Podcasts about Conceptualism

Episode 470 / Lucio Pozzi Lucio Pozzi was born in 1935 in Milan, Italy. After living a few years in Rome, where he studied architecture, he came to the United States in 1962, as a guest of the Harvard International Summer Seminar. He then settled in New York and took the US citizenship. A pioneer in working concurrently across different media, Pozzi has presented videotapeworks at the Museum of Modern Art in New York and watercolor landscapes at the John Weber Gallery in New York, regarded in its day as the “temple of Conceptualism.” He has shown work in Documenta 6 (1977) and at the Venice Biennale (U.S. Pavilion) in 1980. He occasionally writes and has taught at Cooper Union, the Yale Graduate Sculpture Program, Princeton University, School of Visual Arts and Maryland Institute College of Art, among other art schools in the US and Europe. His work is included in the collections of major international museums and private institutions and collectors. He currently lives and works in Hudson, NY, and Valeggio s/M (Verona) Italy.If you're in New York this May, check out Future Fair, an independent contemporary art fair celebrating its fifth anniversary in Chelsea from May 7th to 10th. This year's edition features nearly 70 presentations from around the world, with a focus on emerging voices and thoughtful curation with a community driven approach. We love what they are doing to platform new and underrecognized artists and we will be there hosting a talk - more on that soon. Sound & Vision listeners can get 30% off tickets with the code SOUNDANDVISION all one word at futurefairs.com

Today I will be taking Dr. Feser's Five Proofs book and analyzing the pros and cons.  I will start with the chapter "Augustinian Proofs" since it comes the closest to the transcendental argument for God, as well as looking at other works about the inadequacy of bare monotheism, St Basil Vs Aristotle's "great architect of the universe god" and thus no natural theology in the Thomistic sense, as well as some rejoinders to these problems from St. Maximos, as well as Q n A and super chats.  The full lecture is for paid subs to JaysAnalysis. Send Superchats at any time here: https://streamlabs.com/jaydyer/tip Get started with Bitcoin here: https://www.swanbitcoin.com/jaydyer/ The New Philosophy Course is here: https://marketplace.autonomyagora.com/philosophy101 Set up recurring Choq subscription with the discount code JAY44LIFE for 44% off now https://choq.com Lore coffee is here: https://www.patristicfaith.com/coffee/ Orders for the Red Book are here: https://jaysanalysis.com/product/the-red-book-essays-on-theology-philosophy-new-jay-dyer-book/ Subscribe to my site here: https://jaysanalysis.com/membership-account/membership-levels/ Follow me on R0kfin here: https://rokfin.com/jaydyerBecome a supporter of this podcast: https://www.spreaker.com/podcast/jay-sanalysis--1423846/support.

Join us in discussion with Artist/Photographer Reidar Schopp, about two very special Photography Series, Shibari (Japanese Rope Bondage) his Boxed Series and the LB Shibari Dojo. Reidar takes inspiration from photographer William Mortensen, 1897-1965, who Ansel Adams called the Antichrist.On Mortensen, Reidar wrote; “His imagery was the first to stop me in my tracks. I loved the dark undertones, the stories he was telling ..." Reidar's current series necessitated his learning of Japanese Rope Bondage including suspensions. These series entitled “Renaissance Shibari” and “Vases” are his latest avenue of exploration into surrealism. Find  below, a listing of Reidar's recent photography series:1. Boxed, The Life We Build for Ourselves - nearly complete with about 350 images2. Life's Entanglements - Shibari series. Includes the subseries of the Renaissance Still Lifes and the Human Vase - created about 25 images so far3. Starting the series of "franz xaver messerschmidt character heads" this will be about 90 images4. Organized Chaos - forming random lights into mandulas and kaleidoscopic images - About 30 images5. Musical Instruments - applying pieces of instruments to a human body to become that instrument and have another play them - Only 2 have been created. I need musical instruments to continue creating this series.6. 180 Degrees of Portraiture - Infrared portraits where a 1st time model is asked to bring an object that is very emotional to them, either good or bad emotions.https://www.instagram.com/rlsfoto/www.lbshibaridojo.com 

A conversation with Frances Beatty, Managing Director of the Ray Johnson Estate. Known for his masterful use of collage, Johnson was a key figure in the ‘50s Pop Art scene, as well as a pioneer in the areas of conceptualism, performance art and mail art. Beatty takes time to discuss Ray Johnson's colorful life and the impact that he had on the art icons and everyday people in his social network. No longer overlooked, Johnson has become a popular subject of academic research whose stature in the canon of 20th Century art history continues to grow.

Diana Shpungin joins host Sharon Butler to discuss “Always Begin At The End” her solo installation on view at Smack Mellon through February 20. She uses an inventive drawing approach, common iconography, and found objects to address loss, memory, empathy and failure between the private and public, personal and political spheres.Useful links: Smack Mellon Exhibition / Diana Shpungin Studio /  Two Coats of Paint 

In this episode of the Parker's Pensées Podcast, I'm joined once again by wunderkind, Joe Schmid. This time we are talking about the debate between the Platonist and the divine conceptualist about abstract objects. We focus in on propositions and try to figure out which view of the world provides a better explanation for the existence of propositions. Check out his video on whether or not abstract objects can prove God's existence: https://youtu.be/REgU-84fQU8 and check out Joe's website here: https://www.josephschmid.com/?fbclid=IwAR2-FuTkoIfJTBzBDeRgGrYXVxUCQl4mBCVYXeZK6LHQYFY9gMWg8XTTgkk and his blog here: https://majestyofreason.wordpress.com/ If you like this podcast, then support it on Patreon for $1, $3, or $5 a month. Any amount helps, and for $5 you get a Parker's Pensées sticker and instant access to all the episode as I record them instead of waiting for their release date. Check it out here: Patreon: https://www.patreon.com/parkers_pensees If you want to give a one-time gift, you can give at my Paypal: https://paypal.me/ParkersPensees?locale.x=en_US Check out my merchandise at my Teespring store: https://teespring.com/stores/parkers-penses-merch Check out my blog posts: https://parkersettecase.com/ Check out my Parker's Pensées YouTube Channel: https://www.youtube.com/channel/UCYbTRurpFP5q4TpDD_P2JDA Check out my other YouTube channel on my frogs and turtles: https://www.youtube.com/c/ParkerSettecase Check me out on Twitter: https://twitter.com/trendsettercase Instagram: https://www.instagram.com/parkers_pensees/ Time Is Running by MusicLFiles Link: https://filmmusic.io/song/6203-time-is-running License: http://creativecommons.org/licenses/by/4.0/ --- Support this podcast: https://anchor.fm/parkers-pensees/support

In this follow-up to our discussion of NFTs and the NFT market, we consider how so-called "cryptoart"--or digital art that is bought and sold with NFTs--relates to the history of Conceptual art, which is often cited by those in the crypto community as its precedent. While most cryptoart is not "Conceptual art," it's not unrelated to it, either: both raise questions about the nature and value of art. The episode concludes with a brief discussion of some artworks by artists who are using blockchains to make art that really IS Conceptual, and who treat blockchain as a medium, and not just a transactional tool.

Episode 24 of the Penteract Poetry Podcast, hosted by Anthony Etherin and Clara Daneri, and with guests Kate Siklosi, Gregory Betts, and Nasser Hussain.   This is a special panel episode, featuring a discussion of the past, present, and future of experimental poetry in Canada. Topics include bpNichol and The Four Horsemen, Conceptualism, and the historic Text/Sound/Performance conference held in Dublin, April 2019 (which was coordinated by Gregory Betts).Discover more about Penteract Press by visiting our website and our Twitter.And, if you like what you hear, please consider supporting this series via Anthony’s Patreon page!Support the show (http://patreon.com/Anthony_Etherin)Support the show (http://patreon.com/Anthony_Etherin)

Where to begin summarising the work of Christian Bök? He's a Canadian poet, the author of the bestselling experimental poetry collection Eunoia, a founder of the poetic school of Conceptualism, and most recently, Professor in Creative Writing at the University of Melbourne. In this interview Christian talks about what it's been like to move between … Continue reading "Ep 137. Christian Bök's poetic moonshot"

Where to begin summarising the work of Christian Bök? He’s a Canadian poet, the author of the bestselling experimental poetry collection Eunoia, a founder of the poetic school of Conceptualism, and most recently, Professor in Creative Writing at the University of Melbourne. In this interview Christian talks about what it’s been like to move between … Continue reading "Ep 137. Christian Bök’s poetic moonshot"

The Arts and the Sciences are truly connected; they feed into each other, relate directly, provide inspiration and creativity for the global audience. Following a quote by Berthodl Brecht "Art is not a mirror for reality, but a hammer with which to shape it" it can present a major force to be reckoned with. And in case done 'right' it can effectively achieve progress for the wider common good, sustainability and future generations. While art is beautiful in its own right, linking it with science and power for a valid outcome when using public money and with public institutions it can quickly become a deep - if not controversial - discussion. Here I briefly elaborate on the connection between art and science with a conservation and sustainability outlook, and how it can be done, using a few examples from Leonardo Da Vinci (flight), Salvador Dali (DNA, Religion) and William Badger Bates (Murray Darling river in Australia). Supporting references The Guardian (2021) It's a funeral march': French artist JR's powerful eulogy for Australia's Murray-Darling. https://www.theguardian.com/culture/2021/feb/28/its-a-funeral-march-french-artist-jrs-powerful-homily-for-australias-murray-darling. (Accessed 27th February 2021) Sutherland Z. (2016) Conceptualism and Global-Neo-Avantgarde. The New Left Review Mar/Apr 98: https://newleftreview.org/issues/ii98/articles/zoe-sutherland-the-world-as-gallery (Accessed 2nd April 2021) National Science Foundation (NSF) (2021) When science meets art: 6 NSF research projects that turn STEM into STEAM. https://beta.nsf.gov/science-matters/when-science-meets-art-6-nsf-research-projects-turn-stem-steam (Accessed 2nd April 2021) --- Support this podcast: https://anchor.fm/falk-huettmann/support

Coop joins Tommy to continue the series on Philosophy versus Ideology. In this episode they go over how conceptualism forces the believers in the concepts to operate as if in a cult. Donate

In this episode of the 18Forty Podcast, we sit down for a special podcast with our host, David Bashevkin, to review the first topic that 18Forty covered: Talmud. Though Judaism has many facets to its practice, Talmud study has long been one of its hallmarks. It is a sprawling text with many commentaries, and so can be analyzed from any number of perspectives. This episode highlight three: those of Ari Bergmann, Chaim Saiman, and Michelle Chesner. From its historical formation to its ideas to its format, the Talmud was analyzed at length for its 18Forty topic, and this episode highlights some of the key questions raised. How was the Talmud written? What should one make of the often confusing mix of ideas it presents? Does the text format itself hold any significance? Is Talmud study useful for anything besides Talmud study? What similarities does it have to other fields of knowledge? Tune in to hear David review and reflect on his past conversations with podcast guests about the Talmud.References:Ari Bergmann interview - www.18forty.org/talmud/#bergmannChaim Saiman interview - www.18forty.org/talmud/#saimanMichelle Chesner interview - www.18forty.org/talmud/#chesnerTake One podcast - https://www.tabletmag.com/podcasts/take-oneLegal Theology: The Turn to Conceptualism in Nineteenth-Century Jewish Law by Chaim Saiman Nomos and Narrative by Robert CoverJewish Thought: A Process, Not a Text by David BashevkinBook References:Arba-ah Turim by Jacob Ben AsherHalakhah: The Rabbinic Idea of Law by Chaim SaimanFor more, visit https://18forty.org/talmud-highlights.

Luis Camnitzer and editor Ben Eastham have a conversation following the June 2020 publication of One Number Is Worth One Word, the latest in the e-flux journal book series with Sternberg Press.  For nearly 60 years, Luis Camnitzer has been obsessing about the same things. As an art student in Uruguay in 1960, Camnitzer was part of a collective of artists, students, and educators who reformed the School of Fine Arts in Montevideo. Today, he is still an “ethical anarchist” preoccupied with the role of education in redistributing power in society. “If we keep digging,” he writes, “it becomes clear that these ideas existed way before us, will persist long after we are gone, and will do so regardless of who speaks or writes of them... The important question is whether they will ever be absorbed.” At the vanguard of 1960s Conceptualism, Camnitzer has worked primarily in printmaking, sculpture, and installations. His humorous, biting, and often politically charged use of language as an art medium has distinguished his practice, influencing generations of socially engaged artists. Though based in New York since 1964, his practice remains intrinsically connected to Uruguay and Latin America, and he represented Uruguay in the 43rd Venice Biennale in 1988. As well as many solo exhibitions, his work has featured in biennials including the Bienal de la Habana, Cuba; Whitney Biennial, New York; and documenta 11, Kassel. His work is in the permanent collections of the Museum of Modern Art, the Metropolitan Museum of Art, and the Whitney Museum of American Art, New York; the Tate, London; the Museo Nacional de Artes Visuales, Montevideo; and the Museo de Arte Latino Americano de Buenos Aires, among others. Edited by Ben Eastham, One Number Is Worth One Word spans over half a century of the artist’s radical engagement with art education and its institutions, and includes many texts published for the first time. This is a singularly authoritative, antiauthoritarian gathering of a life’s work in art, education, and activism. With mischievous wit and wisdom, Camnitzer’s writings summon an inherent utopianism in egalitarian, participatory models of art education to identify how meaning is made.  Available from Sternberg Press (distributed by MIT Press).

Today I will be taking Dr. Feser's Five Proofs book and analyzing the pros and cons. I will start with the chapter "Augustinian Proofs" since it comes the closest to the transcendental argument for God, as well as looking at other works about the inadequacy of bare monotheism, St Basil Vs Aristotle's "great architect of the universe god" and thus no natural theology in the Thomistic sense, as well as some rejoinders to these problems from St. Maximos, as well as Q n A and super chats. The full lecture is for paid subs to JaysAnalysis.https://jaysanalysis.com/membership-account/membership-levels/

today I'm joined by Ava Hofmann (@st_somatic) to discuss Franco "Bifo" Berardi's The Uprising: On Poetry and Finance and we took a lot of detours. read ava and Sporazine!! here's a list of ava's reading recs from this episode lmao Cecilia Vicuña - Saborami Never Angeline Nørth - Sea Witch Testo Junkie - Paul B. Preciado Cyborg Manifesto - Donna J. Haraway Shulamith Firestone - The Dialectic of Sex The Xenofeminist Manifesto Michael DeForge - Very Casual Douglas Kearney https://www.douglaskearney.com/ Lynda Barry - What It Is

Do you know the difference between Minimalism and Conceptualism? Because Kristy and Javier sure have no clue. Join today's episode of chART for a trip into the source of comments such as “my five-year-old could do that” and “who on earth would buy this?”. From the Swinging Sixties all the way to the middle of nowhere in Texas (yet again), Minimalism has established itself as one of the most controversial yet vague art movements of the 20 th century. Thank god for our research specialists, Mara and Finn, for their commitment to finally define what makes a minimalist work and where to find the beauty in it. Come on, I know you want to hear about their findings. So join us!   Make sure to follow us on our socials! INSTAGRAM: https://www.instagram.com/chartpodcast/ TWITTER: https://twitter.com/ChartPodcast Here you can see on which different platforms you can listen to our podcasts! https://pod.link/1517293067 That's it for now! Hope to see you again in our next episode! chART out! (Love you, bye)        

Discord's home for politics. The official politics discord for debate, history, philosophy, polls, & live events. One of the most active politics discord communities! The large politics discord hosted another AMA with myself and Fr Dcn. which led to a couple debates.

It was the passionate amateur painter, Winston Churchill, who introduced one of the Cold War’s key metaphors: The Iron Curtain. As John J. Curley argues in Global Art and the Cold War (Laurence King Publishers, 2019), this provocative image defined the binary logic of the Cold War and speaks to the larger importance of visuals in both the deployment of contemporary propaganda and in political resistance. A meticulously-researched and accessible monograph, Global Art and the Cold War demonstrates the crucial role of art in the greatest geopolitical conflict of the 20th century. Presenting a nuanced investigation of how the Cold War shaped major art movements including Abstract Expressionism, Pop art, and Conceptualism in the West and Socialism realism in the Eastern Bloc, Curley also challenging the traditional history of American Abstract painting in opposition to Soviet Socialist Realism by integrating other regions including Asia, Africa, and Latin America in to the study. Art from the “Cold War peripheries”, writes Curley in his introduction, reveals that the dominant narrative of modernism was a Western construction, simultaneously expressing transnational modernity and nationalism to counter American and Soviet imperialism. Positioning all 20th century art as engaged in an inevitable conflict between two opposed models for modernity, Curley makes a compelling case for broadening the narrative of artistic creation in the period of the Cold War and its aftermath. John J. Curley is Associate Professor of Art History in the Department of Art at Wake Forest University, where he teaches classes on modern and contemporary art history, as well as photographic history. Diana Dukhanova is Visiting Assistant Professor of Russian at the College of the Holy Cross in Worcester, MA. Her work focuses on religion and sexuality in Russian cultural history, and she is currently working on a monograph about Russian religious philosopher Vasily Rozanov. Diana tweets about contemporary events in the Russian religious landscape at https://twitter.com/RussRLGNWatch. Learn more about your ad choices. Visit megaphone.fm/adchoices

It was the passionate amateur painter, Winston Churchill, who introduced one of the Cold War’s key metaphors: The Iron Curtain. As John J. Curley argues in Global Art and the Cold War (Laurence King Publishers, 2019), this provocative image defined the binary logic of the Cold War and speaks to the larger importance of visuals in both the deployment of contemporary propaganda and in political resistance. A meticulously-researched and accessible monograph, Global Art and the Cold War demonstrates the crucial role of art in the greatest geopolitical conflict of the 20th century. Presenting a nuanced investigation of how the Cold War shaped major art movements including Abstract Expressionism, Pop art, and Conceptualism in the West and Socialism realism in the Eastern Bloc, Curley also challenging the traditional history of American Abstract painting in opposition to Soviet Socialist Realism by integrating other regions including Asia, Africa, and Latin America in to the study. Art from the “Cold War peripheries”, writes Curley in his introduction, reveals that the dominant narrative of modernism was a Western construction, simultaneously expressing transnational modernity and nationalism to counter American and Soviet imperialism. Positioning all 20th century art as engaged in an inevitable conflict between two opposed models for modernity, Curley makes a compelling case for broadening the narrative of artistic creation in the period of the Cold War and its aftermath. John J. Curley is Associate Professor of Art History in the Department of Art at Wake Forest University, where he teaches classes on modern and contemporary art history, as well as photographic history. Diana Dukhanova is Visiting Assistant Professor of Russian at the College of the Holy Cross in Worcester, MA. Her work focuses on religion and sexuality in Russian cultural history, and she is currently working on a monograph about Russian religious philosopher Vasily Rozanov. Diana tweets about contemporary events in the Russian religious landscape at https://twitter.com/RussRLGNWatch. Learn more about your ad choices. Visit megaphone.fm/adchoices

It was the passionate amateur painter, Winston Churchill, who introduced one of the Cold War’s key metaphors: The Iron Curtain. As John J. Curley argues in Global Art and the Cold War (Laurence King Publishers, 2019), this provocative image defined the binary logic of the Cold War and speaks to the larger importance of visuals in both the deployment of contemporary propaganda and in political resistance. A meticulously-researched and accessible monograph, Global Art and the Cold War demonstrates the crucial role of art in the greatest geopolitical conflict of the 20th century. Presenting a nuanced investigation of how the Cold War shaped major art movements including Abstract Expressionism, Pop art, and Conceptualism in the West and Socialism realism in the Eastern Bloc, Curley also challenging the traditional history of American Abstract painting in opposition to Soviet Socialist Realism by integrating other regions including Asia, Africa, and Latin America in to the study. Art from the “Cold War peripheries”, writes Curley in his introduction, reveals that the dominant narrative of modernism was a Western construction, simultaneously expressing transnational modernity and nationalism to counter American and Soviet imperialism. Positioning all 20th century art as engaged in an inevitable conflict between two opposed models for modernity, Curley makes a compelling case for broadening the narrative of artistic creation in the period of the Cold War and its aftermath. John J. Curley is Associate Professor of Art History in the Department of Art at Wake Forest University, where he teaches classes on modern and contemporary art history, as well as photographic history. Diana Dukhanova is Visiting Assistant Professor of Russian at the College of the Holy Cross in Worcester, MA. Her work focuses on religion and sexuality in Russian cultural history, and she is currently working on a monograph about Russian religious philosopher Vasily Rozanov. Diana tweets about contemporary events in the Russian religious landscape at https://twitter.com/RussRLGNWatch. Learn more about your ad choices. Visit megaphone.fm/adchoices

It was the passionate amateur painter, Winston Churchill, who introduced one of the Cold War’s key metaphors: The Iron Curtain. As John J. Curley argues in Global Art and the Cold War (Laurence King Publishers, 2019), this provocative image defined the binary logic of the Cold War and speaks to the larger importance of visuals in both the deployment of contemporary propaganda and in political resistance. A meticulously-researched and accessible monograph, Global Art and the Cold War demonstrates the crucial role of art in the greatest geopolitical conflict of the 20th century. Presenting a nuanced investigation of how the Cold War shaped major art movements including Abstract Expressionism, Pop art, and Conceptualism in the West and Socialism realism in the Eastern Bloc, Curley also challenging the traditional history of American Abstract painting in opposition to Soviet Socialist Realism by integrating other regions including Asia, Africa, and Latin America in to the study. Art from the “Cold War peripheries”, writes Curley in his introduction, reveals that the dominant narrative of modernism was a Western construction, simultaneously expressing transnational modernity and nationalism to counter American and Soviet imperialism. Positioning all 20th century art as engaged in an inevitable conflict between two opposed models for modernity, Curley makes a compelling case for broadening the narrative of artistic creation in the period of the Cold War and its aftermath. John J. Curley is Associate Professor of Art History in the Department of Art at Wake Forest University, where he teaches classes on modern and contemporary art history, as well as photographic history. Diana Dukhanova is Visiting Assistant Professor of Russian at the College of the Holy Cross in Worcester, MA. Her work focuses on religion and sexuality in Russian cultural history, and she is currently working on a monograph about Russian religious philosopher Vasily Rozanov. Diana tweets about contemporary events in the Russian religious landscape at https://twitter.com/RussRLGNWatch. Learn more about your ad choices. Visit megaphone.fm/adchoices

It was the passionate amateur painter, Winston Churchill, who introduced one of the Cold War’s key metaphors: The Iron Curtain. As John J. Curley argues in Global Art and the Cold War (Laurence King Publishers, 2019), this provocative image defined the binary logic of the Cold War and speaks to the larger importance of visuals in both the deployment of contemporary propaganda and in political resistance. A meticulously-researched and accessible monograph, Global Art and the Cold War demonstrates the crucial role of art in the greatest geopolitical conflict of the 20th century. Presenting a nuanced investigation of how the Cold War shaped major art movements including Abstract Expressionism, Pop art, and Conceptualism in the West and Socialism realism in the Eastern Bloc, Curley also challenging the traditional history of American Abstract painting in opposition to Soviet Socialist Realism by integrating other regions including Asia, Africa, and Latin America in to the study. Art from the “Cold War peripheries”, writes Curley in his introduction, reveals that the dominant narrative of modernism was a Western construction, simultaneously expressing transnational modernity and nationalism to counter American and Soviet imperialism. Positioning all 20th century art as engaged in an inevitable conflict between two opposed models for modernity, Curley makes a compelling case for broadening the narrative of artistic creation in the period of the Cold War and its aftermath. John J. Curley is Associate Professor of Art History in the Department of Art at Wake Forest University, where he teaches classes on modern and contemporary art history, as well as photographic history. Diana Dukhanova is Visiting Assistant Professor of Russian at the College of the Holy Cross in Worcester, MA. Her work focuses on religion and sexuality in Russian cultural history, and she is currently working on a monograph about Russian religious philosopher Vasily Rozanov. Diana tweets about contemporary events in the Russian religious landscape at https://twitter.com/RussRLGNWatch. Learn more about your ad choices. Visit megaphone.fm/adchoices

It was the passionate amateur painter, Winston Churchill, who introduced one of the Cold War’s key metaphors: The Iron Curtain. As John J. Curley argues in Global Art and the Cold War (Laurence King Publishers, 2019), this provocative image defined the binary logic of the Cold War and speaks to the larger importance of visuals in both the deployment of contemporary propaganda and in political resistance. A meticulously-researched and accessible monograph, Global Art and the Cold War demonstrates the crucial role of art in the greatest geopolitical conflict of the 20th century. Presenting a nuanced investigation of how the Cold War shaped major art movements including Abstract Expressionism, Pop art, and Conceptualism in the West and Socialism realism in the Eastern Bloc, Curley also challenging the traditional history of American Abstract painting in opposition to Soviet Socialist Realism by integrating other regions including Asia, Africa, and Latin America in to the study. Art from the “Cold War peripheries”, writes Curley in his introduction, reveals that the dominant narrative of modernism was a Western construction, simultaneously expressing transnational modernity and nationalism to counter American and Soviet imperialism. Positioning all 20th century art as engaged in an inevitable conflict between two opposed models for modernity, Curley makes a compelling case for broadening the narrative of artistic creation in the period of the Cold War and its aftermath. John J. Curley is Associate Professor of Art History in the Department of Art at Wake Forest University, where he teaches classes on modern and contemporary art history, as well as photographic history. Diana Dukhanova is Visiting Assistant Professor of Russian at the College of the Holy Cross in Worcester, MA. Her work focuses on religion and sexuality in Russian cultural history, and she is currently working on a monograph about Russian religious philosopher Vasily Rozanov. Diana tweets about contemporary events in the Russian religious landscape at https://twitter.com/RussRLGNWatch. Learn more about your ad choices. Visit megaphone.fm/adchoices

It was the passionate amateur painter, Winston Churchill, who introduced one of the Cold War’s key metaphors: The Iron Curtain. As John J. Curley argues in Global Art and the Cold War (Laurence King Publishers, 2019), this provocative image defined the binary logic of the Cold War and speaks to the larger importance of visuals in both the deployment of contemporary propaganda and in political resistance. A meticulously-researched and accessible monograph, Global Art and the Cold War demonstrates the crucial role of art in the greatest geopolitical conflict of the 20th century. Presenting a nuanced investigation of how the Cold War shaped major art movements including Abstract Expressionism, Pop art, and Conceptualism in the West and Socialism realism in the Eastern Bloc, Curley also challenging the traditional history of American Abstract painting in opposition to Soviet Socialist Realism by integrating other regions including Asia, Africa, and Latin America in to the study. Art from the “Cold War peripheries”, writes Curley in his introduction, reveals that the dominant narrative of modernism was a Western construction, simultaneously expressing transnational modernity and nationalism to counter American and Soviet imperialism. Positioning all 20th century art as engaged in an inevitable conflict between two opposed models for modernity, Curley makes a compelling case for broadening the narrative of artistic creation in the period of the Cold War and its aftermath. John J. Curley is Associate Professor of Art History in the Department of Art at Wake Forest University, where he teaches classes on modern and contemporary art history, as well as photographic history. Diana Dukhanova is Visiting Assistant Professor of Russian at the College of the Holy Cross in Worcester, MA. Her work focuses on religion and sexuality in Russian cultural history, and she is currently working on a monograph about Russian religious philosopher Vasily Rozanov. Diana tweets about contemporary events in the Russian religious landscape at https://twitter.com/RussRLGNWatch. Learn more about your ad choices. Visit megaphone.fm/adchoices

It was the passionate amateur painter, Winston Churchill, who introduced one of the Cold War’s key metaphors: The Iron Curtain. As John J. Curley argues in Global Art and the Cold War (Laurence King Publishers, 2019), this provocative image defined the binary logic of the Cold War and speaks to the larger importance of visuals in both the deployment of contemporary propaganda and in political resistance. A meticulously-researched and accessible monograph, Global Art and the Cold War demonstrates the crucial role of art in the greatest geopolitical conflict of the 20th century. Presenting a nuanced investigation of how the Cold War shaped major art movements including Abstract Expressionism, Pop art, and Conceptualism in the West and Socialism realism in the Eastern Bloc, Curley also challenging the traditional history of American Abstract painting in opposition to Soviet Socialist Realism by integrating other regions including Asia, Africa, and Latin America in to the study. Art from the “Cold War peripheries”, writes Curley in his introduction, reveals that the dominant narrative of modernism was a Western construction, simultaneously expressing transnational modernity and nationalism to counter American and Soviet imperialism. Positioning all 20th century art as engaged in an inevitable conflict between two opposed models for modernity, Curley makes a compelling case for broadening the narrative of artistic creation in the period of the Cold War and its aftermath. John J. Curley is Associate Professor of Art History in the Department of Art at Wake Forest University, where he teaches classes on modern and contemporary art history, as well as photographic history. Diana Dukhanova is Visiting Assistant Professor of Russian at the College of the Holy Cross in Worcester, MA. Her work focuses on religion and sexuality in Russian cultural history, and she is currently working on a monograph about Russian religious philosopher Vasily Rozanov. Diana tweets about contemporary events in the Russian religious landscape at https://twitter.com/RussRLGNWatch. Learn more about your ad choices. Visit megaphone.fm/adchoices

Where I come from, we haven’t really seen any upward movement from the private art market since the 90s (not even when almost everywhere else art sales boomed) and as a result there is now not only a high percentage of underpaid artists but an overpopulation of badly executed conceptual ideas.

In 1917, Marcel Duchamp trolled the New York art scene with Fountain, the famous urinal, whose significance has since swelled in the minds of art aficionados to become the prototype of all modern art. The conversation as to whether or not Fountain fulfills the conditions of a genuine work of art has been going on ever since. In this episode, JF and Phil weigh in with their own ideas, not just about what art is, but more importantly, about what art -- and only art -- can do. The result is a no-holds-barred assault on the very idea of conceptual art, a j'accuse aimed squarely at Duchamp and anyone else who would make the arts as scrutable, and as trivial, as the latest political attack ad or home insurance jingle. REFERENCES J. S. Bach, [The Well-Tempered Clavier](https://en.wikipedia.org/wiki/TheWell-TemperedClavier) Roger Scruton, The Face of God (https://www.giffordlectures.org/books/face-god) Philip Larkin, All What Jazz (http://jazzprofiles.blogspot.com/2014/12/philip-larkin-all-that-jazz.html) Daniel Clowes, Art School Confidential (https://artinfiction.wordpress.com/2013/09/01/art-school-confidential1991-daniel-clowes/) Banksy, Girl with Balloon (https://www.theverge.com/2018/10/18/17994350/banksy-painting-shred-girl-with-balloon-auction) Bill Hicks, stand-up bit on marketers (https://www.youtube.com/watch?v=tHEOGrkhDp0) Walter Benjamin, “Theses on the Philosophy of History” (https://www.versobooks.com/blogs/2791-the-storm-blowing-from-paradise-walter-benjamin-and-klee-s-angelus-novus) and Paul Klee, Angelus Novus Arthur Danto, “The Art World” (https://is.muni.cz/el/1421/jaro2014/IM088/Danto__1_.pdf) Andy Warhol, Brillo Boxes (https://www.warhol.org/lessons/brillo-is-it-art/) JF Martel, Reclaiming Art in the Age of Artifice (http://www.reclaimingart.com/) Cornelius Cardew, “Stockhausen Serves Imperialism” (http://www.ensemble21.com/cardew_stockhausen.pdf) John Roderick, “Punk Rock is Bullshit” (http://www.johnroderick.com/new-page-1/ Clay Routledge https://twitter.com/clayroutledge?lang=en) Susan McClary, foreword (https://www.press.umich.edu/9293551/just_vibrations) to William Cheng, Just Vibrations Deleuze, "What is the Creative Act?" (https://www.youtube.com/watch?v=GKd71Uyf3Mo) Benjamin, "The Work of Art in the Age of Mechanical Reproduction" (https://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm) Biggie Smalls, "Ready to Die" (https://genius.com/albums/The-notorious-big/Ready-to-die) Cave paintings (http://archeologie.culture.fr/chauvet/en) at Chauvet Aleksandr Solzhenitsyn, Nobel lecture (https://www.nobelprize.org/prizes/literature/1970/solzhenitsyn/lecture/) Jonathan Glazer, Under the Skin (https://www.imdb.com/title/tt1441395/)

This episode's artecdote clarifies the historical terminology for the dominant Postmodernist art movement since circa 1985: 'Neo-Conceptualism.' Neo-Conceptualists themselves generally try to refer to themselves with the earlier term as 'Conceptualists,' but this is a political ploy, an ahistorical part of a powerplay, pretending that they are a part of the movement form which they derive.

On parle de la Neo-Geo et de ce qu’il nous en reste. On l’aime. Actu (00:01:00) : Benjamin s’achète enfin une PS4, nous parle d’une nouvelle salle d’arcade sur la West Coast tandis que Daniel raconte son dernier trek dans les montagnes au Kenya. La discussion (00:23:50) : La Neo-Geo, ex-console des riches, la console des collectionneurs, … Continuer la lecture de « Episode 67 : NEO-GEOmetric Conceptualism »

In this episode I got to speak to Chase Berggrun about their new book R E D (Birds, LLC, 2018). Their work has appeared or is forthcoming in POETRY, Pinwheel, PEN Poetry Series, Sixth Finch, Diagram, The Offing, Prelude, Beloit Poetry Journal, and elsewhere. They received their MFA from New York University. They are Poetry Editor at Big Lucks. Chase's website Chase's Twitter Go Buy R E D List of things and people mentioned in this episode: Bram Stoker’s novel Dracula Dodie Bellamy’s The Letters of Mina Harker Cathy Park Hong essay: “Delusion of Whiteness in the Avant-Garde” Joey De Jesus essay: “Goldsmith, Conceptualism & the Half-baked Rationalization of White Idiocy” Solamz Sharif essay “The Near Transitive Properties of the Political and Poetical: Erasure” Solmaz Sharif’s LOOK Matt Rasmussen’s Black Aperture Jos Charles’ feeld George Abraham: al youm: for yesterday & her inherited traumas Gala Mukomolova’s One Above, One Below: Positions and Lamentations Leslie Jameson’s The Recovering: Intoxication and Its Aftermath Tommy Pico’s podcasts Food 4 Thot and Junk The Parent Trap starring Lindsay Lohan and Lindsay Lohan Spongebob asexually reproducing   Editor and Social Media Manager: Mitchel Davidovitz Sound of Waves Breaking

This is one of the papers from our 2016 Annual Conference, the Future of Phenomenology. Information and the full conference

Susan Hiller (artist, London) & John Welchman (Professor of Modern Art History, University of California) in conversation at Frieze London 2010

Daniel Buren (artist, in situ) speaks at Frieze London 2011

Angela Genusa is a writer and artist, formerly of Austin, Texas and now living in Louisiana. Her recent conceptual works include Simone’s Embassy (Eclipse Editions, 2015), Spam Bibliography (Troll Thread, 2013), Tender Buttons (Gauss PDF, 2013), and Jane Doe (Gauss PDF, 2013). Angela’s writing has also appeared in Abraham Lincoln, Jacket2, The Claudius App, EOAGH, P-Queue, McSweeney’s, the Post-Digital Publishing Archive, and Library of the Printed Web. She is currently a member of the collaborative writing group Collective Task, and you can find more of her work on her personal website. We spoke via Skype in July 2014.

Day 2 part 5 audio recording of Tate Modern major symposium dedicated to a radical rethinking and expanding of the normative paradigms of Conceptual art

Day 1 part 1 audio recording of Tate Modern major symposium dedicated to a radical rethinking and expanding of the normative paradigms of Conceptual art

Day 2 part 4 audio recording of Tate Modern major symposium dedicated to a radical rethinking and expanding of the normative paradigms of Conceptual art

Day 2 part 3 audio recording of Tate Modern major symposium dedicated to a radical rethinking and expanding of the normative paradigms of Conceptual art

Tate Modern presents a major symposium dedicated to a radical rethinking and expanding of the normative paradigms of Conceptual art, one of the most influential tendencies of the last 40 years

This week: The Amanda Browder Show vs. Tom Friedman. As a sculptor myself, I find his work to be some of the most interesting and innovative of the last 20 years. This is an interview that has been on our wish list for a long time! Yay NYC bureau! Tom Friedman was born in St. Louis, MO in 1965 and received his B.F.A. at Washington University, St. Louis, MO and his M.F.A. at the University of Illinois at Chicago. Tom Friedman's art has been exhibited extensively in the United States and internationally. The quirky, and flawlessly executed work tends to defy categorization. While his art is often linked to 1960s Conceptualism and Minimal art, Friedman invents his own visual language through his almost obsessive attentiveness to detail and his striking ability to transform the familiar into the unexpected. He uses common household materials such as aluminum foil, spaghetti, fishing line, hair, Styrofoam, and Play-Doh to create works that rearrange the viewer's perceptions of the everyday environment. Often humorous and always inventive, Friedman's work raises questions about the making and seeing of art.