Art_Criticism

John Welchman

Title: 
Professor
FirstName: 
John
LastName: 
Welchman
Contact Info: 

jwelchman1@juno.com

Location: 
Visual Arts Facility 356
Biography: 
John C Welchman works in modern and contemporary art history and critical theory. Books: Modernism Relocated: Towards a Cultural Studies of Visual Modernity (Allen & Unwin, 1995) Invisible Colours: A Visual History of Titles (Yale University Press, 1997) Art After Appropriation: Essays on Art in the 1990s (Amsterdam/London: G + B Arts International/Routledge, 2001) Vasco Araujo (Lisbon: ADIAC, 2006) Edited Volumes: Rethinking Borders (Minnesota University Press/Routledge, 1996) Mike Kelley, Foul Perfection: Essays and Criticism (MIT Press, 2003) Mike Kelley, Minor Histories: Statements: Conversations, Proposals (MIT Press, 2004) Mike Kelley: Interviews, Conversations, and Chit-Chat, 1988-2004 (Zurich: JRP|Ringier, 2005) Sculpture and the Vitrine (Henry Moore Institute/Ashgate, forthcoming 2012) Welchman is founder and chair of the Southern California Consortium of Art Schools [SoCCAS] and editor of its publication series, which includes: Recent Pasts: Art in Southern California from the 90s to Now (JRP|Ringier, 2005) Institutional Critique and After (JRP|Ringier, 2006) The Aesthetics of Risk (JRP|Ringier, 2008) Black Sphinx: On the Comedic in Modern Art (JRP|Ringier, 2010) Public Culture in the Visual Sphere (JRP|Ringier, forthcoming) Co-Authored: The Dada and Surrealist Word-Image, (Los Angeles County Museum of Art/MIT Press, 1989) Mike Kelley (Phaidon Contemporary Artists series, 1999) Tony Oursler (Zurich: JRP|Ringier, 2008) Nathaniel Mellors, Book A / MEGACOLON / For and Against Language (Eindhoven: Onomatopee, 2010) On the Beyond: A Conversation between Mike Kelley, Jim Shaw and John C Welchman (Vienna and New York: SpringerWienNewYork, 2011) Joseph Kosuth: the Second Investigation, Media and Public Work (London: Black Dog, 2012) Translations: Del Siglo XX al XXI: Ensayos sobre arte Europeano (Madrid: Akal, 2012) Welchman has written for Artforum (were he had a column in the late 1980s and early 90s), Screen, the New York Times, International Herald Tribune, the Economist among other newspapers and journals. Recent and current exhibition projects include essays for the catalogues of Paul McCarthy: LaLa Land Parody Paradise, Haus der Kunst, Munich, Germany, 2005; Mike Kelley’s Day is Done, Gagosian Gallery, New York, 2005; Incheon International Women’s Bienniale, Korea, 2007; Tim Hawkinson: Mapping the Marvellous, Museum of Contemporary Art, Sydney, Australia, 2008; Joseph Kosuth, Ni Appearance, Ni Illusion, Musée du Louvre, Paris, 2009; John Baldessari: BRICK BLDG, LG WINDOWS W/XLENT VIEWS, PARTIALLY FURNISHED, RENOWNED ARCHITECT, Museum Haus Lange, Krefeld, 2009;  John Baldessari: Pure Beauty, Tate Modern/LA County Museum of Art/Metropolitan Museum of Art, 2009-11; Andreas Hofer, Goetz Collection, Munich, 2009; Joseph Kosuth, ‘An Interpretation of This Title’: Nietzsche, Darwin and the Paradox of Content, Edinburgh University Library (Georgian/Talbot Rice Gallery) [Edinburgh Festival], 2009; Crack: Koen van den Broek, Painting, SMAK, Ghent, 2010; Cosima von Bonin, KUB, Bregenz, 2010; Jim Shaw Left Behind, CAPC musée d'art contemporain Bordeaux, France, 2010; Larry Bell in Perspective, Carré d'Art - Musée d'art contemporain de Nîmes, France, 2011; Slave Pianos | Punkasila | Pipeline to Oblivion: 3 projects by Danius Kesminas and Collaborators, Monash University Museum of Art, Melbourne, 2011; Yoshua Okon: Octopus, Hammer Museum, 2011; René Magritte: The Pleasure Principle, Tate Liverpool, 2011/Albertina, Vienna, 2011-12; Richard Jackson: Ain’t Painting a Pain, Orange County Museum of Art, 2012; Mike Kelley, Stedelijk, Pompidou, Museum of Contemporary Art, Los Angeles, Museum of Modern Art, New York, 2012-14. Welchman is finalizing two books on the relation between art, film and the representation of faces, The Celluloid Face and Faces and Powers; and a monograph on the career to date of Mike Kelley (Taschen). Two general interest publications, Please to the Table: The Russian Cookbook (New York: Workman, 1990), co-authored with Anya von Bremzen, and Fiesta! (New York: Doubleday, 1997), for which he provided photographs, have won James Beard awards. Welchman has taught at the Open University (UK); UCLA (1987); Monash University, Melbourne, Australia (1990-92); and Harvard University (1995).    

Grant Kester

Title: 
Professor
FirstName: 
Grant
LastName: 
Kester
Contact Info: 

gkester@ucsd.edu

Location: 
MAN 209
Biography: 
Grant Kester is Professor of Art History, and Director of the University Art Gallery 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. His publications include Art, Activism and Oppositionality: Essays from Afterimage (Duke University Press, 1998),Conversation Pieces: Community and Communication in Modern Art (University of California Press, 2004) and The One and the Many: Contemporary Collaborative Art in a Global Context (Duke University Press, 2011). His curatorial projects include “Unlimited Partnerships: Collaboration in Contemporary Art” at CEPA Gallery in Buffalo, New York in 2000 and “Groundworks: Environmental Collaborations in Contemporary Art” at Carnegie Mellon University in 2005. Kester's essays have been published in The Blackwell Companion to Contemporary Art Since 1945 (Blackwell, 2005), Theory in Contemporary Art Since 1945 (Blackwell, 2004), Poverty and Social Welfare in America: An Encyclopedia (ABC-Clio, 2004), Politics and Poetics: Radical Aesthetics for the Classroom (St. Martins Press, 1999), the Encyclopedia of Aesthetics (Oxford University Press, 1998), and Ethics, Information and Technology: Readings(McFarland, 1997) as well as journals including Afterimage, Art Journal, E-Flux Journal, October,Variant (Scotland), Public Art Review, Exposure, The Nation, Third Text, Social Text and Art Papers. He is currently completing an anthology of writings by art collectives working in Latin America, in collaboration with Bill Kelley.
Link: 

http://www.grantkester.net/

Sheldon Nodelman

Title: 
Professor
FirstName: 
Sheldon
LastName: 
Nodelman
Contact Info: 

snodelman@ucsd.edu

Location: 
Visual Arts Facility 353
Biography: 
Sheldon Nodelman received his Ph.D. in the History of Art from Yale University. Before joining the Visual Arts Department at UCSD, he taught at Bryn Mawr College, Princeton and Yale. He has been the recipient of Fulbright and Morse fellowships and has been a Getty Scholar. His fields of interest include the art of classical antiquity, especially Roman Imperial Art, twentieth century avant-garde art, and the problems of art-historical theory and method. Nodelman's most recent published work is a major book on the American painter Mark Rothko: The Rothko Chapel Paintings, University of Texas Press, 1997. He is also the author of a previous book on Rothko as well as many articles on twentieth century art and on Roman art, particularly on Roman portrait sculpture, on which he is a recognized authority. Nodelman is currently at work on a book on Marcel Duchamp.

Elizabeth Newsome

Title: 
Associate Professor
FirstName: 
Elizabeth
LastName: 
Newsome
Contact Info: 

enewsome@ucsd.edu

Location: 
Visual Arts Facility 362
Biography: 
Elizabeth Newsome joined the faculty of the Visual Arts Department in 1996, after four years of teaching at the University of Wisconsin-Eau Claire. She holds an M.A. and Ph.D. in the History of Art from the University of Texas at Austin, where she specialized in Precolumbian and Native American Art History. Newsome is a specialist in the ancient civilizations of Mesoamerica, including the Aztec, Olmec and Izapan cultures. Her research focuses primarily on the Classic Maya civilization that flourished in Mexico and Central America from the second to the tenth centuries. Newsome's studies have addressed various aspects of Maya architecture, stone sculpture and hieroglyphic writing, with active field research in Mexico, Guatemala and Honduras. Her disciplinary approaches emphasize iconological interpretation of works of art and the study of art in relation to cultural and intellectual history. Newsome's research and teaching explores methodologies that bridge art history and other disciplines, including philosophy, linguistics and the social sciences. Her works have explored the application of structuralist, hermeneutic and semiotic theories to the traditional methods and problems of art history, and particularly to the challenges of interpreting art in non-western and archaeological societies. Newsome has presented research at the International Mesa Redonda de Palenque in Mexico, the International Congress of Americanists, the annual meetings of the College Art Association, the American Society for Ethnohistory, the Society for American Archaeology and the American Anthropological Association. She has also lectured at the University Museum at the University of Pennsylvania and the Archaeological Institute at UCLA. Her experience includes participating as a staff instructor in the Advanced Seminar on Maya Hieroglyphic Writing at the University of Texas and public lectures to the Milwaukee Chapter of the Archaeological Institute of America and the Maya Society of Minnesota in Minneapolis. Newsome has held a 1995 Summer Research Fellowship at the Dumbarton Oaks Research Library of Harvard University, and participated as an invited speaker at the 1996 Dumbarton Oaks Roundtable entitled "Precolumbian States of Being." She has also received awards from the Hellman Foundation at the University of California and the National Endowment for the Humanities. Her articles appear in the Proceedings of the International Mesa Redonda de Palenque, the Copan Notes: Field Reports of the Honduran Institute of Anthropology and History, and the journal RES: Anthropology and Aesthetics. Her published book, Trees of Paradise and Pillars of the World: The Serial Stela Cycle of 18-Rabbit-God K, King of Copan (University of Texas Press, Austin, 2001), is an iconographic and inscriptional study of a program of stone sculptures at the Classic Maya site of Copan in western Honduras. Her present works include a monograph on the fire-related mythology and rituals of the ancient Maya (The Bundle Altars of Copan: A New Perspective on their Meaning and Archaeological Contexts, Ancient America Monograph No. 4) and a second book titled The Classic Maya Stela Cult: A Study in the Ideology of Power (contracted to the University of Texas Press). Newsome has also conducted research on the art of the Plains and Southwest Indians, studying the interrelationships between symbolic expression in art, mythology, language and ritual. Other papers concern the rise of the American Indian painting movement in the twentieth century, addressing issues of assimilation, ethnic identity and art as a means of cultural survival.

Norman Bryson

Title: 
Professor
FirstName: 
Norman
LastName: 
Bryson
Contact Info: 

wnbryson@ucsd.edu

Location: 
VAF 355
Biography: 
Prior to joining the Department in 2003, Norman Bryson taught at Cambridge, Rochester, Harvard, and London Universities. At King’s College, Cambridge, he was a Fellow and Director of Studies in English. At the University of Rochester he was the first Director of the newly formed PhD program in Visual and Cultural Studies. He was professor of art history at Harvard from 1990 to 1998, when he moved to London to direct the PhD program in Visual and Theoretical Studies at the Slade School of Fine Art, University College London. He is currently Professor of Art History at the University of California, San Diego. He has published widely in the areas of eighteenth-century art history, critical theory, and contemporary art. Over the past five years, contemporary art has been at the forefront of his writing, complemented by teaching in fine art schools (rather than art history departments) including Goldsmiths College, London, the Jan van Eyck Academy at Maastricht, the Netherlands, and Art Center College of Design, Pasadena. Bryson current research and teaching focus on modern art and visual culture in the West, China and Japan, on photography, and on the philosophy of visual representation.
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