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A Symposium on the theoretical and practical aspects of Installation Art Saturday , September 23, 11 am--5:30 pm Program: 11-11:15 am 11:15-12:15pm 12:15-1:15pm 1:15-2:30pm 2:30-3:30pm 3:30-4:30pm 4:30-5:30pm
Participants: Julie H. Reiss received a Ph.D. in art history from the Graduate Center of the City University of New York. She has held curatorial positions at the Guggenheim Museum and the Jewish Museum in New York City. Dr. Reiss has taught modern and contemporary art at Purchase College and Hunter College and is currently an Associate Professor in the Master's program at Christie's Education in New York City. She is the author of From Margin to Center: The Spaces of Installation Art, and her most recent publication Sound Affects: The Auditory Experience in Installation Art was published by the Berlin Akademie der Kunst in June, 2006. She has lectured extensively on modern and contemporary art at museums in New York City, including the Museum of Modern Art, and the Metropolitan Museum of Art. Reiss' presentation, Installation Art and Its Origins, will examine the beginnings of installation art in the form of Environments created at alternative art spaces in New York in the 1950s, through its emergence at mainstream art institutions by the early 1990s. The lecture will explore further the characteristics which set installation art apart from other modes of art making. Erika Suderburg is a filmmaker, visual artist, and writer. Her work has been exhibited nationally and internationally, including at the Pacific Film Archives in Berkeley, the Capp Street Projects in San Francisco, and the Museum of Contemporary Art in Los Angeles, CA; the Museum of Modern Art in New York, NY; the Fukai International Video Biennale in Japan; and the International Video Festival in Bonn, Germany. Presently, she is a professor in the Department of Studio Art at the University of California, Riverside and a visiting Professor at The Milton Avery Graduate School of the Arts at Bard College. In addition, she had worked as a curator and consultant, and has written art criticism over the past ten years. Suderburg is also a co-editor of Resolutions: Contemporary Video Practices, published in 1996, and of Space, Site, Intervention: Situating Installation Art, published in 2000. Recently, she completed her second feature film--an experimental documentary on aerial bombing, war, reconstruction, mass protest, monumentality and memory entitled Decline and Fall, which will be released in 2007. Suderburg' presentation Projections, Memory and History: ScreenSite examines projected "screen space" in relation to specific historical, architectural and conceptual sites in Berlin and Los Angeles including Micha Ullman's Bibliothek/Empty Library, Power Places' Omoide No Shotokyo (Remembering Old Little Tokyo) and Erika Suderburg and Martha Ronk's Rotbahn and Brick. These interventions in urban spaces or ScreenSites operate in an agitated drift, as two-headed flaneur/flaneuse tunnel under or float over topographies fueled by frictions between images, mediated space, traces and memorialization that inhabit public space, and trigger the after effects of memory and its debris. Ondine Chavoya is an art historian and writer who received a Ph.D. in visual and cultural studies from the University of Rochester, NY. He holds a post in the Art Department and Latino Studies Program at Williams College in Williamstown, MA, and has previously taught at the Rhode Island School of Design in Providence, RI; the School of the Museum of Fine Arts in Boston, MA; and UCLA in Los Angeles, CA. Currently, he is in residence at the Georgie O'Keeffe Museum Research Center in Santa Fe, finalizing a book on Chicana/o Art and social space in Los Angeles. Chavoya's recent writings on art and urban space in southern California have appeared in numerous books and journals, such as The Chicana/o Cultural Studies Reader; The Chicano Postnation ; Customized: Art Inspired by Hotrods, Lowriders, and American Car Culture; and Space, Site, and Intervention: Issues in Installation and Site-Specific Art. Chavoya's presentation Tactics of Ephemerality: Interventionist Public Art in Los Angeles traces the influence of Asco—particularly their urban performances and simulated film stills from the 1970s known as No-Movies—on a younger generation of contemporary artists working in Los Angeles, including Sandra de la Loza, Ruben Ochoa, Ruben Ortiz Torres, and Mario Ybarra. Furthermore, it examines how the production of fugitive actions is used by artists as an aesthetic tactic to negotiate and contest the landscape that encloses them. In addition to analyzing these forms of ephemeral, generally unsanctioned, public art, which often reference muralism and graffiti, and engage social history, Chavoya considers how such projects are resituated in a gallery or museum context as installation. Anne Pasternak is the president and artistic director of Creative Time, a non-profit art organization dedicated to presenting new and experimental works in public spaces. Since joining the Creative Time in 1994, Pasternak has been initiating cultural projects that celebrate New York life and reflect contemporary urban experience. In addition to her work at Creative Time, Pasternak curates independent exhibitions and contributes essays to numerous exhibition catalogues and cultural journals, as well as consults on a number of urban development projects and corporate art initiatives. Additionally, she lectures extensively throughout the United States and Europe, often serves as a guest critic, and continues to teach at the School of Visual Arts in New York. Previously, Pasternak worked as the director of the Stux Galleries in Boston and New York and later as the Curator of Real Art Ways in Hartford. She studied Art History at the University of Massachusetts in Amherst, and then at Hunter College in New York City from where she received a Master's degree. Pasternak's presentation Creative Time: Art Where you Least Expect It provides a short overview of Creative Time's projects under her direction, including projects from the historic Brooklyn Bridge Anchorage; sculptural installations in Grand Central Station; and the memorial presentation Tribute in Light, commemorating 9/11. In addition, Pasternak's discussion includes the projects that gave individual artists—Doug Aitken, Laurie Anderson, Jenny Holzer, Vik Muniz, Takashi Murakami, Shirin Neshat, Kimsoja, and many others—the opportunity to produce challenging and innovative art in and for public spaces. Bill Arning is curator at MIT's List Visual Arts Center. Since joining the LVAC in 2000 he has organized a large number of critically acclaimed exhibitions, including the most recent America Starts Here—Ericson and Ziegler, as well as Cerith Wyn Evans—Thoughts Unsaid, Then Forgotten; Son et Lumiére; Inside Space—Experiments in Redefining Rooms; AA Bronson's Mirror Mirror; and Influence, Anxiety and Gratitude. From 1985–1996, Arning was the director and chief curator at White Columns Alternative Arts Space in New York City where he organized the first New York exhibitions for many significant American and international artists of the period. As a writer on art and culture, Arning's texts have been published in Time Out New York, Apeture, The Village Voice, Art in America and Parkett, while his essays were included in numerous exhibition catalogues, such as The Quick and the Dead, and Tony Feher, and critical anthologies, including the Phaidon Art and Feminism. Arning's presentation Installation Art: Re-considered will use recent exhibitions at MIT as well as other recent high-profile exhibitions to consider the lost radical promise and necessary redefinition of the term 'installation" in art practice today. As an art form with a relatively brief history, installation continues to be credited with the avant-garde virtues of innovation and resistance to commodification. In 2006 the truth of that association is at best vestigial, often accidental and may even be patently false. One of the working definitions of installation art is based on interdependency of object and context. For example, film and video, having largely migrated from theatrical spaces to galleries, create installation-like experiences by achieving what was once called the radical experience of "immersion." However this shift may have more to do with the new technologies (DVD projectors and film loopers) than with an avant-gardist challenge to modernist orthodoxies. Artists discussed include Ericson and Ziegler, Cerith Wyn Evans, Sissel Tolaas, Christian Jankowski, and Janet Cardiff and George Miller.
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