It's just a list of art theorists and a paragraph or so about them, copied directly from stuff on the Internet.
I had to do this for homework but as you might have gathered from my previous post on art theorists, I've yet to understand why I should be interested in them.
The first three were cited by Kim Charnley in his “Making Futures” paper on
“The Politics of Making: Contemporary Art, Craft and Social Practice” in the mini Making Futures conference (see next post). I couldn’t follow his argument
but it was handy that he identified 3 theorists!
Claire Bishop
Claire Bishop is an art historian at the Graduate Center,
City University of New York, and is the author of Artificial Hells:
Participatory Art and the Politics of Spectatorship
Professor Claire Bishop joined the Graduate Center in
2008, after teaching at Warwick University (UK) and the Royal College of Art,
London. She is interested in post-medium specific art (performance art,
installation, social practice, conceptual art) and exhibition history.
Recurrent themes in her research are spectatorship and the relationship between
art and politics. She is a regular contributor to Artforum and other magazines.
Grant Kester
Grant Kester is Professor of Art History in the Visual Arts
department at the University of California, San Diego. Kester is one of the
leading figures in the emerging critical dialogue around “relational” or
“dialogical” art practices.
Community arts, also sometimes known as "dialogical
art", "community-engaged" or "community-based art,"
refers to artistic activity based in a community setting. Works
from this genre can be of any media and is characterized by interaction or
dialogue with the community. Often professional artists collaborate with people
who may not otherwise normally actively engage in the arts. The term was
defined in the late-1960s and spawned a movement which grew in the United States, Canada, the United Kingdom, Ireland, and Australia. In Scandinavia, the term
"community art" means more often contemporary art project.
Shannon Jackson
Shannon Jackson is the Richard and Rhoda Goldman Chair in
the Arts and Humanities at the University of California, Berkeley, where she is
Professor of Rhetoric and
of Theater,
Dance and Performance Studies. She is also the Director of the Arts Research Center. Shannon’s most
recent book is Social Works:
Performing Art, Supporting Publics (Routledge 2011), and she
is working on a book about The Builders Association. Shannon’s previous
books are Lines of
Activity: Performance, Historiography, and Hull-House Domesticity (2000)
andProfessing
Performance: Theatre in the Academy from Philology to Performativity (2004).
The ones I listed in my previous post:
Rosalind Epstein Krauss (born November 30, 1941) is an
American art critic,
art theorist and a
professor at Columbia
University in New York City. Krauss is known for her scholarship in 20th-century painting, sculpture and photography. As a critic
and theorist she has published steadily since 1965 in Artforum, Art International and Art in America. She was
associate editor of Artforum from 1971 to 1974 and has been editor of October, a journal of
contemporary arts criticism and theory that she co-founded in 1976.
Hal Foster
Harold Foss "Hal" Foster (born August 13, 1955)
is an American
art critic and historian. He was educated
at Princeton
University, Columbia University,
and the City
University of New York. He taught at Cornell University from
1991 to 1997 and has been on the faculty at Princeton since 1997. In 1998 he
received a Guggenheim
Fellowship.
Foster's criticism focuses on the role of the avant-garde within postmodernism. In 1983, he
edited The Anti-Aesthetic: Essays on Postmodern Culture, a seminal text in postmodernism. In
Recodings (1985), he promoted a vision of postmodernism that simultaneously
engaged its avant-garde history and commented on contemporary society. In The
Return of the Real (1996), he proposed a model of historical recurrence of the
avant-garde in which each cycle would improve upon the inevitable failures of
previous cycles. He views his roles as critic and historian of art as
complementary rather than mutually opposed.
Yve-Alain Bois
Bois is a professor at the European Graduate School and at
the School of Historical Studies at the Institute for
Advanced Study in Princeton,
New Jersey, in the chair inaugurated by Erwin Panofsky.[
Previously, he served on the faculty at Harvard University, Johns Hopkins
University, and the Centre
National de la Recherche Scientifique. Bois has written books and articles on artists of European
modernism. He is an editor
of the journal October.
Benjamin H. D.
Buchloh
Born in Cologne,
Germany on November 15,
1941, Buchloh received a M.Phil
in German
literature from the Freie
Universität Berlin in 1969. He later obtained his Ph.D in art history in 1994 from
the Graduate
Center at the City
University of New York, where he studied with fellow art historian Rosalind Krauss.
After time as an editor for German art journal Interfunktionen
and teaching stints at the Kunstakademie
Düsseldorf, NSCAD
University, and CalArts,
Buchloh began teaching art history at the State
University of New York at Old Westbury and the University of
Chicago. He later taught at the Massachusetts
Institute of Technology as an associate
professor from 1989–1994. From 1991–1993, he also served as the
Director of Critical and Curatorial Studies for the Whitney
Museum of American Art Independent
Study Program. He then taught at both Columbia University
and its sister college, Barnard
College, as Virginia B. Wright Professor of Twentieth-Century and
Contemporary Art from 1994–2005, including service as a department chair from
1997–2000. He later joined the Harvard University
department of History of Art and Architecture in 2005. He was named Franklin D.
and Florence Rosenblatt Professor of Modern Art. In 2006, he
was named Andrew W. Mellon Professor of Modern Art. Buchloh is
currently also a co-editor of the art journal October. In 2007, Buchloh
won the Golden Lion
award at the 2007 Venice
Biennale for his work as an art historian towards contributing to
contemporary art.
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