The Great Hall Exhibitions Events
Opening and panel discussion featuring Nancy Worman
October 19, 2016
Performance by Susan Marshall & Company followed by a panel discussion
November 16, 2016
Concert featuring C. Spencer Yeh followed by a panel discussion
December 1, 2016
Dwellings: Charles Simonds and 1970s New York
Julia Pelta Feldman, PhD candidate, The Institute of Fine Arts
Lucy Lippard, "Micro-erotic Archaeology" (This talk was not recorded)
Ksenia Soboleva, "A god-awful small affair: Queering Charles Simonds"
Farrar Fitzgerald, "Idylls in the City: Charles Simonds’s Dwellings, Walter De Maria’s New York Earth Room, and Alan Sonfist’s Time Landscape™"
Christopher Lyon, "At the Cuff of Time: Concepts of Growth and Aging in the Art of Charles Simonds"
Martin Hartung, "Architectural Forays between Utopia and Ruin"
Patterson Sims, "Dwellings for the Whitney"
Maria Bremer, "A Silent Avant-Garde: Curating ‘Forensics’ in the 1970s"
Herbert Molderings, "Molding Time: Some remarks on the reception of the work of Charles Simonds in Germany of the 70s"
Step Into Liquid: Art and Art History in the Post-Fordist Era
Friday, December 4, 2015
Organized by Walead Beshty, with Rachel Heidenry and Eloise Maxwell
Panel 1: Digitalization and the Aesthetics of Distribution, 1:15-3:00pm
It is commonly observed that a core tenet of Contemporary Art is its being produced with an awareness of its dependence on systems of distribution, a condition that has increasingly come to dominate the approach of the most ambitious criticism of our time. How has the development of a vast digital infrastructure, which facilitates contemporary aesthetic distribution, produced pronounced effects on the form and materiality of the work of art and its reception? How does this vast distributive system interact with and complicate the aesthetic conditions of industrialized production and distribution that it operates in tandem with? How does this awareness manifest itself despite the fact that the majority of contemporary artistic practices continue to maintain traditional genres such as painting, sculpture, photography, film and video or performance, albeit under distinctly different conditions from their predecessors?
Panel 2: Performativity and Methodology, 3:30-4:45pm
As the boundaries between the art object and its mode of circulation become increasingly difficult to maintain, whether it be through its dispersal among bodies in socially contingent practices or through means of distribution that are habitually seen as secondary to the work itself, what methodological tools are available to art history and art criticism to address the current status of the work of art? What methodological questions does it pose to theories of representation, or to the method of comparative formal analysis that underscores the field? Which, if any, of the classical art historical distinctions—be they between media, or aesthetic forms, or primary and secondary manifestations of the work of art—can be maintained? In short, can art history and criticism address what things “do” in addition to what they “say”?
Tim Griffin, The Kitchen
Claire Bishop, CUNY Graduate Center
Kenneth Goldsmith, University of Pennsylvania
Ruba Katrib, The Sculpture Center
Bettina Funcke, School of Visual Arts
Janet Kraynak, Columbia University
Alexander Alberro, Columbia University
Tim Griffin, The Kitchen
Alex Kitnick, Bard College
Robert Slifkin, Institute of Fine Arts
The Institute of Fine Arts is pleased to announce a public conversation between Walead Beshty and Johanna Burton. The event is taking place in conjunction with Beshty’s showing in the Great Hall Exhibition Series at the IFA.
The Great Hall Exhibition Series was established in 2012 by the IFA to showcase the work of contemporary artists within the Institute’s celebrated Duke Mansion building. The exhibition is being organized by Rachel Heidenry and Eloise Maxwell, MA students at the IFA, with the gracious support of Petzel Gallery, New York. The exhibition will be on view daily from 1-4 p.m., November 11 – December 4, 2015. Admission is free and open to the public. Visit here for more information.
Johanna Burton is Director and Curator of Education and Public Engagement at the New Museum. Prior to holding this position, she was the Director of The Center for Curatorial Studies at Bard College Masters program, and Associate Director and Senior Faculty Member at the Whitney Museum of American Art’s Independent Study Program. Her writing has appeared in publications including Artforum, October, and Texte Zur Kunst.
Walead Beshty (b. 1976, London, UK) is an artist, writer and Associate Professor in the Graduate Art Department at Art Center College of Design in Pasadena. His work was included in the 56th Biennale di Venezia (2015), the Shanghai Biennial (2012), the Tate Triennial (2009), and Whitney Biennial (2008). Beshty’s work is held in numerous permanent museum collections, including the Guggenheim Museum, New York; the Hammer Museum, Los Angeles; Los Angeles County Museum of Art; the Museum of Contemporary Art, Chicago; the Museum of Contemporary Art, Los Angeles; the Museum of Modern Art, New York; The Art Institute of Chicago; Victoria and Albert Museum, London; Tate Modern, London, and the Whitney Museum of American Art, New York. Monographs on his work include, Walead Beshty: Selected Correspondences 2001–2010 (Damiani Editore, 2010), and Walead Beshty: Natural Histories (JRP|Ringier, 2011/2014). Beshty’s writing has appeared in Texte zur Kunst, Afterall Journal, Artforum, Aperture, Art Review, Parkett, Dot Dot Dot, and The Exhibitionist, in addition to several exhibition catalogues and anthologies. Beshty was guest editor of Blind Spot Magazine, No. 46, edited the anthology Ethics, in Whitechapel’s Documents of Contemporary Art series (MIT Press 2015), and his collected writings will be published in the Fall of 2015 by JRP|Ringier. He is represented by Regen Projects, Los Angeles; Petzel, New York; Thomas Dane Gallery, London; Galerie Rodolphe Janssen, Brussels; and Capitain Petzel, Berlin. He lives and works in Los Angeles.