Fré Ilgen: Arts and Bodies
October 14th
Introduction by Megan Craig
Stony Brook Manhattan, Room 313
3:30-6:30
Lisa Warenski, CCNY Dept of Philosophy
Babette Babich; Christopher Ketcham; Lisa Warenski
Songs of an Examined Life: Leonard Cohen and Philosophy
Authors read selections from the recently-released Leonard Cohen and Philosophy: Various Positions (Popular Culture and Philosophy), edited by Jason Holt.
With his uniquely compelling voice and unparalleled depth of artistic vision, the aesthetic quality and intellectual merit of Cohen’s work are above dispute; here, for the first time, a team of philosophers takes an in-depth look at its real significance. Join us for an evening of philosophical reflection on the work of this most enigmatic and mysterious pop-star poet.
Babette Babich, PhD, is Professor of Philosophy at Fordham University and the author of The Hallelujah Effect: Philosophical Reflections on Music, Performance, Practice, and Technology (2013).
Christopher Ketcham, PhD, writes on social justice, philosophy and popular culture, and risk management, where he has contributed to and edited two books.
Lisa Warenski, PhD, is a philosopher who specializes in epistemology and metaphysics. She teaches at City College and The Graduate Center of the City University of New York.
$ 8 includes a drink, food menu available
Thursday, March 5th
Artist Panel with Audience Q&A
5:30-7:30pm
Engineering Building, Room 307
ELBOW-TOE (Brian Adam Douglas)
Tatyana Fazlalizadeh
Leon Reid IV
HOTTEA
Friday, March 6th
At Pratt Institute
Film/Video Building, Room 102
Session I 10:00-11:15am
Christiane Merritt (Washington University, St. Louis)
“Political Art and Street Art Definitions”
Session II 11:30-12:45pm
Shelby Moser (University of Kent)
“Street Art & Deception”
Session III 2:30-3:45pm
Roy T. Cook (University of Minnesota)
“The Lego Minifigure in Urban Art”
Session IV 4:00-5:15pm
Tony Chackal (University of Georgia)
“On The Illegality Condition in Street Art”
*Winner of the Graduate Student Travel Prize
Keynote Address 5:30-6:30pm
Professor Alison Young (University of Melbourne)
“Mainstreaming the Street: The Cultural Value of Illicit Street Art”
abstract and bio
Saturday, March 7th
At New York University
5 Washington Place, 1st Floor Auditorium
Session V 10:00-11:15am
Christopher Nagel (University of Minnesota)
“Signature Counterexamples to the Institutional Theory of Art”
Session VI 11:30-12:45pm
Alison Lanier, Angela Sun, & Erich Hatala Matthes (Wellesley College)
“Saving the Writing on the Wall: Two Models for Street Art and its Preservation”
Session VII 3:00-4:15pm
Mary Beth Willard (Weber State)
“A Softer, Gentler Street Art: Two Incongruities of Yarn-bombing”
Session VIII 4:30-5:45pm
Sondra Bacharach (Victoria University)
“Domesticating the Streets: Feminist Street Art”
Join us in celebrating the publication of Realism Materialism Art, an anthology of essays and artist projects published by the Center for Curatorial Studies, Bard College, in conjunction with Sternberg Press and designed by Zak Group. Combining theoretical presentations with artistic interventions, the event will feature artists Diann Bauer and R. Lyon with curators Mohammad Salemy and Natalia Zuluaga alongside the book’s editors, Christoph Cox, Jenny Jaskey, and Suhail Malik.
The event will be followed by a reception at the Artist’s Institute, 163 Eldridge Street, New York.
Realism Materialism Art (RMA) introduces a diverse selection of new realist and materialist philosophies and examines their ramifications in the arts. Encompassing neo-materialist theories, object-oriented ontologies, and neo-rationalist philosophies, RMA serves as a primer on “speculative realism,” considering its conceptual innovations as spurs to artistic thinking and practice and beyond. Despite their differences, these philosophical positions propose that thought can and does think outside itself, and that reality can be known without its being shaped by and for human comprehension. Today’s realisms and materialisms explicitly challenge many of the dominant assumptions of cultural practice and theoretical inquiry, opening up new domains of research and artistic inquiry.
Cutting across diverse thematic interests and modes of investigation, the 35 essays in RMA offer a snapshot of the emerging and rapidly changing set of ideas and practices proposed by contemporary realisms and materialisms. The book demonstrates the broad challenge of realist and materialist approaches to received disciplinary categories and forms of practice, capturing their nascent reworking of art, philosophy, culture, theory, and science, among other fields. As such, RMA expands beyond the primarily philosophical context in which realism and materialism have developed.
Contributors: Armen Avanessian, Elie Ayache, Amanda Beech, Ray Brassier, Mikko Canini, Diana Coole, Christoph Cox, Manuel DeLanda, Diedrich Diederichsen, Tristan Garcia, Iain Hamilton Grant, Elizabeth Grosz, Boris Groys, Graham Harman, Terry Horgan, Jenny Jaskey, Katerina Kolozova, James Ladyman, François Laruelle, Nathan Lee, Suhail Malik, Quentin Meillassoux, Reza Negarestani, John Ó Maoilearca, Trevor Paglen, Luciana Parisi, Matthew Poole, Matjaž Potrč, João Ribas, Matthew Ritchie, Alicia Ritson, Susan Schuppli, Steven Shaviro, Nick Srnicek, Achim Szepanski, Eugene Thacker, McKenzie Wark, and Andy Weir.
For more information about Realism Materialism Art, including excerpts from the book, click here.
About the Center for Curatorial Studies
The Center for Curatorial Studies at Bard College (CCS Bard) was founded in 1990 as an exhibition and research center for the study of late 20th-century and contemporary art and culture and to explore experimental approaches to the presentation of these topics and their impact on our world. Since 1994, the Center for Curatorial Studies and its graduate program have provided one of the world’s most forward thinking teaching and learning environments for the research and practice of contemporary art and curatorship. Broadly interdisciplinary, CCS Bard encourages students, faculty and researchers to question the critical and political dimension of art, its mediation and its social significance. CCS Bard cultivates innovative thinking, radical research and new ways to challenge our understanding of the social and civic values of the visual arts. CCS Bard provides an intensive educational program alongside its public events, exhibitions, and publications, which collectively explore the critical potential of the institutions and practices of exhibition-making. It is uniquely positioned within the larger Center’s tripartite resources, which include the internationally renowned CCS Bard Library and Archives and the Hessel Museum of Art, with its rich permanent collection.
Center for Curatorial Studies and
Hessel Museum of Art
Bard College, PO Box 5000
Annandale-on-Hudson, NY 12504-5000
T +1 845 758 7598 / ccs@bard.edu
www.bard.edu/ccs
Isadora Duncan Dance Foundation & Nietzsche Circle present
Nietzsche and Dance
An Affirmation of Life: Friedrich Nietzsche, Isadora Duncan, and the Making of Modern Dance
Nietzsche inspired many modern dancers, none more so than Isadora Duncan. With this event on Nietzsche and Duncan we bring dancers and thinkers together to explore the dynamic relationship between dancing and thinking.
Followed by a wine and cheese reception
Performances and lectures by
Lori Belilove
Geoffrey Gee
Krista Johansson
Kimerer LaMothe
Yunus Tuncel
Critiques of beauty in art and in everyday life assume the traditional idea that aesthetic value is a kind of power to please. An entirely new picture comes from a close look at intricately structured networks of agents who interact with each other in aesthetic enterprises. Aesthetic values give us reasons to act in the context of social practices. The “network theory” explains why, despite the critiques, beauty never disappeared from art, why it’s as humanly important as ever, and how it can be harnessed to address pressing social problems.
Introduction by Noël Carroll, CUNY Graduate Center
a lecture by Dominic McIver Lopes
Professor of Philosophy at the University of British Columbia, the author of Understanding Pictures, Sight and Sensibility, Computer Art, Beyond Art, Four Arts of Photography, and Being for Beauty (in progress).
6pm, Wednesday, 27 September
Lang Recital Hall, Hunter College
(North Building, 4th Floor)
Sponsored by the departments of
Art and Philosophy
Alfred Hitchcock’s Vertigo is a brilliant, suspenseful mystery exploring the often dangerous intimacy between love, compulsion, and death. It is also a profound meditation on the power of art. While it invites us to go on seeing art as a mimesis – a “representation,” or “imitation” of life – it also cryptically asks whether art objects might do more than merely represent life, even whether they might exercise power over death. James Stewart’s Scotty has been compared to Orpheus in quest of Eurydice; I suggest that he’s worth comparing to Admetus, who wished he could be Orpheus, and who imagines clinging to a statue to recapture his lost wife. The spell cast by Hitchcock in Vertigo shows us just how bewitching art can be when it has us under its sway.
Monday, March 19, 2018 at 6pm. This event is part of the Philosophy Series at The Cornelia Street Café, located at 29 Cornelia Street, New York, NY 10014 (near Sixth Avenue and West 4th St.). Admission is $10, which includes the price of one drink. Reservations are recommended (212. 989.9319)
Nickolas Pappas is Professor of Philosophy at City College and the Graduate Center, CUNY, where he has taught since 1993. He is the author of several books and around 40 articles, mostly on topics in ancient philosophy. His books include the Routledge Philosophical Guidebook to Plato’s Republic, now in its third edition; and most recently The Philosopher’s New Clothes (Routledge, 2016).
Two CUNY Philosophy professors (Noël Carroll and Jesse Prinz) will present research alongside PhD student Zoe Cunliffe and alumna Laura Di Summa-Knoop in the upcoming Workshop on “Naturalized Aesthetics of Film”, taking place March 27th from 2-6pm in GC Room 5307. Additional presenters include Joerg Fingerhut (postdoc, Berlin School of Mind and Brain) and Murray Smith (University of Kent). The workshop celebrates Smith’s new monograph Film, Art, and the Third Culture, which defends an interdisciplinary approach to film studies.
See the poster below for additional details (including the workshop schedule).
Click here to download it as a PDF.
Discussion with Seth Binsted, Michael Steinmann, and Yunus Tuncel. If you like to attend, Please RSVP by sending email to Luke Trusso at trussol@nietzschecircle.com
We live in an era of aesthetics. Art has become both pervasive and powerful – it is displayed not only in museums and galleries but also on the walls of corporations and it is increasingly fused with design. But what makes art so powerful, and in what does its power consist?
According to a widespread view, the power of art – its beauty – lies in the eye of the beholder. What counts as art appears to be a function of individual acts of evaluation supported by powerful institutions. On this account, the power of art stems from a force that is not itself aesthetic, such as the art market and the financial power of speculators. Art expresses, in a disguised form, the power of something else – like money – that lies behind it. In one word, art has lost its autonomy.
In his talk, Markus Gabriel rejects this view. He argues that art is essentially uncontrollable. It is in the nature of the work of art to be autonomous to such a degree that the art world will never manage to overpower it. Ever since the cave paintings of Lascaux, art has taken hold of the human mind and implemented itself in our very being. Thanks to the emergence of art we became human beings, that is, beings who lead their lives in light of an image of the human being and its position in the world and in relation to other species. Due to its structural, ontological power, art itself is and remains radically autonomous. Yet, this power is highly ambiguous, as we cannot control its unfolding.
Markus Gabriel holds the chair for Epistemology, Modern and Contemporary Philosophy at the University of Bonn and is also the Director of the International Center for Philosophy in Bonn as well as the director of the Center for Science at Thought at Bonn.
Presented by The New School for Social Research and Philosophy Department and it is co-sponsored with the Liberal Studies Department.