert J. Morgan, Between Modernism and Conceptual Art
James Smalls, That Characteristic Lip, the Mystic Eye: African American Self-Portraiture
Norman Kleeblatt, The Aesthetics of the Institutional Critic: Recent Artists’ and Curators’ Exhibitions that Interrogate Museum Display

 

1996-1997

Adrian Piper, A Kantian Analysis of Xenophobia
Kathleen Weil-Garris Brandt, Michelangelo’s Sistine Chapel Frescos – Yesterday and Today
Edward Casey, Landscape and the Power of Place
Kenneth Meyers, Corporate Support for the Fine Arts in Jacksonian America: The Example of the Steamboat Albany Collection
Anna Chave, Striking Poses: Eva Hesse’s Absurdist Theatrics
Donald Kuspit, The Dialectics of Decadence: The Weight of History on Contemporary Art
Catherine Sousloff, A Historiography of Technocriticism
Darcy Grigsby, Delacroix’s Massacre at Chios and the Risk of Heterosexual Conquest
Claude Massu, French Institutional Architecture in the South of France

 

1995-1996

Jonathan Weinberg, Staged Artist: Sally Mann’s Immediate Family
Robert Lubar, Unmasking Pablo’s Gertrude: A Queer Reading of the Portrait of Gertrude Stein
Angela Della Vacche, Murnau’s Nosferatu: Romantic Painting as Horror and Desire in Expressionist Film
Zainab Bahrani, Mimesis and the Hologram: The Interpretation of Near Eastern Art
Alessandra Ponte, Landscape and Architecture: The Case of the American Desert
Laura C. Agoston, The Michelangelo Paradigm

 

1994-1995

Todd Olson, Nicolas Poussin’s Testament of Eudamidas and the Politics of the Inscribed Audience
Carol Ockman, A Woman’s Pleasure: Queen Caroline Meurat’s Commission for the Grand Odalisque
James Rubin, Between the Mirror and the Hand: Manet’s Ironic Poetics of the Signature
Alessandra Ponte, Cactus Columns
Margaret Urban Walker, Picturing People: Moral Graphics and the Problem of Recognizing Humanity
Claudia Brodsky-Lacour, Temporary Foundations: Architecture and the Building of Moral Philosophy from Descartes to Nietzsche

 

1992-1993

Alan Wallach, Wadsworth’s Tower
Ellen Handler Spitz, Fantasy, Empathy, and Conflict in Picture Books for Young Children
Carol Armstrong, Photography, Biology, Destiny: Difference According to Diane Arbus
Fred Orton, Figuring Jasper Johns