Tuesday October 4th, 2011 7pm
133/141 West 21 Street, Room 101C
Is it possible to define a cogent code of ethics in art writing? In this panel discussion, four young contemporary art writers, Adam Kleinman, Quinn Latimer, Patricia Milder and Matthew Schum will investigate the problem of ethics in relation to their own work and to criticism writ large.
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Critic, curator, artist, and Dean of the Yale University School of Art Robert Storr will discuss the strikingly similar attitudes that the very different artists Gerhard Richter and Robert Ryman have about what can be painted and what cannot. He’ll begin with a consideration of Richter’s painting September on the 10th anniversary of 9/11 and follow through into the alternative “realism” of Ryman.
LECTURES ARE HELD IN THE SVA THEATRE 333 West 23rd Street (between 8th and 9th Avenues) in Manhattan. All events are free and open to the public.Submission Requirements:
Important Dates:
Kurt Ralske presents his research into the experimental film work of Fritz Lang and F.W.Murnau. With the rediscovery of this little-known genre, 1920s Berlin moves forwards and backwards in time simultaneously. The price of admission to this parallel universe is only your credulity. “Through the slightest of digital interventions, these lost landmarks of early experimental cinema have been retrieved from the Akashic Record.” The mysteries of the Schüfftan Process will be revealed!
poet Jena Osman, poet Kristin Prevallet, painter Zachary Wollard
on Thursday, April 28 at 7 PM, 136 West 21st Street, room 220 (on the second floor)
Admission: Free and open to the public.
Documentary Poetics: How do different arts understand and practice documentary poetics, and what can they learn from one another? Although the “documentary” mode entails a certain amount of artifice when it translates reality into art, documentary draws its authority from a claim to be nonfiction or to be recording external reality, often by playing on the emotions of viewers. What draws artists and poets to this claim associated with the documentary mode, and how does it relate to their process of making art? What if we think of documentary as encompassing artwork that, rather than trying to move the viewer, presents dangerous information? One example that comes to mind is Hans Haacke’s “Real Time Social System,” the listing of real estate holdings in Manhattan which was declared “not art” by the Guggenheim Museum. What if we throw in Olson’s investigative poetics–the idea of immersing oneself in one aspect of reality-or the documentary poetics of Kristen Prevallet and Jena Osman, who use social facticity and procedural methods to achieve dramatic political and aesthetic effects? What do we say about Zachary Wollard’s psychedelic and visionary translations of reality into memorable and sometimes disturbing images? Clearly “information” is not a neutral category, especially when we are dealing with problematic or difficult information. If we honor the (at times dubious) claims of documentary as a genre, is it possible for us to “lie with statistics” in an ethical way? Moderated by poets Vincent Katz and Tim Peterson.
Poet Kimberly Lyons and Rail poetry editor Anselm Berrigan join painter and Rail publisher Phong Bui to discuss ways in which musical forms can be seen as fruitful terms for a poetics of difficult or willfully obscure art, art that does not yield easily to analysis. A particular focus for this topic will be the poetry of Barbara Guest and Joe Ceravolo. We see in them, and in some poets working today, an interest in musicality that dominates the nature and composition of the work.
Critic and art historian Johanna Burton discusses art history’s recent attention to “the eighties.” What’s gained and what’s lost when the recent past is deemed a proper historical object? Burton was associate director and senior faculty member at the Whitney Independent Study Program from 2008 to 2010, and is currently Director of the Graduate Program at the Center for Curatorial Studies at Bard College.
