Exhibition Catalog for Blind Corners, Portals and Turning Points

This catalog features work from the exhibit Blind Corners, Portals and Turning Points by Ronald Mills de Pinyas. Blind Corners, Portals and Turning Points was presented by the Linfield Gallery and the Department of Art and Visual Culture at Linfield College from October 10 through November 12, 2011. Brian Winkenweder\u27s essay Painting to Be is included in the catalog

Sabbatical Leave Report

During my sabbatical (Fall 2019), I worked on several projects related to my professional development and my teaching. To start, I developed a new course in the history of animation to be offered at the 200-level. This course will be formally proposed to the Curriculum Committee during this academic year (to be ARTS 212 History of Animation). As a trial, I am teaching an Inquiry Seminar on the history of animation this semester. In addition, I continued drafting and editing a book-length manuscript on the photographer Hans Namuth. During my sabbatical, I was asked by an editor of art history at Routledge, Isabella Vitti, to propose a book for inclusion in the Routledge Companion series on Marxist art history (to be titled the Routledge Companion to Marxist Art History). Collaborating with my co-editor, Tijen Tunali (Aarhus Institute for Advanced Studies), we researched and wrote a proposal for a book to consist of forty original, commissioned essays. Our contributors will be balanced by gender and ethnicity, represent six continents, and include scholars at all stages of a professional career. Early in 2020, our proposal was sent out for external review to four leading Marxist art historians. Our reviewers’ responses were so positive that our editor brought our proposal to the editorial board in May. They approved it without requiring adjustments to our proposal. In June 2020, we signed a contract with a commitment to deliver a 750-page text by June 2023

Unknown Unknowns (View 04)

Unknown Unknowns is a multi-piece collage installation.https://digitalcommons.linfield.edu/arts_fac2018/1009/thumbnail.jp

Reading Wittgenstein: Robert Morris\u27s Art-as-Philosophy

Influenced by Ludwig Wittgenstein, internationally acclaimed artist Robert Morris treats art as a language-game whereby the art world functions as a form of life with unique rules governing the play of the art game. This book examines Morris\u27s oeuvre as a case study to assess the utility of Wittgenstein\u27s theories for art historical research. Wittgenstein was widely read by many of the seminal Conceptual Artists. To clarify his concept of the language-game, Wittgenstein relied upon an ocularcentric discourse regarding his theories of seeing; noticing an aspect; continuous seeing; and aspect of blindness. Morris\u27s exploration of these topics reveals limitations and contradictions inherent within art historical discourse, especially as it relates to the formalist theories of Modern Art promoted by Clement Greenberg and Michael Fried. This book will be of particular interest to scholars and students studying contemporary art in general and those focusing on the overlap between philosophy and the visual arts in particular.https://digitalcommons.linfield.edu/linfauth/1027/thumbnail.jp

The Ends of Modern Art: Hans Namuth’s Photographs and Films of Painters Painting

This grant allowed both of us (Dr. Brian Winkenweder and Marit Berning) to conduct interviews and archival research in New York state and Massachusetts. While there, we were able to interview many of Hans Namuth’s colleagues, friends, and family. During this trip we had interviews with several luminaries in the various fields of the visual arts, including graphic and interior design, photography, and art criticism. We interviewed Jack Lenor Larsen (in his Upper East Side apartment), Judith Wechsler (at her residence on the Harvard campus, Cambridge, MA), Peter Namuth (at his Ghent, NY residence where he provided us unprecedented access to his father’s papers, photographic prints, and personal belongings), Phyllis Tuchman (art critic and Namuth’s administrative assistant in the 1960s), Joe Masheck (art critic, former editor of Artforum), Donald Kuspit (art critic), Barbara Rose (at her private residence at Rhinebeck, NY), and Jack Flam (director of the Dedalus Foundation). We also did archival research at the Pollock-Krasner House and enjoyed an opportunity to spend time alone in Pollock’s studio where Hans Namuth took the photos for which he is most well known. We were able to interview Helen Harrison, director of the Pollock-Krasner House. In addition to their archives, Harrison showed us archival footage taken by Namuth that has never been released to the public. This research trip was beneficial in numerous ways, some of which exceeded the parameters of the grant proposal but had a tremendous impact on my teaching of modern and contemporary art. Moreover, many of the exhibitions I visited provide background context for the primary research project funded by the grant [to write a biography of Hans Namuth (1915-1990)]. During our time in New York City, we visited The Guggenheim Museum (exhibition on Italian Futurism), the Jewish Museum (exhibitions on Minimalism and Mel Bochner), Museum of Modern Art (retrospectives on Sigmar Polke, Lygia Clark, and Robert Heinecken), Neue Gallerie (exhibition on Degenerate Art), PS1 (retrospectives on Christof Schiesensief, Maria Lassnig, and James Lee Byars), the Metropolitan Museum of Art (retrospective on Garry Winogrand), New Museum (exhibit of “Here and Elsewhere”), Brooklyn Art Museum (retrospective on Ai Wei Wei, Swoon, and Judy Chicago), the Whitney (retrospective on Jeff Koons), Socrates Sculpture Park, and Guild Hall (exhibition on Robert Motherwell, and we attended a panel discussion on Robert Motherwell’s Romanticism). The data collected on this trip will serve, primarily, for the writing of a biography of Hans Namuth. However, the information gathered and knowledge acquired will enable Marit and me to co-author an article about Namuth’s contribution to our understanding of abstract expressionism and how this influential movement was received by the general public in the 1950s and 1960s

David Craven: A Bibliography (1976-2011)

This bibliography of noted art historian David Craven (1951-2012), an expert in both post-war art in the United States and modern Latin American art, also includes an introductory essay and two interviews. Preface: David Craven\u27s Critical Achievement (Stephen F. Eisenman) An Introduction: David Craven\u27s Future Perfect: Tensions between Political Engagement and Art History (Brian Winkenweder) A Bibliography of David Craven\u27s National and International Publications and Lectures from 1976-2011 A Bibliography of Reviews, Major Citations, and Interviews about David Craven\u27s Books 1982-2011 An Interview with David Craven (Angela Dimitrakaki) An Interview with David Craven (Brian Winkenweder)https://digitalcommons.linfield.edu/linfauth/1035/thumbnail.jp

Art History As Social Praxis: The Collected Writings of David Craven

Art History as Social Praxis: The Collected Writings of David Craven brings together more than thirty essays that chart the development of Craven’s voice as an unorthodox Marxist who applied historical materialism to the study of modern art.https://digitalcommons.linfield.edu/linfauth/1090/thumbnail.jp

Unknown Unknowns (View 02)

Unknown Unknowns is a multi-piece collage installation.https://digitalcommons.linfield.edu/arts_fac2018/1007/thumbnail.jp

Dialectical Conversions: Donald Kuspit’s Art Criticism

This is the first study of one of the most celebrated art critics in US history, Donald Kuspit, whose intertwined careers as a philosopher, art historian, and psychoanalyst have yielded a type of criticism with unrivalled range in Western history.https://digitalcommons.linfield.edu/linfauth/1002/thumbnail.jp

Earth, Wind, Water and Fire: The Art and Science of the Japanese Sword

In this lecture, Michael Bell (master swordsmith and chief instructor at Dragonfly Forge) and Gabriel Bell (swordsmith and cutler at Dragonfly Forge) display some of their Japanese swords as they discuss the art and science of the swordmaking process. Also included is a panel discussion with Linfield College faculty in art history, Japanese, and philosophy about the value of Japanese katana in today\u27s culture