Blake Stimson

Appointed 1998, Program in Art History

2001-2003, Co-Director, Critical Theory Program

Education

Ph.D. 1998, Cornell University

M.F.A., 1992, Tufts University and the School of the Museum of Fine Arts, Boston

Fellow, 1990-91, Whitney Independent Study Program, New York

B.A., 1982, Middlebury College

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)

Recent Courses

Art after Modernism (twice annually)

Photography in History (annually)

Twenty Monuments (occasionally)

The Theory of Good Taste (Winter 2010)

God, Vision, Art, Thought, Society (Fall 2009)

Art History and Critique (Fall 2007)

Aesthetic Theory (Fall 2006)

Latin American Avant-Gardes (Winter 2006)

Art, Humanism and Posthumanism (Fall 2005)

Why Art History? (Fall 2004)

1968 (Spring 2002)

Marx's Capital (Spring 2002)

Hegel's Phenomenology (Winter 2002)

Kant’s Critique of Judgment (Fall 2001)

Adorno's Aesthetic Theory (Spring 2001)

What is net.art ;-) ? (Winter 2001)

Recent Publications

Institutional Critique: An Anthology of Artists' Writings, co-edited with Alexander Alberro (MIT 2009)
—Introduction: What Was Institutional Critique?

The Meaning of Photography, co-edited with Robin Kelsey (Clark/Yale, 2008)

Photography and Nationalism, Click!, an online publication of the Smithsonian Institute, 2008

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 was published in Spanish in 2009 under the title El eje del mundo; Fotografía y nación by Editorial Gustavo Gili. See reviews by Nancy Armstrong, Sarah James, and John Roberts.

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. Chinese translation of the introduction, "Periodizing Collectivism," in Art Map (Beijing); Swedish translation in Glanta. Translations of the whole book forthcoming in Spanish and Serbian.

Visual Worlds, co-edited with John R. Hall and Lisa Tamiris Becker (Routledge, 2005). See review by Sam Binkley.

Gesture and Abstraction in Carrie Noland and Sally Ann Ness, Migrations of Gesture (Minnesota, 2008)

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)

The Crowd in the Machine (New Left Review Nov/Dec 2004)

Periodizing Collectivism, co-authored with Gregory Sholette (Third Text, November 2004); translated into Swedish in Glänta (1-2.06)

The Shimmer of Industrial Form (in Chris Townsend, ed., The Art of Rachel Whiteread, Thames & Hudson, 2004)

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)

I am the Social: The Line of Edward Krasinski (Artforum, November 2003)

Bonjour, Mademoiselle Collins (Hannah Collins: La Calle / The Street, 2003)

Die Leidenschaft des Konzepts (Conceptualisms, Akademie der Kunst Berlin, 2003)

Conceptual Work and Conceptual Waste (Discourse, Spring 2002) and also in Michael Corris, ed., Conceptual Art: Theory, Myth, and Practice (Cambridge University Press, 2004)

Art History after the New Art History (Art Journal, Spring 2002)

Andy Warhol's Red Beard (Art Bulletin, September 2001)

010101 versus OiOiOi (Ramona, August 2001)

Review of Benjamin H.D. Buchloh, Neo-Avantgarde and Culture Industry (CAA Reviews, 2000)

Review of Martha Rosler, Positions in the Life World (CAA Reviews, 2000)

Conceptual Art: A Critical Anthology (MIT Press, 1999)