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Appointed 1998, Program in Art History
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2001-2003, Co-Director, Critical
Theory Program
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Ph.D. 1998, Cornell University
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Recent Interviews |
The Photography of the social forms. Interview with Blake Stimson, Ag (Winter 2007) |
Former Fellow: Blake Stimson, CAA News (July 2006) |
Survey: The State of Art History, Texte zur Kunst (June 2006) |
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Recent Courses
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Art
after Modernism (annually)
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Photography in History (annually) |
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Twenty Monuments (annually)
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Art History and Critique (Fall 2007) |
Aesthetic Theory (Fall 2006) |
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Latin American Avant-Gardes (Winter 2006)
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Art, Humanism and Posthumanism (Fall 2005)
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Why Art History? (Fall 2004)
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1968 (Spring 2002)
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Marx's Capital (Spring 2002)
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Hegel's Phenomenology (Winter 2002)
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Kant’s Critique of Judgment (Fall 2001)
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Adorno's Aesthetic Theory (Spring 2001)
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What is net.art ;-) ? (Winter 2001)
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Recent Publications
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The Meaning of Photography, co-edited with Robin Kelsey (Clark/Yale, 2008) |
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The
Pivot of the World: Photography and Its Nation (MIT Press, 2006) An excerpt, "The Photography of Social Form," has been published in David Campany, ed., The Cinematic (MIT Press, 2007) and the book as a whole will be published in Spanish in 2009 by Editorial Gustavo Gili. See reviews by Nancy Armstrong, Sarah James, and John Roberts (forthcoming in Oxford Art Journal).
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Collectivism
After Modernism: The Art of Social Imagination After 1945, co-edited with Gregory Sholette (Minnesota,
2006). See reviews by Eda Cufer, Philip Glahn, Jan Baetens, Jens Kastner, Sarah James, and Niels Van Tomme. Translations forthcoming in Spanish and Serbian.
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Visual
Worlds, co-edited with John R. Hall and Lisa Tamiris Becker
(Routledge, 2005). See review by Sam Binkley.
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A Modern Man (Artforum, October 2007) |
The Artiste (Oxford Art Journal, Winter 2007) also published in a alightly different form as
The Photography of Social Form: Jeff Wall and the City as Subject Condition (Quaderns portàtils, no. 09, MACBA, 2007) |
Review of Alison Pearlman, Unpackaging Art of the 1980s (Modernism/Modernity, November 2005) |
The Crowd in the Machine (New Left Review Nov/Dec 2004) |
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Periodizing
Collectivism, co-authored with Gregory Sholette (Third Text,
November 2004); translated into Swedish in Glänta (1-2.06)
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The
Shimmer of Industrial Form (in Chris Townsend, ed., The Art of
Rachel Whiteread, Thames & Hudson, 2004)
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The
Photographic Comportment of Bernd and Hilla Becher (Tate
Papers, Spring 2004); also in Gail Finney, ed., Visual Culture
in 20th-Century Germany: Text as Spectacle (Indiana University Press, 2006)
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I am the Social:
The Line of Edward Krasinski (Artforum, November 2003)
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Bonjour, Mademoiselle
Collins (Hannah Collins: La Calle / The Street, 2003)
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Die Leidenschaft des Konzepts (Conceptualisms, Akademie
der Kunst Berlin, 2003)
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Conceptual Work and
Conceptual Waste (Discourse, Spring 2002) and also in
Michael Corris, ed., Conceptual
Art: Theory, Myth, and Practice (Cambridge University Press,
2004)
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Art
History after the New Art History (Art Journal, Spring
2002)
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Andy
Warhol's Red Beard (Art Bulletin, September 2001)
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010101 versus OiOiOi
(Ramona, August 2001)
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Review
of Benjamin H.D. Buchloh, Neo-Avantgarde and Culture Industry
(CAA Reviews, 2000)
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Review of Martha Rosler, Positions in the Life World (CAA
Reviews, 2000)
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Conceptual
Art: A Critical Anthology (MIT Press, 1999)
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