|
| BLAKE
STIMSON |
| Department
of Art History |
| Email |
| Education |
| Ph.D., 1998, Art History, Cornell University |
| M.F.A., 1992, Sculpture, Tufts University and the School of the Museum of Fine Arts, Boston |
| Fellow, 1990-91, Studio Art, Whitney Independent Study Program, New York |
| B.A., 1982, Religious Studies, Middlebury College |
| Selected recent interviews, surveys, questionnaires, blog posts, symposia, responses |
| The Triumphant Middle, Brooklyn Rail, (October 2018) |
| Review of Revoliutsiia! Demonstratsiia! Soviet Art Put to the Test, Art Institute of Chicago (October 2018) |
| Art and Social Death, Fertile Ground (New York: A Blade of Grass, 2018) |
| Lean In, The Statue, Plot (March 2017) |
| On Yates McKee's Strike Art e-flux.com (April 2016) |
| For an art history of there there (proposed vision statement for new Mellon-funded midwestern art journal There There) (February 2016) |
| For enlightenment, Nonsite.org (August 2015) |
| What was Humanism?, Either/And.org (May 2013) |
| Institutionality, Occupy as Form working session, UC Berkeley (February 2012) |
| Out in Public: Natalie Bookchin in Conversation with Blake Stimson, Rhizome and Video Vortex Reader II: moving images beyond YouTube (March 2011) |
| Why I am a Humanist, POV@DHI (January 2010) |
| Is Photography Over?, SFMoMA (April 2010) |
| Photography and Ontology, Philosophy of Photography (March 2010) See marginal quality video of this paper given as a lecture here. |
| Photography and Philosophy, UC Davis (February 2010) |
| Questionnaire on "The Contemporary," October 130 (Fall 2009) |
| The Photography of the social forms. Interview with Blake Stimson, Ag (Winter 2007) |
| Former Fellow: Blake Stimson, CAA News (July 2006) |
| Survey: The State of Art History, Texte zur Kunst (June 2006) |
| Selected recent talks |
| “Big Data and Little Data,” Clark Art Institute, 2019 |
| “Kant After All,” CAA, 2019 |
| “The One True Form,” ASAP, October 2018 |
| “The Art of State,” ASAP, October 2018 |
| “Public Photography,” Capitalism and the Camera, University of Toronto, May 2018 |
| “Vito Acconci and You,” Art History Department, University of California, Irvine, January 2018 |
| Opening remarks, The Withering of the State?, UIC, March 2018 |
| “On Clowning,” Association for the Study of the Arts of the Present, Oakland, CA, October 2017 |
| “Art and Social Death,” CAA, February 2017 |
| "Seeing like a State," UIC Institute for the Humanities, November 2016 |
| "The Human Thing / Paul Strand as Jew," LCSL Summer Seminar, UIC, May 2016 |
| "Paul Strand as Jew," Cameras in Turmoil: the Apparatus of Visual Reproduction in Japan and America, 1960-1975, Harvard University, December 2015. |
| "On Chromophilia and Chromophobia / Paul Strand as Jew," The Colors of Photography, University of Zurich, October 2015. |
| "Allan Sekula and Paul Strand," Lewis & Clark College, 2015. |
| "Pacioli and Paolini," Giulio Paolini and Conceptual Art, Art Institute of Chicago, 2015. |
| "In Defense of Genius," San Francisco Art Institute, October 2014. |
| "Photographic Communism," Under the Sign of Amadeo, Lisbon, November 2013 and Historical Materialism, London, November 2013. |
| "Photographic Communism," keynote address, Histories/Photographies, DePaul University, Chicago, October 2013. |
| "Photography and God," keynote address, Retracing America: Modernism After Paul Strand, University College London, 2013; Experimental settings: digital audiovisual culture, School of Communication and the Arts, University of São Paulo, Brazil, 2013. |
| "Love Anger Depression Abstraction," The Renaissance Society, University of Chicago, 2013 |
| "The Enclosure of Contemporary Art," keynote address, New Institutions: 5th Annual UC San Diego Visual Art Graduate Student Conference, UCSD, 2012; Townshend Working Group in Contemporary Art, UC Berkeley, 2012; Special Series in Modern and Contemporary Art, University of Illinois, Chicago, 2012; and for the Graduate Group in Religion at UC Davis, 2012. |
| "The Burden and the Promise of Photographic Form," keynote address, Coloquio Internacional de la Bienal de Fotografía de Lima, Lima, Peru, 2012 |
| "Photography and Transubstantiation," keynote address, International Workshop: Viewing and Reading the Photographs of The Family of Man, Durham Centre for Advanced Photographic Studies, Durham University, 2011 |
| "Workerism, Darkness, and Light," Dark Matter of the Art World (in conjunction with the publication of Gregory Sholette’s Dark Matter [Pluto Press, 2011]), CAA annual conference, New York, 2011 |
| "The Interior of Art," keynote address, Traffic: Conceptual Art in Canada, University of Toronto, 2010; and Centre for Art and Design Research and Experimentation at the University of Wolverhampton, Wolverhamption, England, 2010. |
| "Methodological Hospitality," keynote address, Transmission: Hospitality, launch conference for Transmission Annual, Sheffield Hallam University, Sheffield UK, 2010; Photography and Philosophy, conference organized by Blake Stimson and Gerhard Richter, UC Davis, 2010 |
| Recent seminars |
| Does Critique Need Taste? (Spring 2019) |
| Photography and Barbarism (taught with Walter Benn Michaels Spring 2018) |
| Adorno (taught with Lisa Lee Fall 2015) |
| Homo
Faber (Spring 2014) |
| Aesthetic Theory (Fall 2013) |
| Meaning in the Visual Arts: Historiography of the Visual Arts, 1750 to 1960 (Fall 2013) |
| Toward New Histories of the Visual Arts: 1960 to the Present (Spring 2013) |
| Erotic Love, Platonic Love, Christian Love, Political Love (Winter 2012) |
| Technology and Affect (Fall 2011) |
| Art History as a Humanistic Discipline (Winter 2011) |
| Public Higher Ed at the Crossroads (Winter 2010) |
| The Theory of Good Taste (Winter 2010) |
| God, Vision, Art, Thought, Society (Fall 2009) |
| Art History and Critique (Fall 2007) |
| Aesthetic Theory (Fall 2006) |
| Latin American Avant-Gardes (Winter 2006) |
| Art, Humanism and Posthumanism (Fall 2005) |
| Why Art History? (Fall 2004) |
| 1968 (Spring 2002) |
| Marx's Capital (Spring 2002) |
| Hegel's Phenomenology (Winter 2002) |
| Kant’s Critique of Judgment (Fall 2001) |
| Adorno's Aesthetic Theory (Spring 2001) |
| What is net.art ;-) ? (Winter 2001) |
| Selected recent and forthcoming publications |
| "Photography Against Ontology," Photography
and Ontology: Unsettling Images, Edited by Donna West
Brett, Natalya Lusty (New York: Routledge, 2018) |
| “The Violence of the Real,” Kunst und Politik: Jahrbuch der Guernica-Gesellschaft 18 (2017). |
| “Write your own too,” in Michael Corris, Leaving Skull City: Selected Writings on Art (Dijon: Les Presses du Réel, 2016) |
| El doble índice de la fotografía (una breve historia en tres partes), co-authored with Robin Kelsey, Revista Kaypunku (June 2016) |
| Photography and God, Oxford Art Journal (Spring 2015) |
| “Toward a Humanism of Work,” Reinventing Documentary: The Art of Allan Sekula (Portland: Lewis and Clark, 2015), pp. 11-14. |
| Citizen Warhol (London: Reaktion Books, 2014) |
| Communion and Disunion in the Work of Allan Sekula, Photographies (2014) |
| The Form of the Informal, Nka: Journal of Contemporary African Art (Spring 2014) |
| Communism's Body, Photoworks (November 2013) |
| Between Inside and Out, in John C. Welchman, ed., Sculpture and the Vitrine (Farnham: Ashgate, 2013) |
| Institutionality
as Enlightenment, in Pascal Gielen, ed., Institutional
Attitudes (Amsterdam: Valiz, 2013) |
| Notes
from the Field: Detail, Art Bulletin (December 2012) |
| Taste Matters, Oxford Art Journal (June 2012) |
| Photography's Method in Jens Hoffmann, More American Photographs (Wattis Institute for Contemporary Arts, 2012) |
| Review of Reaktion Books's "Exposures" series (Etudes photographiques, 2011) |
| The True and the Blurry in Achim Borchardt-Hume, Walid Raad Miraculous Beginnings (Whitechapel Gallery 2010) |
| Methodological
Hospitality (Transmissions Annual, inaugural issue,
2010) |
| Photography
and Ontology (Philosophy and Photography, inaugural
issue, 2010) |
| Krasinski and Totality in Gabriela Switek, ed., Avant-garde in the Bloc (JRP | Ringier, 2010). In Polish and English. |
| Institutional Critique: An Anthology of Artists' Writings, co-edited with Alexander Alberro (MIT, 2009). Introduction: What Was Institutional Critique? |
| I am nothing and I should be everything (Artforum, February 2009) |
| The
Beauty of Documentary, Function/Fiction, ed. France
Choinière, (Montreal: Dazibao, 2008) |
| The
Meaning of Photography, co-edited with Robin Kelsey
(Clark/Yale, 2008). Forthcoming in Spanish. |
| Photography and Nationalism, Click!, an online publication of the Smithsonian Institute, 2008. Published in book form under the title Photography Changes Everything (Aperture, 2012). |
| The Pivot of the World: Photography and Its Nation (MIT Press, 2006) An excerpt, "The Photography of Social Form," has been published in David Campany, ed., The Cinematic (MIT Press, 2007) and the book as a whole was published in Spanish in 2009 under the title El eje del mundo; Fotografía y nación by Editorial Gustavo Gili. See reviews by Nancy Armstrong, Sarah James, and John Roberts. |
| Collectivism After Modernism: The Art of Social Imagination After 1945, co-edited with Gregory Sholette (Minnesota, 2006). See reviews by Eda Cufer, Philip Glahn, Jan Baetens, Jens Kastner, Sarah James, and Niels Van Tomme. Chinese translation of the introduction, "Periodizing Collectivism," in Art Map (Beijing); Swedish translation in Glanta. Translations of the whole book in Serbian and forthcoming in Spanish. |
| Visual Worlds, co-edited with John R. Hall and Lisa Tamiris Becker (Routledge, 2005). See review by Sam Binkley. |
| The Beauty of Documentary, Function/Fiction, ed. France
Choinière, (Montreal: Dazibao, 2008) |
| For the Love of Abstraction, Third Text 94 (September
2008), Special issue: “Whither Tactical Media?" Reprinted in
Theory
in Contemporary Art since 1985, 2nd Edition, eds. Zoya
Kocur and Simon Leung (Wiley, 2012) |
| Gesture and Abstraction in Carrie Noland and Sally Ann Ness, Migrations of Gesture (Minnesota, 2008) |
| A Modern Man (Artforum, October 2007) |
| The Artiste (Oxford Art Journal, Winter 2007) also published in a slightly different form as The Photography of Social Form: Jeff Wall and the City as Subject Condition (Quaderns portàtils, no. 09, MACBA, 2007) |
| The Crowd in the Machine (New Left Review, Nov/Dec 2004) |
| Periodizing Collectivism, co-authored with Gregory Sholette (Third Text, November 2004); translated into Swedish in Glänta (1-2.06) |
| The Shimmer of Industrial Form (in Chris Townsend, ed., The Art of Rachel Whiteread, Thames & Hudson, 2004) |
| The Photographic Comportment of Bernd and Hilla Becher (Tate Papers, Spring 2004); also in Gail Finney, ed., Visual Culture in 20th-Century Germany: Text as Spectacle (Indiana University Press, 2006) |
| I am the Social: The Line of Edward Krasinski (Artforum, November 2003) |
| Bonjour, Mademoiselle Collins (Hannah Collins: La Calle / The Street, 2003) |
| Die Leidenschaft des Konzepts in Christoph Metzger, Conceptualisms (Saarbrücken: Pfau, 2003) |
| Conceptual Work and Conceptual Waste (Discourse, Spring 2002) and also in Michael Corris, ed., Conceptual Art: Theory, Myth, and Practice (Cambridge University Press, 2004) |
| Art History after the New Art History (Art Journal, Spring 2002) |
| Andy Warhol's Red Beard (Art Bulletin, September 2001) |
| 010101 versus OiOiOi (Ramona, August 2001) |
| Hysterics of the World Unite! (Exhibition catalogue essay, What is Left Over? Todd Ayoung and Carlos Andrade, North-udstillingssted, Copenhagen, Denmark, 2000) |
| Review of Benjamin H.D. Buchloh, Neo-Avantgarde and Culture Industry (CAA Reviews, 2000) |
| Review of Martha Rosler, Positions in the Life World (CAA Reviews, 2000) |
| Conceptual Art: A Critical Anthology (MIT Press, 1999) |
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