Letter of Seminar
Katia Schneller recently defended an excellent dissertation on the constructions and deconstructions of artistic categories in New York between 1966 and 1973. In her thesis, Schneller described the proliferation of all kinds of labels, from Minimal Art to Postminimalism, passing by way of Conceptual Art and the Anti-Form movement. Such labels offer less an ...
Bringing together someone involved in the world of art and an economic specialist is one of the ground rules for our seminar this year. Simon Njami is well known for the texts he has written and for the exhibitions he has organized. We are indebted to him, in particular, for an African self-definition of Africans’ ...
Bringing together someone involved in the world of art and an economic specialist is one of the ground rules for our seminar this year. Simon Njami is well known for the texts he has written and for the exhibitions he has organized. We are indebted to him, in particular, for an African self-definition of Africans’ ...
“Our way of life resembles a fair,” wrote the Stoic Epictetus. “The flocks and herds are passing along to be sold, and the greater part of the crowd to buy and sell. But there are some few who come only to look at the fair, to inquire how and why it is being held, ...
Contrary to what Barnett Newman declared, one never “starts from scratch,” even if it is true that “the old stuff was out” in the all-out crisis brought on by World War II and everything that preceded it. Two exhibitions have just offered fresh reexaminations of the postwar period. The most recent one took place ...
Brett Littman a travaillé dans le courant alternatif à New York downtown et retrace l’historique des formes d’art et d’expositions non-institutionnelles, des années 1960 à aujourd’hui. Il nous aide à mesurer la force d’actions qui n’ont pu prospérer que sur fond de contestation générale du capitalisme et de la politique engagée au Vietnam en ...
Brett Littman, who has worked in the alternative art world of downtown New York, retraces here the history of noninstitutional art forms and art exhibitions from the 1960s to the present. He helps us to gauge the power of art actions that were able to thrive only against a background of protests against capitalism ...
