Introduction
1See Hal Foster, “Against Pluralism,” in Recodings: Art, Spectacle, Cultural Politics (Seattle: Bay Press, 1985); and Craig Owens, “The Problem with Puerilism,” Art in America 72, no. 6 (Summer 1984): 162–63.
2For a survey of recent attempts to articulate “contemporary art” as a periodizing term, see “Questionnaire on ‘The Contemporary,’” October 130 (Fall 2009): 3–124; and Richard Meyer, What Was Contemporary Art? (Cambridge, MA: MIT Press, 2013), 14–16.
3In What Is Contemporary Art? (Chicago: University of Chicago Press, 2009), art historian Terry Smith plays on multiple interpretive registers of the word “contemporary” to situate contemporary art at a confluence of discordant temporalities, engaging with the experiences of globalization, neoliberalism, and the digital revolution that form its context.
4In a 2013 article in the South Atlantic Quarterly, art historian Yates McKee nominates the Rolling Jubilee, a project of the activist group Strike Debt, as an example of post-contemporary art: a collectively-authored intervention in the public sphere in which aesthetics and politics are productively integrated. See Yates McKee, “Occupy, Postcontemporary Art, and the Aesthetics of Debt Resistance,” South Atlantic Quarterly 112, no. 4 (Fall 2013). https://yatesmckee.files.wordpress.com/2014/07/mckee_saq1.pdf.
1Howard Singerman, Art Subjects: Making Artists in the American University (Berkeley: University of California Press, 1999), 13–14.
2“Breakthrough Ideas for 2004,” Harvard Business Review, February 2004. See also Daniel H. Pink, A Whole New Mind: Why Right-Brainers Will Rule the Future (New York: Riverhead, 2005).
3Singerman, Art Subjects, 211.
4Coco Fusco, “Alternatives,” Brooklyn Rail, February 2013. http://brooklynrail.org/t/8348.
5Ibid.
2: The Assistants
1See Bruce Cole, The Renaissance Artist at Work: From Pisano to Titian (New York: Harper and Row, 1983).
2Christopher Beam, “6. Outsource to China,” New York, April 22, 2012. www.nymag.com/arts/art/rules/kehinde-wiley-2012–4.
3Roberta Smith, “Standing and Staring, Yet Aiming for Empowerment,” New York Times, May 6, 1998. www.nytimes.com/1998/05/06/arts/critic-s-notebook-standing-and-staring-yet-aiming-for-empowerment.html.
4Bruce Hainley, “Vanessa Beecroft” (review), Artforum, Summer 2001. www.thefreelibrary.com/Gagosian+gallery%3A+Vanessa+Beecroft . +(Reviews).-a080485061.
5David Shapiro, “Vanessa Beecroft” (interview), Museo, 2008. www .museomagazine.com/VANESSA-BEECROFT.
6Helena Kontova and Massimiliano Gioni, “Vanessa Beecroft: Skin Trade” (interview), Flash Art 228 (July–September 2008): 211.
7Gary Comenas, “Andy Warhol Chronology, 1969,” Warholstars.org. www.warholstars.org/chron/1969.html.
8Felicia R. Lee, “An American Life in Mixed Media,” New York Times, September 11, 2003. www.nytimes.com/2003/09/11/arts/american-life-mixed-media-bearden-honored-with-national-gallery-retrospective .html.
9Robert Storr, “At Last Light,” in Gary Garrels and Robert Storr, Willem de Kooning: The Late Paintings, the 1980s (San Francisco: San Francisco Museum of Modern Art; Minneapolis: Walker Art Center, 1995), 39.
10Harry F. Gaugh, introduction to Willem de Kooning (New York: Abbeville Press, 1983).
11Storr, Willem de Kooning, 47
12Susan Sollins and Susan Dowling, “Fantasy,” Art21, Season 5 (2009).
13Ibid.
14Gary Comenas, “Andy Warhol’s Piss Paintings,” Warholstars.org. www.warholstars.org/warhol_piss_oxidation.html.
15Rirkrit Tiravanija, JG Reads, Gavin Brown’s Enterprise, New York, November 22–December 20, 2008.
16“Claire Fontaine interviewed by John Kelsey,” Claire Fontaine. www .clairefontaine.ws/pdf/jk_interview_Eng.pdf.
17Chris Kasper, “An Open Letter to Labor Servicing the Culture Industry,” Dis, “Labor Issue,” 2011. www.dismagazine.com/discussion/16545/open-letter-to-labor-servicing-the-culture-industry.
3: Milwaukee as Model
1Thomas Craven, Men of Art (New York: Simon and Schuster, 1932), 512.
2Thomas Craven, The Story of Painting (New York: Simon and Schuster, 1943), 239.
3Grant Wood, “Revolt Against the City,” in James M. Dennis, Grant Wood: A Study in American Art (New York: Viking, 1975), 230.
4Ibid., 231.
5Ibid.
6Mary Louise Schumacher, “Bright Ideas at Blue Dress Park,” Tap Milwaukee, May 24, 2011. http://www.jsonline.com/blogs/entertainment/122512138.html.
7See Frances Stonor Saunders, “Modern Art Was CIA ‘Weapon,’” Independent, October 22, 1995. http://www.independent.co.uk/news/world/modern-art-was-cia-weapon-1578808.html.
8Alexander Alberro and Patricia Norvell, eds., Recording Conceptual Art (Berkeley: University of California Press, 2001), 52.
9Nicolas Bourriaud, “Altermodern Explained: Manifesto,” Tate. http://www.tate.org.uk/whats-on/tate-britain/exhibition/altermodern/ explain-altermodern/altermodern-explained-manifesto.
10For an analysis (and archive) of the unrepresented forms of collective, creative labor undergirding the art industry in the age of neoliberalism, see Gregory Sholette, Dark Matter: Art and Politics in the Age of Enterprise Culture (London: Pluto Press, 2011).
4: Six Dana Schutzes
1Miles Hall, “Dana Schutz at the Neuberger.” http://www.miles-hall.org/#!dana-schut-review/c1clm.
2Karen Rosenberg, “The Fantastic and Grisly, Envisioned,” New York Times, October 6, 2011. www.nytimes.com/2011/10/07/arts/design/dana-schutz-at-neuberger-museum-review.html.
3Barry Schwabsky, “Autopoeisis in Action,” Dana Schutz (New York: Rizzoli, 2010), 13.
4Brian Sholis, “Under Close Observation,” Parkett 75 (2005): 54. www .briansholis.com/essay-dana-schutz.
5Daniel Belasco, “Transformer: Dana Schutz,” Art in America, November 2011, 137.
6Terry Smith, What Is Contemporary Art? (Chicago: University of Chicago Press, 2009), 33.
7Mia Fineman, “Portrait of the Artist as a Paint-Splattered Googler,” New York Times, January 15, 2006. www.nytimes.com/2006/01/15/arts/design/15fine.html?pagewanted=all&_r=0.
8Smith, What Is Contemporary Art? 33.
9Sholis, “Under Close Observation,” 54.
10www.artsy.net/artist/dana-schutz.
11Jerry Saltz, “Wild Card,” Village Voice, December 17, 2002. www.villagevoice.com/2002–12–17/art/wild-card/full.
12www.cfa-berlin.com/exhibitions/if_it_appears_in_the_desert/press_releases.
13This isn’t to say that Schutz’s paintings were now free from the pastiche effect that marked painting in the 1990s. In fact, she stole with impunity, haphazardly, from early European Modernism, the Bay Area Figuration of the 1960s, the Bad Painting of the ’70s, the Neo-Expressionism of the early ’80s, folk art, underground comics, cartoons, and slightly older artists like Laura Owens, Cecily Brown, Carroll Dunham. The scope and eclecticism of the theft, however, meant that these references operated differently within her paintings: there were simply so many of them in every canvas, and they multiplied so promiscuously, that pointing each one out began to seem pedantic. Why bother?
14Gilles Deleuze, “Michel Tournier and the World Without Others,” in the Logic of Sense, trans. Mark Lester (New York: Columbia University Press, 1990), 311.
15Ibid., 320.
16Maurizio Cattelan, “Dana Schutz: Me, Frank and My Studio,” Flash Art 244, October 2005, 82.
17Peter Halley, “Dana Schutz, 2004,” Index. www.indexmagazine.com/interviews/dana_schutz.shtml.
18Mei Chin, “Dana Schutz,” Bomb 95 (2006). www.bombsite.com/issues/95/articles/2799.
19Antonin Artaud, “I Hate and Renounce as a Coward . . . ,” in Artaud Anthology, ed. Jack Hirschman, trans. David Rattray (San Francisco: City Lights, 1965), 222.
20Max Pechstein, “Creative Credo,” in Art in Theory, 1900–1990, ed. Charles Harrison and Paul Woods (Oxford: Blackwell, 1992), 269.
21Schwabsky, “Autopoeisis in Action,” 11.
22Micah J. Malone, “Dana Schutz @ The Rose,” Big Red and Shiny, March 19, 2006. www.bigredandshiny.com/cgi-bin/BRS.cgi?section= review&issue=39&article=DANA_SCHUTZ_19173310.
23Peter Campbell, “At the Saatchi Gallery,” London Review of Books 27 (February 2005): 4. www.lrb.co.uk/v27/n04/peter-campbell/at-the-saatchi-gallery.
24Svetlana Alpers, “Wheel of Fortune,” Artforum, September 2005. www.saatchigallery.com/current/reviews13.htm.
25Craig Garrett, “The Triumph of Painting: Part One” (review), Flash Art 240 (January–February 2005). www.papercoffin.com/writing/articles/triumph.html.
26Kelly Crow, “Hot Art Market Stokes Prices for Artists Barely Out of Teens,” Pittsburgh Post Gazette, April 17, 2006. www.post-gazette.com/frontpage/2006/04/17/Hot-art-market-stokes-prices-for-artists-barely-out-of-teens/stories/200604170103#ixzz2akTSMU2i.
27Michael Plummer and Jeff Rabin, “Could the Art Market Be Undergoing a Fundamental Restructuring?” Art Newspaper 209 (January 2010).
28Hilton Kramer, “Expressionism Returns to Painting,” New York Times, July 12, 1981. www.nytimes.com/1981/07/12/arts/art-view-expressionism-returns-to-painting.html.
29Donald Kuspit, “In Search of the Visionary Image,” Art Journal 45 (1985): 319.
30See Hal Foster, “Against Pluralism” in Recodings: Art, Spectacle, Cultural Politics (Seattle: Bay Press, 1985); and Craig Owens, “The Problem with Puerilism,” Art in America 72, no. 6 (Summer 1984): 162–63.
31Benjamin H. D. Buchloh, “Figures of Authority, Ciphers of Regression: Notes on the Return of Representation in European Painting,” October 16 (1981): 60.
32Anonymous, November 19, 2006 (3:05 a.m.), comment on Edward Winkelman, “Artist of the Week 07/19/05,” Edward Winkelman, July 19, 2005. www.edwardwinkleman.com/2005/07/artist-of-week-071905.html.
33Anonymous, December 6, 2005 (11:00 p.m.), comment on Winkelman, “Artist of the Week 07/19/05.”
34Anonymous, March 18, 2006 (7:05 p.m.), comment on “Judith Linhares,” Painternyc, March 18, 2006. www.painternyc.blogspot.com/2006/03/judith-linhares.html.
35Jarrett Earnest, “In Conversation: Dana Schutz with Jarrett Earnest,” Brooklyn Rail, June 4, 2012. www.brooklynrail.org/2012/06/art/dana-schutz-with-jarrett-earnest#.
36Elwyn Palmerton, “Dana Schutz: Stand by Earth Man” (review), Art Review, July–August 2007. www.bluetoad.com/display_article.php?id=13182.
37Rosenberg, “The Fantastic and Grisly, Envisioned.”
38JL, “Eating People Is Wrong,” Modern Kicks, January 23, 2006. www .modernkicks.typepad.com/modern_kicks/2006/01/eating_people_ i.html.
39Jerry Talmer, “Creation Is for Beauty Parlors,” New York Post, April 9, 1977.
40Max Beckmann, “Creative Credo,” in Art in Theory, 268.
5: The Estranger
1“Events,” In This Hello America. www.inthishello.tumblr/events.
2Claire Bishop, “The Social Turn: Collaboration and Its Discontents,” Artforum, February 2006, 178–83. See also Claire Bishop, Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso Books, 2012).
3Joseph Beuys, “I Am Searching for a Field Character,” 1977, in Joseph Beuys in America: Energy Plan for the Western Man, ed. Carin Kuoni (New York: Four Walls Eight Windows, 1993).
4Mary’s mother later amended the anecdote, moving the site of the hike seven hundred miles south to Big Bear Lake in the San Bernardino Mountains.
5Simone Menegoi, “A Question of Time,” Mousse 11 (November 2007). www.moussemagazine.it/articolo.mm?id=62.
6Co-taught with the art historian Katie Anania.
7Mary Walling Blackburn, “XOXO Insanity, Institution,” e-flux journal 26 (June 2011). www.e-flux.com/journal/xoxo-insanity-institution.
8Jean-Luc Nancy, Corpus, Richard A. Rand, trans. (New York: Fordham University Press, 2008), 167.
6: The End
1Sarah Lehrer-Graiwer, “Privacy, Self-Removal, Withdrawal, Dropout,” in Joint Dialogue Book (Los Angeles: Overduin and Kite, 2010), 84.
2Cindy Nemser, “Interview with Steve Kaltenbach,” Artforum, November 1970, 48.
3“Steven Kaltenbach interview.” YouTube video, 6:11. Posted by Artillerymag, August 21, 2010. www.youtube.com/watch?v=NqioPeGsS4Q.
4Lee Lozano, Grass Piece, 1969, in Joint Dialogue Book (Los Angeles: Overduin and Kite, 2010), 22.
5Lee Lozano, no title (“Party/Paranoia, Painting, Real Money Piece”), 1969, in Joint Dialogue, 27.
6Sarah Lehrer-Graiwer, “Altered Ego,” Artforum, September 2010, 137.
7In Alexander Alberro and Patricia Norvell, eds., Recording Conceptual Art (Berkeley: University of California Press, 2001), 73.
8Lucy R. Lippard, Six Years: The Dematerialization of the Art Object, 1996 to 1972 (New York: Praeger, 1973).
9Lucy R. Lippard and John Chandler, “The Dematerialization of Art,” in Conceptual Art: A Critical Anthology, ed. Alexander Alberro and Blake Stimson (Cambridge, MA: MIT Press, 1999), 50.
10Ursula Meyer, introduction to Conceptual Art (New York: E. P. Dutton and Co., 1972), xv.
11Joseph Kosuth, “Art After Philosophy,” in ibid., 161.
12Gregory Battcock, introduction to Idea Art: A Critical Anthology (New York: E. P. Dutton and Co., 1973), 1.
13Meyer, Conceptual Art, xx.
14John Perreault, “It’s Only Words,” in Battcock, Idea Art, 137.
15Lippard and Chandler, “The Dematerialization of Art,” 49.
16Nemser, “Interview with Steve Kaltenbach,” 49.
17Ibid.
18Kynaston McShine, “Introduction to Information,” in Alberro and Stimson, Conceptual Art, 213.
19Lippard and Chandler, “The Dematerialization of Art,” 49.
20Page from Lee Lozano Private Notebook in Joint Dialogue Book (Los Angeles: Overduin and Kite, 2010), 72.
21See ibid., 22–24, 46.
22See Alexander Alberro, Conceptual Art and the Politics of Publicity (Cambridge, MA: MIT Press, 2003).
23Ibid.
24Benjamin H. D. Buchloh, “Conceptual Art, 1962–1969: From the Aesthetics of Administration to the Critique of Institutions,” October 55 (1990): 129.
25Lippard and Chandler, “The Dematerialization of Art,” 47.
26Michel Claura, “Interview with Lawrence Weiner,” in Alberro and Stimson, Conceptual Art, 237.
27In Alberro and Norvell, Recording Conceptual Art, 72.
28Steven Kaltenbach, “The Brilliance of Lee Lozano . . .,” in Joint Dialogue, 114.
29Lucy R. Lippard, postface to Six Years, 263.
30Ibid.
31Dan Graham, “Art Workers’ Coalition Open Hearing Presentation,” in Alberro and Stimson, Conceptual Art, 93.
32In New York, at least; for an introduction to the explicitly political development of Conceptual Art in Latin America, see Luis Camnitzer, Conceptualism in Latin America: Didactics of Liberation (Austin: University of Texas Press, 2007).
33Sarah Lehrer-Graiwer, “Kaltenbach Speaks (with sporadic interruptions from listener)” (interview), Pep Talk IV (October, 2009): 12.
34Ibid., 14.
35“Steven Kaltenbach at interview, Overduin and Kite.” Youtube video, 9:23. Posted by Artillerymag, June 26, 2011. www.youtube.com/watch?v=0q2kIYZ2KWA.
36Buchloh, “Conceptual Art,” 118.