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THE MODERN/POSTMODERN DIALECTIC: AN ONLINE SYMPOSIUM
American Art and Culture, 1965-2000

Participants

Maurice Berger, conference moderator, is a Senior Fellow at the Vera List Center for Art and Politics of the New School University in New York and Curator of the Fine Arts Gallery, University of Maryland Baltimore County. His essays have appeared in many journals and newspapers, including Artforum, Art in America, The New York Times, The Village Voice, October, Wired, and The Los Angeles Times. He is the author of the critically acclaimed White Lies: Race and the Myths of Whiteness (Farrar, Straus & Giroux, 1999)—which was named as a finalist for the 2000 Horace Mann Bond Book Award of Harvard University and is being adapted as a television documentary for PBS—and five other books, Labyrinths: Robert Morris, Minimalism, And the 1960s (Harper & Row, 1989), How Art Becomes History (HarperCollins, 1992), Modern Art and Society (HarperCollins, 1994), Constructing Masculinity (Routledge, 1995), and The Crisis of Criticism (The New Press, 1998).

Max Anderson has been the director of the Whitney Museum of American Art in New York City since 1998. Anderson is a trustee of the American Federation of Arts and Chair of its Exhibitions Committee, and Trustee of the Association of Art Museum Directors and Chair of its Government Affairs Committee.

Carlos Basualdo is Chief Curator of Exhibitions at the Wexner Center for the Arts in Columbus, Ohio. He is a member of the curatorial team of Documenta 11, the International Coordinator of Apex Art Curatorial Program in New York, and shows he has recently curated include: Da Adversidade Vivemos (2001) at the Musee d'art Moderne de la Ville de Paris, Franz West: 2Topia (2001) at the Wexner Center.

Ian Berry is curator of The Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York. He is a specialist in contemporary art, and has organized solo exhibitions for numerous artists, such as James Casebere, Jane Masters, William Wegman, and William B. Schade, as well as the Tang’s Opener series Jonathan Seliger: Floor Model (2001).

Dan Cameron is Senior Curator at the New Museum of Contemporary Art in New York. Since 1995 he has organized exhibitions of Carolee Schneemann, Faith Ringgold, David Wojnarowicz, Doris Salcedo, Martin Wong, Cildo Meireles, Paul McCarthy, and William Kentridge, among others.

John Carlin is a teacher, writer, and curator of contemporary art who is particularly interested in the issues of art and popular culture. He created and produced a successful AIDS benefit album, the television program, Red Hot + Blue (1990), and started the media production company, Funny Garbage, which creates web sites, kiosks and entertainment programs.

Annie Cohen-Solal is a professor of French Literature at the Ecole des Hautes Etudes des Sciences Sociales in Paris, where she teaches American art and is a producer at France-Culture, where her series Painters for the New World will be broadcast through the summer 2001. Her book, Sartre: A Life (1985), an international bestseller, was translated into 16 languages.

Donna De Salvo is a curator and writer and Senior Curator at Tate Modern, London. Some of her past projects include: Ray Johnson: Correspondences, Hand-Painted Pop: American Art in Transition 1955-1962, Gerhard Richter, A Museum Looks at Itself, Face Value: American Portraits, and most recently, Giorgio Morandi and Century City: Art & Culture in the Modern Metropolis. She is currently at work on a major exhibition of Andy Warhol.

Steve Dietz is Curator of New Media at the Walker Art Center in Minneapolis, where he founded the new media initiatives department and programs the online Gallery 9 (http://www.walkerart.org/gallery9/). He has curated online work in Beyond Interface, The Shock of the View, and Art Entertainment Network.

Ann Eden Gibson is Chair of the Art Department of the University of Delaware, author of Issues in Abstract Expressionism, The Artist-Run Periodicals (1990), Abstract Expressionism: Other Politics (1997) and Seeing Through Theory: Intention, Identity and Agency in American Art After 1945 (forthcoming). She was co-curator of Judith Godwin: Style and Grace (1997) and Norman Lewis, The Black Paintings, 1945-1977 (1998).

Wendy Ewald was a MacArthur fellow in 1992, has collaborated in numerous art projects around the world, and is the author of five books, such as Secret Games, which was published by Scalo in 2000. She is currently an artist-in residence at the Franklin Center, senior research associate at the Center for Documentary Studies at Duke University, and a senior fellow at The Vera List Center for Art and Politics at the New School.

Rose Lee Goldberg teaches at New York University. A graduate of the Courtauld Institute of Art, her books include the pioneering Performance Art from Futurism to the Present, which was published in 1979 (updated 2001), Performance Art Since 1960 (1998) and Laurie Anderson (2000). She has served as director of the Royal College of Art Gallery in London and organized Six Evenings of Performance as part of the exhibition High and Low: Modern Art and Popular Culture (1990) at the Museum of Modern Art, New York.

Jennifer González is Assistant Professor of Art History at the University of California, Santa Cruz. Her scholarly essays and reviews have appeared in numerous art magazines and journals, including Frieze, World Art, Diacritics, and Art Journal. She has also contributed chapters to books, such as With Other Eyes: Looking at Race and Gender in Visual Culture (1999) and Race in Cyberspace (2000).

Teresa Grandas has worked as Assistant Curator at the Museum of Contemporary Art in Barcelona since 1996, where she has developed research projects such as, Force Fields (2000) and Antagonisms (2001). She is the author of a variety of articles and essays and in 1993 she published the book Bataille & Masson.

Chrissie Iles is Curator of Film and Video at the Whitney Museum of American Art, New York. She has curated exhibitions at the Whitney, such as Flashing into the Shadows - The Artist’s Film after Pop and Minimalism 1966 - 1976 (2000-2001), a film installation by Lisa Roberts (1998), and more than 120 moving image works and a five decade film and video series for part two of The American Century, Art and Culture 1900 – 2000 (1999). She is currently curating Into the Light: The Projected Image in American Art 1964 - 1977, a show of 20 installations which opens on October 18th.

Caroline Jones is a currently a fellow at the Wissenschaftskolleg zu Berlin (Institute for Advanced Study, Berlin) and on the art history faculty at Boston University. She is the author of Machine in the Studio, (1998), and co-editor of Picturing Science, Producing Art (1998), and has curated numerous exhibitions, such as Bay Area Figurative Art (1989) and Painting Machines (1997).

Kellie Jones teaches in the Department of Art History, Yale University.

Mary Kelly is a professor in the Department of Art, School of the Arts and Architecture at the University of California, Los Angeles. She is the author of Post-Partum Document (1983), and Imaging Desire (1996). A monograph on her work was published by Phaidon Press, London, 1997. A major retrospective of her early work was exhibited at the Generali Foundation, Vienna in 1998 and a new project, Mea Culpa, was shown at Postmasters gallery, New York in 1999.

Mason Klein is assistant curator of fine arts at the Jewish Museum in New York. He has written for numerous publications, including Artforum, Frieze, World Art, and Arts Magazine. His book, The Waiting Room: Marcel Duchamp & Contemporary Art will be published by Distributed Art Publishers, Baltimore, in 2002.

Michael Leja is the Sewell C. Biggs Professor of American Art History at the University of Delaware. He is the author of Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s (1993) and he is currently completing a book titled Looking Askance: Art, Modernity, and Deception in New York, 1869-1917.

Simon Leung is an artist whose work has been exhibited in numerous museums, including the Museum of Modern Art, New York, the Museum of Contemporary Art, Los Angeles, and the Whitney Museum of American Art. He is currently on the faculty of the Studio Art Department at UC Irvine.

Catherine Lord is Professor of Studio Art and Women's Studies at the University of California, Irvine. She writes scholarly essay as well as fiction for publications such as Afterimage, New Art Examiner, and Art Paper. She has curated various exhibitions, including Memories of Overdevelopment: Philippine Diaspora in Contemporary Visual Art.

Barbara Buhler Lynes is The Emily Fisher Landau Director of the Georgia
O'Keeffe Museum Research Center and is the Curator of the Georgia O'Keeffe
Museum. She has taught and written extensively on issues pertaining to
Early American Modernism, and her publications include O'Keeffe, Stieglitz
and the Critics, 1916-1929 (1989), Georgia O'Keeffe: Catalogue Raisonné
(1999), and O'Keeffe's O'Keeffes: The Artist's Collection (2001).

Nicholas Mirzoeff is Professor of Art History and Comparative Studies at Stony Brook University. He is a board member of the College Art Association and co-chair of its Visual Culture Caucus. His publications include An Introduction to Visual Culture (1999) and The Visual Culture Reader 2.0 (2002).

James S. Moy is Professor and Chair of the Department of Theatre and Drama at the University of Wisconsin, Madison, where he teaches theater history and theory. He trained as a specialist on 19th Century American cultural history, and is the author of Marginal Sights: Staging the Chinese in America, Reviewing Asian America: Locating Diversity (Co edited), and scholarly articles and reviews for publications such as Theatre Quarterly, Theatre Research International, High Performance, and Theatre Journal.

Olu Oguibe is a senior fellow at The Vera List Center for Art and Politics at The New School. He has curated exhibitions at the Tate Modern in London, the Museo de la Ciudad in Mexico City, and the Venice Biennial, and his publications include Reading The Contemporary: African Art from Theory to The Marketplace (1999), and Uzo Egonu: An African Artist in The West (1995).

Yvonne Rainer is an artist, writer, and dancer. Her films include MURDER and murder (which won the Teddy Award, 1997, Berlin Film Festival, and the "Special Jury Award" at the 1999 Miami Lesbian and Gay Film Festival). She has choreographed After Many a Summer Dies the Swan which premiered at the Brooklyn Academy of Music in June 2000, and art installations, such as Inner Appearances, for the Vienna Kunsthalle, June 2001.

Aleta M. Ringlero is former director of Native American Public Programs, National Museum of Natural History, Smithsonian Institution. An enrolled member of the Salt River Pima-Maricopa Indian Community, she is completing graduate work in art history at Arizona State University, Tempe. Ms. Ringlero is curator of contemporary American Indian art for Casino Arizona, Scottsdale, a private collection of cutting-edge art by and for American Indians.

Robert Rosenblum is Professor of Fine Arts at New York University and a curator at the Guggenheim Museum. He has written extensively on art from c. l750 to the present and has organized numerous exhibitions. He has written on many artists who have been described as "postmodern," such as Roy Lichtenstein, Andy Warhol, and Jeff Koons.

David A. Ross has had a long and distinguished career in art museums having directed the Institute of Contemporary Art in Boston from 1981 through 1990, the Whitney Museum of American Arts from 1991 through 1998 and the San Francisco Museum of Modern Art from 1998 until September of this year. Ross began his museum career in 1971 as Curator of Video Art at the Everson Museum of Art.

Jerry Saltz is Art Critic for the Village Voice and has lectured at Harvard, the Museum of Modern Art, NY, the Whitney Museum of American Art, and the San Francisco Museum of Modern Art. He has taught at the Yale School of Photography, the School of Visual Arts, NY, The School of the Art Institute of Chicago and the Rhode Island School of Design. He has written for Frieze, Parkett,  Art in America, Flash Art, and Time Out New York.

Elizabeth A.T. Smith is James W. Alsdorf Chief Curator, Museum of Contemporary Art, Chicago. Her projects include Blueprints for Modern Living: History and Legacy of the Case Study Houses (1989), Lee Bontecou: Sculpture and Drawings of the 1960s (1994), Cindy Sherman: Retrospective (1997), and The Architecture of R.M. Schindler (2001).

Robert Storr is Senior Curator, Department of Painting and Sculpture, Museum of Modern Art, New York. He has curated exhibitions, such as Gerhard Richter: October 18, 1977, and co-curated Making Choices (1920-1960), the second cycle of MoMA 2000. He co-authored the exhibition catalogues, Making Choices and Modern Art Despite Modernism.

Michele Wallace is Professor of English, Women's Studies and Cinema Studies at the City College of New York and the CUNY Graduate Center. Her books include Black Macho and the Myth of the Super Woman (1979), and Black Popular Culture (1992).

Jonathan Weinberg is an artist, art historian, and author of Ambition and Love in Modern American Art (2001), and Speaking for Vice: Homosexuality in the Art of Charles Demuth, Marsden Hartley and the First American Avant-Garde (1993). His has written for numerous publications, including Art in America, The Art Journal, and the Yale Journal of Criticism.

Fred Wilson is a conceptual artist from New York. A mid-career survey of his work, Fred Wilson: Objects and Installations, 1979-2000, opens at the Fine Arts Gallery, University of Maryland Baltimore County on 11 October 2001. It will travel to other museums around the country in 2002-04.