Dallas Pavilion 2019 presents the work of artists, art historians, and community activists in the form of seventeen 17 x 22-inch printed broadsides.
Organized by Michael Corris (artist and writer) and Jaspar Joseph-Lester (artist and writer), Dallas Pavilion 2019 will be distributed free of charge during the artist and press preview days, May 8 – 10th. Continue reading “Dallas Pavilion 2019 (May 8, 9, & 10) Venice Biennale”
Typographic Samples, Pictures & Polemics (1986) was published in an edition of 500 by Nexus Press, Atlanta, GA. The book received the Mary Ellen LoPresti Award for Best Monograph of 1987 by ARLIS/NA and has been exhibited by the Museum of Modern Art, NY (Committed to Print, 1988) and is in the collections of the Whitney Museum of American Art (New York), TateModern (London), the Victoria and Albert Museum (London), the Marvin and Ruth Sackner Archive (Miami Beach, FLA), and the Getty Museum (Los Angeles), among other institutions, collections and libraries.
The print edition is sold out, but is now available in digital format.
Continue reading “Now Available in Digital Format: Typographic Samples, Pictures & Polemics (1986)”
As If The Pillars of Society (1987) is a large-format (11” x 17”) spiral-bound collection of twenty-seven typographic compositions published by Clarté Press, New York in an edition of 1000 copies.
The print edition is sold out, but is now available in digital format.
Continue reading “Now Available in Digital Format: As If The Pillars of Society (1987)”
Le Consortium Museum, Dijon, France
Exhibition from Saturday, November 24, 2018 until Sunday, April 14, 2019
Open Wednesday through Sunday from 2 to 6pm and Friday from 2 to 8pm
An ongoing series of digitally translated images based on previous works.
Abstract: The phenomenon of recurring international exhibitions is addressed with respect to an “aesthetic of experience” and the role played by international curators in the creation of contemporary art. Drawing on recent publications by Caroline A. Jones, Charles Green, and Anthony Gardner, it is argued that critical power of experientially immersive contemporary art projects commissioned for biennials, triennials, and documenta is highly overrated. Continue reading “Still Jet Lagged and Eye Sore (2019)”
“In a pluralistic conception of discipline”, suggests Jann Pasler, “the question is not so much what is new or old, or what needs to be replaced or superseded, but rather how each perspective can be enriched by the presence of the other.”
The very idea of interdisciplinarity is contentious, even as the term positions itself alongside “entrepreneurship” as the buzzword of the age. Continue reading ““Rethinking Art and Philosophy as an Interdisciplinary Field” (2019) Abstract & Video”
The conceptual art group Art & Language was originally established in Great Britain in 1967 by Terry Atkinson and Michael Baldwin. With expanding international membership and recognition for its publication Art-Language, as well as the relocation of several members to New York, the group established a New York section in 1971 called Art & Language New York. Continue reading “Conceptual Art and Art & Language New York: Selected Papers at the Getty Research Institute”
Q. Michael, you’ve lived and worked all around the world— the US, England, and Germany. How long have you been in Dallas, and what brought you here?
A. I settled in Dallas in 2009 after having been offered the post of Chair of the Division of Art at SMU. Although I’ve completed that role, I continue to teach there. One class that I’ve designed is “Critical Issues”, a survey of the practices and debates that shaped art from the 1960s to the present. Another is “Systems”, a foundation-level course exploring systems theory where the emphasis is rule-driven practice that aims to provide an alternative model to naïve conception of self-expression in/through art. Continue reading “Interview with Laray Polk (2017)”
Emblems are complex allegorical symbols constructed by linking a motto, an image, and a commentary.
The abundant lexicon of text and image relationships — description, alienation, disruption, translation, and simplification, to name a few — provides entry points for our conversation with the emblem. Continue reading “Emblems (2015)”
Michael Corris: What will be the greatest challenge for artists during the next millennium?
Susan Sontag: The storage problem.
Some contemporary art is profoundly engaged with the world in ways that go beyond interpretation. We seem to be in the midst of a cultural moment where the instrumentalization of art has never been more widely accepted among artists. Whether such artistic practices seek to work across disciplines like science or sociology, or aim to intervene positively in the social and cultural life of communities, the artists involved may be said to hold in common the belief that there is a real advantage that flows from the fact that they come to the scene as artists. We are familiar with the notion of the artist as a problem-solver. But what of other, more contentious knowledge claims?
