Estudos culturais, cultura visual

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Entretien avec Douglas Crimp (avril 2015)

François Aubart  : Le premier sujet que je voudrais aborder est celui de «  Pictures », l’exposition que vous avez organisé et le texte que vous avez écrit. J’aimerais savoir quelle relation vous aviez avec Artists Space avant ce projet. Douglas Crimp  : C’est arrivé car Helene Winer, qui était directrice d’Artists Space, était une bonne amie. Je ne me rappelle plus exactement comment j’ai rencontré Helene. Elle est venue à New York avant de devenir la directrice d’Artists Space. Elle était d..

Da fotografia como arte à arte como fotografia: a experiência do Museu de Arte Contemporânea da USP na década de 1970

Este ensaio visa sistematizar os primeiros resultados de uma pesquisa, ainda em curso, sobre o processo de legitimação da fotografia pelo sistema de arte no Brasil, cujo foco principal é o museu. Os museus de arte da cidade de São Paulo foram escolhidos para dar início a essa investigação. Primeiramente, será abordada, em linhas gerais, a presença da fotografia no Museu de Arte Moderna de São Paulo e na Bienal de São Paulo, dada a vinculação de origem do Museu de Arte Contemporânea com essas duas instituições paulistanas. Na seqüência será analisada a formação do acervo fotográfico do Museu de Arte Contemporânea da Universidade de São Paulo durante a década de 1970. Por fim, esse percurso permitirá observar que a atuação de Walter Zanini, o primeiro diretor do Museu, e as particularidades da posição do MAC-USP no sistema de arte no Brasil naquele período resultaram no entendimento da fotografia prioritariamente no âmbito da arte contemporânea de caráter experimental e não como obra de arte autônoma, segundo os princípios da chamada fotografia artística.This article presents the first findings of a research still under development about the process of legitimation of photography as a kind of art by the artistic scene in Brazil. The art museums of the city of São Paulo were chosen for starting that research. Initially, we will be investigating the presence of photography at the Contemporary Art Museum of São Paulo and at the Biennial of São Paulo, as the origin of the Contemporary Art Museum is tided to those two institutions. Following, the arrangement of the photographic technical reserve of the Contemporary Art Museum in the 1970s will be analyzed. This study will be focusing on the work of Walter Zanini, as the first director of the museum, and on the particularities of MAC-USP position in the art system in Brazil which resulted in the understanding of photography as belonging to the sphere of contemporary art in an experimental way and not as an autonomous work of art, according to the principals of the so called artistic photography

Imágenes

El presente libro compila algunos ensayos del profesor Douglas Crimp (Universidad de Rochester, USA), quien fuera el conferencista inaugural del Foro. Su presencia constituyó un significativo aporte a la discusión, al compartir con nosotros, desde su experiencia académica y de activismo cultural y político en Norteamérica, temas y propuestas similares. Así mismo, los aportes y desafíos teóricos, éticos y políticos que plantea esta colección son del todo pertinentes para los debates actuales que tienen lugar en nuestras comunidades artísticas, académicas y culturales en torno a la franca posibilidad de la cultura para ampliar nuestra democracia, para fortalecer el papel del arte en la vida social y para enriquecer los vínculos entre academia, universidad y sociedad

On the Museum's Ruins

Nine of Crimp's essays on the museum from the period 1980-1989 are republished in book form. The subject is addressed from the standpoints of photography in the museum, the end of sculpture, and postmodern history. Photographs were taken by or chosen in collaboration with artist Lawler. 171 bibl. ref

Melancholia and Moralism : Essays on AIDS and Queer Politics

"In Melancholia and Moralism, Douglas Crimp confronts the conservative gay politics that replaced the radical AIDS activism of the late 1980s and early 1990s. He shows that the cumulative losses from AIDS, including the waning of militant response, have resulted in melancholia as Freud defined it: gay men's dangerous identification with the moralistic repudiation of homosexuality by the wider society. With the 1993 march on Washington for lesbian and gay rights, it became clear that AIDS no longer determined the agenda of gay politics; it had been displaced by traditional rights issues such as gay marriage and the right to serve in the military. Journalist Andrew Sullivan, notorious for pronouncing the AIDS epidemic over, even claimed that once those few rights had been won, the gay rights movement would no longer have a reason to exist. Crimp challenges such complacency, arguing that not only is the AIDS epidemic far from over, but that its determining role in queer politics has never been greater. AIDS, he demonstrates, is the repressed, unconscious force that drives the destructive moralism of the new, anti-liberation gay politics expounded by such mainstream gay writers as Larry Kramer, Gabriel Rotello, and Michelangelo Signorile, as well as Sullivan. Crimp examines various cultural phenomena, including Randy Shilts's bestseller And the Band Played On, the Hollywood films "Silence of the Lambs" and "Philadelphia," and Magic Johnson's HIV infection and retirement from the Los Angeles Lakers. He also analyzes Robert Mapplethorpe's and Nicholas Nixon's photography, John Greyson's AIDS musical "Zero Patience," Gregg Bordowitz's video "Fast Trip, Long Drop," the Names Project Quilt, and the annual "Day without Art." " -- Publisher's web sit