This article explores issues involved in representing Buddhism in museums, drawing on the author’s experience of curating the Buddhism display at the World Museum Liverpool. It is concerned with processes of de-contextualization and re-contextualization, focussing on whether sacred images become divested of their religious functions once they enter a museum or if, instead, the gallery can be considered an alternative arena for contemplation. The article begins by reviewing the literature on museums and the sacred. It discusses the lack of concern (...) historically for religion in museums, noting how sacred objects have tended to be ‘secularized’ in exhibitionary contexts. It then examines the Buddhism display at the World Museum Liverpool, part of the permanent World Cultures gallery which opened in 2005, with its reconstructions of a shrine, an altar and a protective chapel — this is a museological environment which deliberately evokes the atmosphere of a temple. (shrink)

This is a philosophical review of the exhibition dedicated to Literature – Art titled Mukhaputa (Cover page) held on occasion of the Manipal International Literature and Arts Platform 2017 in Manipal, India. The curatorial strategy of the exhibition explores the intersectional relationships between literature and visual arts at large. The context of this critical review is the recent past of modern literature journals in print that encouraged artists and illustrators to converse with literature and in turn poets and (...) authors to be artists in their own right. Through a reflection on the nature of new forms of art works submitted by various artists to the exhibition, the review situates new methods of interdisciplinary curating which is highly contingent and speculative. Curation, thus, demands a new reading in terms of its role in interdisciplinary creative practice. (shrink)

A new ethics for the global practice of curating Today, everyone is a curator. What was once considered a hallowed expertise is now a commonplace and global activity. Can this new worldwide activity be ethical and, if yes, how? This book argues that curating can be more than just selecting, organizing, and presenting information in galleries or online. Curating can also constitute an ethics, one of acquiring, arranging, and distributing an always conjectural knowledge about the world. Curating as Ethics (...) is primarily philosophical in scope, evading normative approaches to ethics in favor of an intuitive ethics that operates at the threshold of thought and action. It explores the work of authors as diverse as Heidegger, Spinoza, Meillassoux, Mudimbe, Chalier, and Kofman. Jean-Paul Martinon begins with the fabric of these ethics: how it stems from matter, how it addresses death, how it apprehends interhuman relationships. In the second part he establishes the ground on which the ethics is based, the things that make up the curatorial--for example, the textual and visual evidence or the digital medium. The final part focuses on the activity of curating as such--sharing, caring, preparing, dispensing, and so on. With its invigorating new approach to curatorial studies, Curating as Ethics moves beyond the field of museum and exhibition studies to provide an ethics for anyone engaged in this highly visible activity, including those using social media as a curatorial endeavor, and shows how philosophy and curating can work together to articulate the world today. (shrink)

Drawing on a series of exhibitions curated and installed at the Canadian Centre for Architecture in Montréal throughout the 1990s and the early millennium, this essay analyzes how architecture and its representation in museological exhibitions have innovated forms of communication and display practices, transcending the traditions established by the fine arts paradigm since the late eighteenth century. The author argues that in addition to providing a heightened recognition of the narrative and performative potential of the exhibitionary setting, the discourses and (...) tensions specific to architecture and architectural practice have led to a rethinking of the communicative potential of the exhibition environment. Principles inherent to architecture—spatiality, materiality, and the experiential—are fruitful when considering the possibilities of exhibition design to elucidate multiple levels of meaning, and these principles have led to architecture’s coming-of-age in the museological environment in ways that are specific to re aedificatoria—the art of building itself. (shrink)

Current art world statistics demonstrate that the fight for gender and race equality in the art world is far from over: only sixteen percent of this year's Venice Biennale artists were female; only fourteen percent of the work displayed at MoMA in 2016 was by nonwhite artists; only a third of artists represented by U.S. galleries are female, but over two-thirds of students enrolled in art and art-history programs are young women. Arranged in thematic sections focusing on feminism, race, and (...) sexuality, Curatorial Activism examines and illustrates pioneering examples of exhibitions that have broken down boundaries and demonstrated that new approaches are possible, from Linda Nochlin's 'Women Artists' at LACMA in the mid-1970s to Jean-Hubert Martin's 'Carambolages' in 2016 at the Grand Palais in Paris. Including interviews with pioneering curators such as Okwui Enwezor, Linda Nochlin, Jean-Hubert Martin, and Nan Goldin, this volume is both an invaluable source of practical information for those who understand that institutions must be a driving force in this area and a vital source of inspiration for today's expanding new generation of curators. Preface by Lucy R. Lippard. (shrink)

This article is a co-written reflection on the process of curating and programming Printing Solidarity: Tricontinental Graphics from Cuba (2021–2022). Held at Stony Brook University's Paul W. Zuccaire Gallery, the exhibition featured over sixty posters and printed matter produced mostly in the 1960s–1970s by the Organization of Solidarity with the People of Asia, Africa, and Latin America (OSPAAAL) in Havana. As an experiment in pedagogical curating, the yearlong project spanned the isolation from, return to, and re-envisioning of inperson learning (...) during the COVID-19 pandemic. Reflecting on our inspirations, intentions, and challenges, we argue for the role of art objects in activating material-based, in-person learning on campus and consider the value of academic collaboration, cross-regional research, and experimental pedagogies. The project offered an opportunity to revisit the Cold War-period politics of global solidarity in today's pandemic era while exploring what it would mean to study art today from the question of solidarity rather than division. (shrink)

ArgumentIn the 1920s and 1930s, the growing importance of habitat dioramas at the American Museum of Natural History forced staff members to reconsider what counted as scientific practice and knowledge. Exhibit-makers pressed for more scientific authority, citing their extensive and direct observations of nature in the field. The museum's curators, concerned about their own eroding status, dismissed this bid for authority, declaring that older traditions of lay observation were no longer legitimate. By the 1940s, changes inside and outside the museum (...) had destroyed any lingering notions that what exhibit-makers garnered from observing raw materials constituted scientific knowledge. (shrink)

ABSTRACT This essay examines the exhibition of dinosaurs at the American Museum of Natural History during the first two decades of the twentieth century. Dinosaurs provide an especially illuminating lens through which to view the history of museum display practices for two reasons: they made for remarkably spectacular exhibits; and they rested on contested theories about the anatomy, life history, and behavior of long-extinct animals to which curators had no direct observational access. The American Museum sought to capitalize on (...) the popularity of dinosaurs while mitigating the risks of mounting an overtly speculative display by fashioning them into a kind of mixed-media installation made of several elements, including fossilized bone, shellac, iron, and plaster. The resulting sculptures provided visitors with a vivid and lifelike imaginative experience. At the same time, curators, who were anxious to downplay the speculative nature of mounted dinosaurs, drew systematic attention to the material connection that tied individual pieces of fossilized bone to the actual past. Freestanding dinosaurs can therefore be read to have functioned as iconic sculptures that self-consciously advertised their indexical content. (shrink)

The exhibition Off Beat: Jeff Nuttall and the International Underground showcases the archive of Jeff Nuttall, a painter, poet, editor, actor and novelist. As the exhibition illustrates, Nuttall was a central figure in the International Underground during the 1960s through to the early 1970s. During this time he collaborated with a vast network of avant-garde writers from across the globe, as well as editing the influential publication My Own Mag between 1963 and 1967.

This article analyzes the photographic exhibit Yuyanapaq: Para Recordar, which was a product of the Peruvian Truth and Reconciliation Commission. It focuses specifically on the curatorial process and political desires shaping Yuyanapaq, and it examines the ways in which photographs were intended to intervene in and script a national consciousness and shared memory during and after Peru’s transition process. Exploring across the three iterations of Yuyanapaq, I ask how we might attempt to bear witness to past conflict without inadvertently perpetuating (...) its logic. (shrink)

Presentation of self (via Goffman) is becoming increasingly popular as a means for explaining differences in meaning and activity of online participation. This article argues that self-presentation can be split into performances, which take place in synchronous “situations,” and artifacts, which take place in asynchronous “exhibitions.” Goffman’s dramaturgical approach (including the notions of front and back stage) focuses on situations. Social media, on the other hand, frequently employs exhibitions, such as lists of status updates and sets of photos, alongside situational (...) activities, such as chatting. A key difference in exhibitions is the virtual “curator” that manages and redistributes this digital content. This article introduces the exhibitional approach and the curator and suggests ways in which this approach can extend present work concerning online presentation of self. It introduces a theory of “lowest common denominator” culture employing the exhibitional approach. (shrink)

Aby Warburg's Bilderatlas Mnemosyne, left unfinished in 1929, has attracted significant interest in recent decades. This essay offers a new interpretation of Warburg's “picture atlas,” not in relation to modernist collage and photomontage, but as an heir to scientific pedagogical exhibitions of the late Wilhelmine period. It deals in particular with two “public enlightenment” shows curated by the Leipzig medical historian Karl Sudhoff, whose work Warburg admired and employed: the first on with the history of hygiene in Dresden in 1911, (...) the second in Leipzig, three years later, on the development of scientific images. Like Warburg, Sudhoff appreciated artworks and artifacts as sources for the history of science and medicine. His exhibitions consisted of assemblages of photographic reproductions—some of which were provided by Warburg himself—and uncannily anticipate Mnemosyne in both form and content. By examining the exchange of materials and display methods between the two scholars, the article explores how their respective visual projects reflected deeper disagreements over the public role of science, the epistemic power of images, and the persistence of the irrational in the human psyche. (shrink)

At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, in (...) the more contentful cases, as propaganda. The ancient quarrel between art and philosophy is that art influences surreptitiously while philosophy presents reasons that invite rational scrutiny. As such, in contrast to philosophy, art would undermine our agency. In July 2017, a group of philosophers gathered at the Art Gallery of NSW (AGNSW), in Sydney, Australia, in the presence of two AGNSW curators to explore the basis of their own experiences of selected artworks. Here, those commentaries are reproduced. Each reveal that objective grounds for an experience of art can be based in the community from which one draws one’s terms of reference. In our commentaries we see the expertise of the respective philosophical communities but other communities of culture or expertise might serve the same purpose and hence resolve the ancient quarrel. Before hearing these commentaries, I explain what is at stake when the ancient quarrel between art and philosophy is understood in contemporary terms. This Issue of the Curator also includes an article on the community-based art criticism that emerges from these commentaries followed by an exhibition review which reveals the incorrigible impulse (also demonstrated in the commentaries) to find the basis for the most apt experience of an artwork. A response by the AGNSW curators completes this issue. (shrink)

Ces dernières années, des musées d’art contemporain sont apparus partout dans le monde occidental et au-delà. Le nombre de ce genre de musées augmente en permanence. Le touriste d’aujourd’hui, qui se rend dans une grande ville, s’attend à y trouver un musée d’art contemporain, de la même manière qu’il s’attend à y trouver un restaurant italien ou un cinéma. Dans la plupart des cas, ces attentes sont confirmées. Dans le pire des cas, le touriste va apprendre que le musée d’art (...) contemporain est encore en construction et qu’il sera ouvert l’année suivante. Quoi qu’il en soit, cette acceptation si facile de la notion de « musée d’art contemporain » par la culture d’aujourd’hui n’est pas sans importance. Traditionnellement, le musée d’art constituait un endroit dans lequel l’art du passé était collecté, conservé et montré au beau milieu de la vie contemporaine. Mais que signifie construire un musée d’art contemporain ? Que signifie « muséographier » la contemporanéité elle-même?Museums of contemporary art have appeared everywhere in the Western world and beyond in recent years, and they are constantly increasing in number. Any tourist visiting a major city today expects to find a museum of contemporary art, just as they expect to find an Italian restaurant or a cinema. In most cases, this is indeed what they find. At the very least, tourists will find that the city’s museum of contemporary art is still under construction and will open the following year. Whatever the case, the ready acceptance of the “museum of contemporary art” in today’s culture is significant. Traditionally, an art museum was a place where the art of the past could be collected, curated and displayed right in the heart of the contemporary world. But what does creating a museum of contemporary art really mean? In other words, what does it mean “to make a museum exhibit” of contemporaneity itself? (shrink)

'Common Pavilions' is based on an exhibition curated by Diener & Diener Architects within the 13th International Architecture Exhibition of the Venice Biennial in 2012. Architecture's social and cultural reality was the theme of the 2012 exhibition, titled Common Ground. Bringing the architectural significance of the 29 national pavilions to the attention of visitors, who usually do not really notice these buildings and their individual character and atmosphere when seeing an exhibition there, was the aim of (...) the Common Pavilions project. The celebrated Italian photographer Gabriele Basilico (1944 2013) has taken pictures of all the pavilions in the Giardini di Venezia. His masterful images are featured in large-format and lavish duotone printing. 30 authors from all 29 nations - architects, philosophers, and artists - have contributed short essays, writing on 'their' national pavilion, its history and its identity as a space for presenting art. Basilico's images and the essays merge into a rich and atmospheric panorama of what is probably the world's best known exhibition site. (shrink)

Mental health has become a key concern within social discourse in recent years, and with it, the discussion about the lived experience of pain. In dealing with this experience there has been a shift away from merely relying on medical care towards more holistic approaches involving community support, public awareness, and social change. However, little if any attention has been paid in this context to the contribution of aesthetic experience engendered by art that expresses and publicly shares with others the (...) lived experience of pain. With reference to Phantom Limb, an art exhibition curated by Euan Grey and held at the Victoria Galleries and Museum Liverpool in 2016, I argue that aesthetic experience plays a crucial role in making sense of pain and suffering, thus breaking new ground in the appreciation of the significance of art for public mental health and holistic approaches towards patients. (shrink)

This article considers the Undercover Surrealism exhibition curated at London’s Hayward Gallery and reflects on the practices of documentation, archiving and exhibition when the topic of the exhibition, as in this case, is a journal that in its most radical intention was set up to critique the practices of exhibition and documentation. The short and controversial life of Georges Bataille’s Documents unfolds as an often deliberately confusing juxtaposition of images and articles. The exhibition aims to (...) represent both the sometimes incompatible interests of the journal’s collaborators and the public dispute between Bataille and Breton over the aims of Surrealism. The article explores the intentions, risks, and possible effects of the exhibition in the context of Bataille’s own philosophy and his own peculiar part in the publication of Documents, which in its time was a contemporary review of diverse cultural phenomena interspersed with subversive dictionary entries. The article thus raises the question of what happens to the subversive intentions of a project like Documents in the scholarly historicist environment of public exhibition space. (shrink)

This discussion originally took place as part of the Sounding the Land exhibition curated by Simon Gush, Helena Pohlandt-McCormick, Craig Paterson and Gary Minkley at the virtual National Arts Festival that ran from 25 June 5 July 2020. Sounding the Land intended to use the bicentennial of the so called 1820 settlers' arrival as a critical platform from which to discuss the legacies of the settler colonial project, the ways in which it is commemorated, and to reassess the historical (...) understandings of the 1820 settler moment in South African history. In the following discussion, which took place via Zoom Video Communication and was originally recorded on 2 June 2020, between Leslie Witz in Cape Town and Helena Pohlandt-McCormick in San Francisco they talk about the cyclical and accumulative power of anniversary and commemoration, the ways they set in place temporal certainties that align past, present and future, and how configurations of memorial space through visual technologies are authoritative mechanisms in establishing the time and times of history. They discuss strategies of resisting such memorial power and whether the simple inversion of historical figures and events may inadvertently serve to reinforce anniversary histories of founding. By linking the contemporary moments of the interview the COVID-19 pandemic, the postponement of settler commemorations, the virtual National Festival, and the killing of George Floyd in Minneapolis they consider dystopian futures as inaugurating the possibilities of disruptive memorial time that constantly exposes the fractures of racial violence and colonial dispossession rather than masking it through either the commemoration or the inversion of the anniversary. (shrink)

This article considers the Undercover Surrealism exhibition curated at London’s Hayward Gallery and reflects on the practices of documentation, archiving and exhibition when the topic of the exhibition, as in this case, is a journal that in its most radical intention was set up to critique the practices of exhibition and documentation. The short and controversial life of Georges Bataille’s Documents unfolds as an often deliberately confusing juxtaposition of images and articles. The exhibition aims to (...) represent both the sometimes incompatible interests of the journal’s collaborators and the public dispute between Bataille and Breton over the aims of Surrealism. The article explores the intentions, risks, and possible effects of the exhibition in the context of Bataille’s own philosophy and his own peculiar part in the publication of Documents, which in its time was a contemporary review of diverse cultural phenomena interspersed with subversive dictionary entries. The article thus raises the question of what happens to the subversive intentions of a project like Documents in the scholarly historicist environment of public exhibition space. (shrink)

In 120 exquisitely reproduced black-and-white images, Minnesota in Our Time: A Photographic Portrait showcases the work of twelve talented photographers who sought to capture the essence of the state and its people at the threshold of the new millennium. Like the Farm Security Administration photographers of the Depression era, these men and women document the details of life in this time and the transformations now taking place in this state. This work is a product of the MINNESOTA 2000 Photo Documentation (...) Project, a three-year effort that has also produced an archival collection of 360 images and a museum exhibition. The project's wealth of images provides a multifaceted look at lives and landscapes in Minnesota, focusing on common experiences and themes among a diverse population of individuals. Edited by photography historian George Slade, the book features a selection of the photographs, a lucid interpretive essay by Slade and art historian Robert Silberman, a preface by exhibition curator Bonnie G. Wilson, and brief introductions to and commentaries about each photographer's work. Minnesota in Our Time features photographs by Joe Allen, Tom Arndt, Stephen Dahl, Chris Faust, George Byron Griffiths, Terry Gydesen, David Heberlein, Wing Young Huie, Mark Jensen, Peter Latner, David Parker, and Keri Pickett. (shrink)

Review of The Path to Hidden Knowledge, art exhibition curated by Nina Kokkinen, 3.6.–11.10.2020 at Villa Gyllenberg, Helsinki.

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a (...) significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

Informed by a provocative exhibition at the Louvre curated by the author, _The Severed Head_ unpacks artistic representations of severed heads from the Paleolithic period to the present. Surveying paintings, sculptures, and drawings, Julia Kristeva turns her famed critical eye to a study of the head as symbol and metaphor, as religious object and physical fact, further developing a critical theme in her work--_the power of horror_--and the potential for the face to provide an experience of the sacred. Kristeva (...) considers the head as icon, artifact, and locus of thought, seeking a keener understanding of the violence and desire that drives us to sever, and in some cases keep, such a potent object. Her study stretches all the way back to 6,000 B.C.E., with humans' early decoration and worship of skulls, and follows with the Medusa myth; the mandylion of Laon (a holy relic in which the face of a saint appears on a piece of cloth); the biblical story of John the Baptist and his counterpart, Salome; tales of the guillotine; modern murder mysteries; and even the rhetoric surrounding the fight for and against capital punishment. Kristeva interprets these "capital visions" through the lens of psychoanalysis, drawing infinite connections between their manifestation and sacred experience and very much affirming the possibility of the sacred, even in an era of "faceless" interaction. (shrink)

The exhibition Critical Zones – Horizonte einer neuen Erdpolitik (2020–2022) at the ZKM Karlsruhe is a renewed attempt to unite artistic, philosophical, and scientific knowledge production in the medium of the ›Gedankenausstellung‹ (thought exhibition). The thematic orientation of the exhibition draws upon the writings of Bruno Latour, one of the curators. The article analyzes how his research on the critical zone, the terrestrial, and the Gaia hypothesis has been transformed into an exhibition format, intending a transmedial (...) spatialization of thoughts combined with the visitor’s experience ›how to land on earth‹. Based on a detailed exhibition analysis, it examines the curation and mediation of Latour’s earth-political thoughts and concepts in both the physical exhibition and the digital exhibition platform that evolved in response to the Covid-19 pandemic. (shrink)

How can we rethink anthropology beyond itself? In this book, twenty-one artists, anthropologists, and curators grapple with how anthropology has been formulated, thought, and practised 'elsewhere' and 'otherwise'. They do so by unfolding ethnographic case studies from Belgium, France, Germany, Italy, the Netherlands, and Poland - and through conversations that expand these geographies and genealogies of contemporary exhibition making. This collection considers where and how anthropology is troubled, mobilised, and rendered meaningful. 'Across Anthropology' charts new ground by analysing the (...) convergences of museums, curatorial practice, and Europe's reckoning with its colonial legacies. Situated amid resurgent debates on nationalism and identity politics, this book addresses scholars and practitioners in fields spanning the arts, social sciences, humanities, and curatorial studies."--Page 4 of cover. (shrink)

Museums and their practices—especially those involving collection, curation and exhibition—generate a host of philosophical questions. Such questions are not limited to the domains of ethics and aesthetics, but go further into the domains of metaphysics, epistemology and philosophy of religion. Despite the prominence of museums as public institutions, they have until recently received surprisingly little scrutiny from philosophers in the Anglo-American tradition. By bringing together contributions from philosophers with backgrounds in a range of traditional areas of philosophy, this volume (...) demonstrates how their work can enhance our understanding of museums and shed light on the philosophical questions raised by museum practices. Many of the essays in this volume make the case that the philosophy of museums is of vital concern, not only to those philosophers at work in the emerging field but also to practitioners within the museum world and to anyone who enjoys visiting museums. (shrink)

In 1969 Jasia Reichardt curated an exhibition at the Institute of Contemporary Art in London called Play Orbit. Although it has not achieved the landmark status of Reichardt's Cybernetic Serendipity, which was presented in London a year earlier, it caught the intellectual and artistic mood of a newly emergent constituency of (largely British) artists who had benefited from a post-war revision of art education and a de-centring of intellectual energy away from the economic capitals. It may be that Play (...) Orbit will eventually be regarded in much the same way as Cybernetic Serendipity that is, as a significant footnote in the history of contemporary art. By turning artists' attention to toys through this project, the categories of painting and sculpture dissolved and the Modernist imperative of the enduring observation that had informed the arts and letters in a centred intellectual regime was seen for what it was: a colonial anachronism. The unapologetic relativism of play and the provisional truths of games coalesced in Play Orbit as confrontations to the essentialist materialism of the prevailing orthodoxy. In this sense Play Orbit, and its extensive catalogue of images and essays, foreshadowed not only the critical style that followed the influence of Continental Theory in the mid 1970s but also anticipated the agenda of virtually all that has been written about games in the last decade. For all its apparent whimsy and reification of idiosyncrasy, Play Orbit can now be seen as, above all, a constructively political intervention levered through the arts. For example, one of the more enduring and least contested impacts of the intellectual revisions of the last thirty years that Play Orbit foreshadowed is evident in the practice of history not least the practice of history as a game to be played. This paper elaborates on these assertions and asks how games and games theory might be connected with their own political and intellectual history, and how contemporary artists who choose to benefit from the licence that play endows might situate their work within what might be called Art Ludistory: a political play on the history of play. (shrink)

Curating is a confounding concept—highly specialized in its technical meaning but wildly ecumenical in colloquial usage. This makes it a good candidate for philosophical attention. Considering how often the boundaries of curating have been redrawn since the 1960s, it is encouraging to see philosophers finally turning their lens on it in the last decade. This is also partly what makes Sue Spaid’s The philosophy of curatorial practice: between work and world a welcome contribution. The book might fall short of a (...) definitive philosophical account of curating, but it charts helpful vectors of interest for future scholarship. On a personal note, as someone who has had the opportunity to debate Spaid on the subject of curating, both at live events and in print, I consider her book a meaningful addition to the conversational momentum the topic has been enjoying. -/- In what follows, I start with some general remarks and then focus on two constitutive aspects of Spaid’s book—her account of what curating is and her description of what curated exhibitions do. These are also two of the central questions philosophy has traditionally asked of art. In this sense, Spaid’s study traverses familiar methodological and thematic terrain. What she adds to the existing scholarship on perennial issues of intentionality, authorship, spectatorship, interpretation, etc. is her keen curiosity about the increasingly rich contributions curated exhibitions make to the life of art. (shrink)

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the summer of 2000, (...) evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

Nowadays artists and curators increasingly stress terms like ›laboratory‹ and ›research‹ when describing their studio practice or their exhibition space. The contribution argues that this semantic change articulates a striking shift in the understanding of artistic production and authorship. When the studio – traditionally seen as a place where the individual is committed to his or her world-directedness – is described as a laboratory, another dispositive of knowledge production comes into play. This dispositive seems, I would argue, different from (...) the concept of the studio in four respects: Firstly, it refers to the scientific field and its institutions. Secondly, the laboratory-dispositive promises to be more open to collective labour, thirdly, the laboratory relates to different models of labour and production that claim another stake within the knowledge society, and, fourthly, the distinction between production and reception becomes watered down. These changes, at least, run the risk of downplaying the brisance of artistic subjectivity. (shrink)

Museums’ structures, spaces, and exhibits are understood as semiotic resources that make spatial texts that communicate a discourse defined by the authorities of the museum or its curators. The current study follows a social-semiotic approach in analyzing the spatial discourse of the Children’s Museum in Amman. It demonstrates that interpersonal meanings are semiotically communicated to children visitors in the Museum by firstly establishing a “comfort-zone” and secondly by aligning children visitors into groups with shared qualities, attitudes, and dispositions of affiliation (...) and solidarity, and thirdly by providing abstract and material representations of the real world that encompasses participants, processes, events, and places. These interpersonal meanings produce a pedagogical discourse that semiotically addresses Jordan’s energy and water challenges, and that can “charge” the Museum’s role as a “Bonding Icon” that stands for shared communal ideals that Jordanians might identify with, or rally around. (shrink)

Informed by a provocative exhibition at the Louvre curated by the author, _The Severed Head_ unpacks artistic representations of severed heads from the Paleolithic period to the present. Surveying paintings, sculptures, and drawings, Julia Kristeva turns her famed critical eye to a study of the head as symbol and metaphor, as religious object and physical fact, further developing a critical theme in her work-- _the power of horror_--and the potential for the face to provide an experience of the sacred. (...) Kristeva considers the head as icon, artifact, and locus of thought, seeking a keener understanding of the violence and desire that drives us to sever, and in some cases keep, such a potent object. Her study stretches all the way back to 6,000 B.C.E., with humans' early decoration and worship of skulls, and follows with the Medusa myth; the mandylion of Laon ; the biblical story of John the Baptist and his counterpart, Salome; tales of the guillotine; modern murder mysteries; and even the rhetoric surrounding the fight for and against capital punishment. Kristeva interprets these "capital visions" through the lens of psychoanalysis, drawing infinite connections between their manifestation and sacred experience and very much affirming the possibility of the sacred, even in an era of "faceless" interaction. (shrink)

Informed by a provocative exhibition at the Louvre curated by the author, _The Severed Head_ unpacks artistic representations of severed heads from the Paleolithic period to the present. Surveying paintings, sculptures, and drawings, Julia Kristeva turns her famed critical eye to a study of the head as symbol and metaphor, as religious object and physical fact, further developing a critical theme in her work-- _the power of horror_--and the potential for the face to provide an experience of the sacred. (...) Kristeva considers the head as icon, artifact, and locus of thought, seeking a keener understanding of the violence and desire that drives us to sever, and in some cases keep, such a potent object. Her study stretches all the way back to 6,000 B.C.E., with humans' early decoration and worship of skulls, and follows with the Medusa myth; the mandylion of Laon ; the biblical story of John the Baptist and his counterpart, Salome; tales of the guillotine; modern murder mysteries; and even the rhetoric surrounding the fight for and against capital punishment. Kristeva interprets these "capital visions" through the lens of psychoanalysis, drawing infinite connections between their manifestation and sacred experience and very much affirming the possibility of the sacred, even in an era of "faceless" interaction. (shrink)

Over the last decades, curator Nicolas Bourriaud has drawn significant inspiration for his writings on contemporary art from the theories of the Situationist International (SI), an avant-garde group in existence from 1957 until 1972. Mischaracterizing the SI’s concepts of the situation, détournement, and the dérive, Bourriaud claims to update these concepts with concepts of his own: relational aesthetics, detourage, and radicant aesthetics. This article identifies such misrepresentations and highlights the differences between Bourriaud’s paradigms and those of the SI. This (...) contextual restitution also provides an opportunity to examine Bourriaud’s general methodology of substituting conceptual formalism for art historical theory. Bourriaud’s publications repeatedly claim a historical materialist perspective on aesthetics, only to eventually eliminate this perspective; his use and abuse of Situationist theory is the foundational example for this pattern. More than the artworks showcased in Bourriaud’s exhibitions and referenced in his publications, his artistic paradigms describe and delineate his own philosophical sleight of hand. (shrink)

This collection of essays offers different ways of seeing twentieth-century art via the medium of aesthetics. Each essay explores a different vision: Pablo Picasso's Mercure , Paul Klee's work from the thirties, Yves Klein's concept of the Void, Ed Ruscha's gunpowder drawings, and Cy Twombly's Bacchus paintings. Having curated exhibitions on the majority of these artists, Olivier Berggruen's acquaintance with their work is profound, and his approach both scholarly and highly intimate. Olivier Berggruen lives in New York and has curated (...) museum exhibitions devoted to Pablo Picasso, Henri Matisse, Yves Klein, Jean-Michel Basquiat, and Ed Ruscha. (shrink)

Mix & Stir', this book's aim is an endeavour to understand art as being a panhuman phenomenon of all times and cultures; to steer away from the persistent Eurocentric/Western-centric viewpoint towards a transcultural and transnational interconnected model of exchange and processes of interculturalization. Mix & Stir wants to expand this landscape by bringing to the fore new, recalcitrant, queer, idiosyncratic practices and discourses, theories and topics, methods and concerns that open up ways to approach art from a global perspective. Analogous (...) to a cookery book filled with recipes and instruction, Mix & Stir explores new outlooks on contemporary art from global perspectives. It intends to encourage studying art beyond national constraints, cultural dominances, and hierarchies: a voyage similar to that of culinary discovery. The book brings a variety of tastes and flavours to the table, and breaks new ground by allowing innovative, contrary, queer, idiosyncratic practices and discourses, theories and topics, methods, and concerns to access art in its global dimensions. Researchers, curators and artists with a special interest in this topical issue were invited to present, develop, outline, and contemplate compelling frames of reference, both theoretical and artistic, in order to arrive at a true 'world art studies'. Their contributions are structured in seven thematic fields: Undecidability and Spectatorship, Collectives, Circulations, Exhibitions, Artists at Work, Postcolonial Perspectives, and Deep Art History. The reader is invited to explore the vast supply of dishes, to taste and test the aromas and to feast. (shrink)

Currently, advanced art education is in the process of developing (doctorate or PhD) research programs throughout Europe. Therefore, it seems to us urgent to explore what the term research actually means in the topical practice of art. After all, research as such is often understood as a method stemming from the alpha, beta or gamma sciences directed towards knowledge production and the development of a certain scientific domain. How is artistic research connected with those types of scientific research, taking into (...) account that the artistic domain so far has tended to continually exceed the parameters of knowledge management? One could claim that the artistic field comprises the hermeneutic question of the humanities, the experimental method of the sciences, and the societal commitment of the social sciences. Will that knowledge influence the domain, the methodology, and the outcome of artistic research? Another major topic concerns not only the specificity of the object of knowledge of artistic research but above all whether and how artistic research and its institutional programs will influence topical visual art, its artworks and its exhibitions. These complex problematics with their various points of view and management models are mapped out through the contributions of theorists, curators, and institutions, from Belgium, France, Great-Britain, Italy, The Netherlands, Finland, Germany, and Sweden. May these contributions be a constructive impetus for a versatile debate which may influence the future role of advanced art institutions and the position of artistic research in the next decade. (shrink)

This volume consists of papers given to the Royal Institute of Philos ophy Conference on 'Philosophy and the Visual Arts: Seeing and Abstracting' given at the University of Bristol in September 1985. The contributors here come about equally from the disciplines of Philosophy and Art History and for that reason the Conference was hosted jointly by the Bristol University Departments of Philosophy and History of Art. Other conferences sponsored by the Royal Institute of Philosophy have been concerned with links between (...) Philosophy and related disciplines, but here, with the generous support of South West Arts and with the enthusiastic co-operation of the staff of the Arnolfini Gallery in Bristol we were able to attempt even more in the way of bridge building; not only were we able to hold some of our meetings in as possible to the general the Gallery, thus making them as accessible public, but we were also privileged in having our discussions supported by two exhibitions of contemporary painting that together presented contrasting aspects of the abstracting enterprise. One, featuring works by Ian McKeever, and drawings and painting by Frank Auerbach, some of which are discussed and illustrated in the present volume, was about the painterly exploration of 'abstracting from' images in nature and in painting itself. The other, curated by Waldemar Januszczak, while showing some figurative works, was concerned with the 'pure' power of colour perceived 'abstractly, in its own right. (shrink)

One of the contemporary results of Germany’s memorial conundrum is the rise of its “counter-monuments”: brazen, painfully self-conscious memorial spaces conceived to challenge the very premises of their being. On the former site of Hamburg’s greatest synagogue, at Bornplatz, Margrit Kahl has assembled an intricate mosaic tracing the complex lines of the synagogue’s roof construction: a palimpsest for a building and community that no longer exist. Norbert Radermacher bathes a guilty landscape in Berlin’s Neukölln neighborhood with the inscribed light of (...) its past. Alfred Hrdlicka began a monument in Hamburg to counter—and thereby neutralize—an indestructible Nazi monument nearby. In a suburb of Hamburg, Jochen Gerz and Esther Shalev-Gerz have erected a black pillar against fascism and for peace designed to disappear altogether over time. The very heart of Berlin, former site of the gestapo headquarters, remains a great, gaping wound as politicians, artists, and various committees forever debate the most appropriate memorial for this site.4 4. The long-burning debate surrounding projected memorials, to the Gestapo-Gelände in particular, continues to exemplify both the German memorial conundrum and the state’s painstaking attempts to articulate it. For an excellent documentation of the process, see Topographie des Terrors: Gestapo, SS und Reichssicherheitshauptamt auf dem “Prinz-Albrecht-Gelände,” ed. Reinhard Rürup . For a shorter account, see James E. Young, “The Topography of German Memory,” The Journal of Art 1 : 30. James E. Young is assistant professor of English and Judaic studies at the University of Massachusetts, Amherst. He is the author of Writing and Rewriting the Holocaust: Narrative and the Consequences of Interpretation and The Texture of Memory: Holocaust Memorials and Meaning in Europe, Israel, and America , from which this essay is drawn. He is also the curator of “The Art of Memory,” an exhibition at the Jewish Museum of New York. (shrink)

The natural history museum is a place where the line between "high" and "low" culture effectively vanishes--where our awe of nature, our taste for the bizarre, and our thirst for knowledge all blend happily together. But as Stephen Asma shows in Stuffed Animals and Pickled Heads, there is more going on in these great institutions than just smart fun. Asma takes us on a wide-ranging tour of natural history museums in New York and Chicago, London and Paris, interviewing curators, scientists, (...) and exhibit designers, and providing a wealth of fascinating observations. We learn how the first museums were little more than high-toned side shows, with such garish exhibits as the pickled head of Peter the Great's lover. In contrast, today's museums are hot-beds of serious science, funding major research in such fields as anthropology and archaeology. "Rich in detail, lucid explanation, telling anecdotes, and fascinating characters.... Asma has rendered a fascinating and credible account of how natural history museums are conceived and presented. It's the kind of book that will not only engage a wide and diverse readership, but it should, best of all, send them flocking to see how we look at nature and ourselves in those fabulous legacies of the curiosity cabinet."--The Boston Herald. (shrink)

Traditionally galleries and museums were one-dimensional, visually.These curators, critics, artists and gallerists developed multi-sensory art galleries, involving all senses. as well as living installations such as bees producing honey their books published. This is far beyond traditional installations and exhibitions. Night tours by torchlight, education, accommodation, therapy, participation, exploration, local community involvement and more are available.

MARINA PAOLA BANCHETTI-ROBINO is Associate Professor and Chair of the Philosophy Department at Florida Atlantic University. Her areas of research include phenomenology, philosophy of language, philosophy of science, philosophy of mind, and zoosemiotics. Her publications have appeared in such journals as Synthese, Husserl Studies, Idealistic Studies, Philosophy East and West, and The Review of Metaphysics. She has also contributed essays to The Role of Pragmatics in Contemporary Philosophy (1997), Feminist Phenomenology (2000), and Islamic Philosophy and Occidental Phenomenology on the Perennial (...) Issue of Microcosm and Macrocosm (2006). She co-edited Philosophies of the Environment and Technology (1999) and is currently working on a book-length project entitled The Birth of Science Out of the Spirit of Myth: A Historico-Phenomenological Re-Examination of the Crisis of the European Sciences. BERNARD BOXILL was born in Saint Lucia, West Indies where he received his primary and secondary education. He studied philosophy at the University of New Brunswick, Canada and at the University of California, Los Angeles where he was awarded a doctorate in philosophy in 1971. He has published numerous articles, a book, Blacks and Social Justice (1992), and is professor of philosophy at the University of North Carolina at Chapel Hill. ED BRANDON was born and educated in England, studying philosophy and linguistics at The University of York, England, and later philosophy at The University of Oxford with the late John Mackie. After teaching in Sierra Leone and briefly in England, he went to teach philosophy of education at the University of the West Indies at Mona, Jamaica in 1978. From 1992 he has been attached to a policy unit of the Vice-Chancellery, based at the Cave Hill campus in Barbados, where he has been assisting since 2000 with a new major in philosophy. His academic work can be accessed from http://cavehill.uwi.edu/bnccde/epb/personalpage.html CAROLYN CUSICK is a doctoral candidate in the Department of Philosophy at Vanderbilt University. She is a founding member of the Phenomenology Roundtable. Her research focuses on feminist epistemology, Africana philosophy, and phenomenology. LEWIS GORDON is President of the Caribbean Philosophical Association. He is Laura H. Carnell Professor, the most distinguished chair, at Temple University, where he holds appointments in philosophy, religion, and Judaic studies and directs the Institute for the Study of Race and Social Thought and the Center for Afro-Jewish Studies. He is also Ongoing Visiting Professor of Philosophy and Government at the University of the West Indies at Mona, Jamaica. He is the author of several books, including the award-winning Her Majesty's Other Children: Sketches of Racism from a Neocolonial Age (Rowman and Littlefield, 1997), Disciplinary Decadence: Living Thought in Trying Times (Paradigm, 2006), An Introduction to Africana Philosophy (Cambridge University Press, forthcoming), and co-editor of A Companion to African-American Studies (Blackwell, 2006) and Not Only the Master's Tools: African-American Studies in Theory and Practice (Paradigm, 2005). CLEVIS HEADLEY is currently Associate Professor of Philosophy at Florida Atlantic University, director of the Ethnic Studies Certificate Program, as well as director of the Master's in Liberal Studies. Professionally, he serves as the Vice-President and Treasurer of the Caribbean Philosophical Association. Professor Headley has published widely in the areas of Critical Race Theory and Africana philosophy. He has also published in Analytic philosophy, focusing specifically on Gottlob Frege. PAGET HENRY is Professor of Sociology and Africana Studies at Brown University. He is the author of Caliban's Reason: Introducing Afro-Caribbean Philosophy, Peripheral Capitalism and Underdevelopment in Antigua, and the co-editor of C. L. R. James' Caribbean. Professor Henry also serves as the editor of the C. L. R. James Journal, and has published numerous articles on the political economy of the Caribbean as well as on African, African-American, and Afro-Caribbean philosophy. ESIABA IROBI is Associate Professor of International Theatre/Performance Studies at Ohio University, Athens. His groundbreaking book: A Theatre for Cannibals: Resisting Globalization on the Continent and Diaspora since 1441 will be published by Palgrave Macmillan, London, in 2007. He has been invited to be an External Resident Fellow at the prestigious Dartmouth College Humanities Institute for the 2007-2008 academic year. CHIKE JEFFERS is a graduate student in the Ph.D. program of the Philosophy Department at Northwestern University. His interests are in Africana philosophy, social and political philosophy, ethics, philosophy of religion and aesthetics. He is originally from Toronto, Ontario, Canada. CATHERINE JOHN is Associate Professor of African Diaspora Literary and Cultural Studies at the University of Oklahoma. Her book Clear Word and Third Sight: Folk Groundings and Diasporic Consciousness in African Caribbean Writing was co-published by Duke University Press and UWI Press in 2003. She has published several articles on Caribbean literature and culture and her current book project is entitled The Just Society and the Diasporic Imagination. She spends her summer working in Woodside, St. Mary, Jamaica helping with a summer school for children and participating in the community's emancipation celebration. KENNETH KNIES is a doctoral student in philosophy at Stony Brook University. His areas of focus are phenomenology and ancient philosophy. He is also a contributing editor for Political Affairs magazine. EDIZON LEN is a photographer and coordinator of the Fondo Documental Afro-Andino at the Universidad Andina Simòn Bolivar in Quito, Ecuador. In 2006, he was curator of the photo exhibit "The Color of the Diaspora" presented at the Cultural Center of the Catholic University of Ecuador and the University of Tennessee in Knoxville. He is currently completing his doctorate at the Universidad Andina Simòn Bolivar with a focus on Maroon thought. REKHA MENON is Associate Professor of Art History at State University of New York, Buffalo State. She is the author of Seductive Aesthetics of Post Colonialism (forthcoming). Her area of research focuses on current philosophical investigations in colonial and neocolonial aspects of Indian art, artistic/cultural practices and philosophies and their relationship to Western arts and philosophies. Her manuscripts under review are: Ashamed of Our Nakedness, Is There Ever a Naked Body? Ambivalence in Contemporary Indian Expressive Aesthetics and Insatiable Desire. MICHAEL R. MICHAU is a Ph.D. candidate in the Philosophy and Literature Program at Purdue University, and during the 2006-2007 school year, a lecturer in the Department of Comparative Studies and Department of Philosophy at Ohio State University. He is the co-founder and co-secretary of the North American Levinas Society. CHARLES W. MILLS is Distinguished Professor of Philosophy at the University of Illinois at Chicago. He works in the general area of oppositional political theory, and is the author of numerous articles and three books: The Racial Contract (Cornell University Press, 1997), Blackness Visible: Essays on Philosophy and Race (Cornell University Press, 1998), and From Class to Race: Essays in White Marxism and Black Radicalism (Rowman and Littlefield, 2003). MABOGO P. MORE is currently Associate Professor of Philosophy at the University of KwaZulu-Natal, South Africa. He has published articles on African philosophy and social and political philosophy in a number of academic journals, such as South African Journal of Philosophy, Dialogue and Universalism, Alternation, Theoria, and African Journal of Political Science. MARILYN NISSIM-SABAT, Ph.D., M.S.W. is Professor Emerita and Adjunct Professor of Philosophy, Lewis University. Dr. Nissim-Sabat is also a psychotherapist in private practice. She is the author of numerous book chapters and papers in the fields of philosophy (Husserlian phenomenology), psychoanalysis, feminism, and critical race theory. Citations of her works can be found on her website: marilynnissim-sabat.com. FREDERICK OCHIENG'-ODHIAMBO is a Senior Lecturer of Philosophy and Coordinator of the discipline at The University of the West Indies, Cave Hill, Barbados. His major research areas are African philosophy and social philosophy. He has published several articles on philosophic sagacity. IVAN PETRELLA is an Assistant Professor of Religious Studies at the University of Miami. He is author of The Future of Liberation Theology: An Argument and Manifesto (SCM Press, 2006) and editor of Latin American Liberation Theology: The Next Generation (Orbis Books, 2005) as well as co-editor of the series Reclaiming Liberation Theology (SCM Press) RICHARD PITHOUSE is a research fellow at the University of KwaZulu-Natal in Durban, South Africa. He is editor of Asinamali: University Struggles in Post-Apartheid South Africa (Africa World Press, 2006). SATHYA RAO is Assistant Professor in French translation at the Department of Modern Languages and Cultural Studies, University of Alberta, Canada. His research fields include: theory of translation, continental philosophy, postcolonial studies, discourses on Africa, and Francophone cinema and literature. He has published articles in various peer-reviewed journals and written chapters in several collective books such as: De l'Ecrit Africain a l'Oral le Phenomene Graphique Africain, Simon Battestini (Ed.) (Paris: L'Harmattan, 2006) and Thèorie-rèbellion. Un Ultimatum, Gilles Grelet (Ed.) (Paris: L'Harmattan, 2005). He has a co-edited a book on Francophone African cinema L'Afrique fait son cinema (Montreal: Memoires d'encrier, forthcoming). Sathya Rao is vice-president of the International Non-Philosophical Organisation (INPhO), member of the Canadian Association of Translatology (CATS), coordinator of the research team Poexil, and Secretary of the Caribbean Philosophical Association. He is co-founder of an online journal Alternative Francophone. CATHERINE WALSH is Professor and Director of the doctoral program in Latin American Cultural Studies at the Universidad Andina Simon Bolivar in Quito, Ecuador. Her research interests include the geopolitics of knowledge, interculturality and concerns related to the Afro-Andean Diaspora and the production of decolonial thought. Among her recent publications are Pensamiento crìtico y matriz colonial (Quito: Abya Yala, 2005), "Interculturality and the Coloniality of Power. An 'Other' Thinking and Positioning from the Colonial Difference," in Coloniality of Power, Transmodernity, and Border Thinking, R. Grosfoguel, J.D. Saldivar, and N. Maldonado-Torres (Eds.) (Durham: Duke University Press, forthcoming) and "Shifting the Geopolitics of Critical Knowledge: Decolonial Thought and Cultural Studies 'Others' in the Andes," Cultural Studies (forthcoming). KRISTIN WATERS has published widely in the areas of race and gender. Her anthology Enlightened Conversations: Women and Men Political Theorists (Blackwell, 2000) challenges political theorists to be more inclusive of race and gender in their research and teaching. Her book Black Women's Intellectual Traditions: Speaking Their Minds, co-edited with Carol Conaway (University of Vermont Press, forthcoming), addresses the varied intellectual traditions of black women's thought that spans more than two hundred years in North America. She is currently Professor of Philosophy at Worcester State College and Visiting Research Associate at Brandeis University. (shrink)

The Magician's Apparatus is an essay for the exhibition catalogue of The Collector's Room Exhibition at JGM Gallery in London, curated by Karen David. The Collector’s Room sees JGM Gallery transformed into a parlour room of a collector with a leaning towards illusion, stage magic and the escapologist Harry Houdini. In this room we encounter artworks such as spirit levels, levitations, gospel magic props, tarot cards, portraits of magicians, antique keys, handcuffs, sword boxes, escape trunks, magic wands, smoke, (...) and mirrors. The essay focuses on an encounter I had with a waxwork double of Paul Daniels at Wookey Hole Caves. It considers the central operation of the magicians’ craft: employing a decoy to misdirect, opening up the space between fact and fiction, the real and the made up. When watching a magic trick, the audience is knowingly placed at the centre of a conceit, an illusion that they are both complicit in but also kept separated from. A magician's audience always knows that the trick is not showing us what is actually happening - showing the spectator the mechanism of the illusion - but it is pretending to do that thing. Like the waxwork double, the magic trick is a simulation of reality that is always slightly distorted, always off-centre, always a theatrical manifestation of the real. (shrink)

In the modern mind the circumstance of Jewishness has been burdened with many questionable associations, particularly in the arts. Although Harold Rosenberg writes that, "in regard to art, being Jewish appears to be no more than an accident,"1 vulgar associations of Jews with art stubbornly subsist, an extreme example being Nixon's "now the worst thing is to go to anything that has to do with the arts . . . the arts, you know—they're Jews, they're left wing—in other words, stay (...) away. . . ."2 Despite the recurrence of such cloudy associations, the issue has remained curiously submerged. It is commonplace in our century to find a kind of reflexive yoking of Jews with art, particularly avant-garde art. The incalculable effects of such attitudes on modern art itself are rarely weighted. Accidental as the Jewish artist may be in his own view, he remains a somewhat suspect accident in the eyes of others. Can we continue to regard the fact of being a modern Jewish artist as "accidental," or is there a significant context which must be acknowledged? · 1. Harold Rosenberg, "Jews in Art," The New Yorker, 22 December 1975.· 2. Nixon to Haldeman: Watergate tapes, Newsweek, 19 August 1974. Dore Ashton, professor of art history at The Cooper Union, has served as the curator of art exhibitions both in the United States and abroad and as an art critic for The New York Times. She is author of, among others,Art Before Columbus, Poets and the Past, The Unknown Shore, A Reading of Modern Art, The New York School: A Cultural Reckoning, and Yes But...A Critical Study of Philip Guston. She has also contributed "On Harold Rosenberg" to Critical Inquiry. (shrink)