An overview of the practices of an artist who writesA model for art making that uses art criticism to generate a visual displayThe author is commissioned to write a review of the 2005 Venice Biennale for the UK art magazine, Art MonthlyMap of the pavilions of The GiardiniA text by Ad Reinhardt serves as the framework for the writing of the reviewExcerpt of Ad Reinhardt’s “Twelve Rules for a New Academy” (1953)A detail of Ad Reinhardt’s “Political Cartoon” (1946) exemplifying the artist’s position within the nexus of the post-war New York art world
The author’s review is rejected by Art Monthly but published in Neighbours in Dialogue (2005), a publication of the proceedings of the Venice Agendas IV conferenceA vinyl banner — 48 x 72-inches — summarizing the twelve rules extracted from the author’s review of the Venice Biennale 2005“Rule #1: No Information” (2006). 11 x 17-inches, inkjet print on paper“Rule #5: No Wristbands” (2006). 11 x 17-inches, inkjet print on paper“Rule #10: No Social Welfare Projects” (2006). 11 x 17-inches, inkjet print on paperAn existing body of work is randomly reconfigured leading to the creation of a new body of workThis project was commissioned by Jeffrey Charles Henry Peacock Gallery, the pen name of the London artists Dave Smith and Thom Winterburn
“Rule #1 Illustrated and Perturbed: No Fine Patina or Finish” (2007). 5 x 7-inches, offset lithography on card (recto)“Rule #1 Illustrated and Perturbed: No Fine Patina or Finish” (2007). 5 x 7-inches, offset lithography on card (recto)What kinds of activities might take place in the office of the Chair of the Division of Art?The Chair’s office was transformed into the Free Museum of Dallas, which hosted a program of art exhibitions and conversations from 2010 to 2014 involving students, faculty, and artists from the US and abroadNo longer sited in the office of the Chair of the Division of Art, the latest edition of the Free Museum of Dallas (2019-20) may be found in more modest faculty accommodationsAn intervention designed for the Venice Biennale (2013)A pavilion for the city of Dallas conceived as a publicationExcerpt from introduction to Dallas Pavilion (2013)Six years later, Dallas describes itself as a world-class destination for cultural tourismThe historical roots of Dallas’s cultural aspirationsWhy Dallas Pavilion 2 (2019) isn’t really about DallasDallas Pavilion 2 (2019) consists of seventeen printed sheets stuffed into an envelopeSketch for shoulder bag for the distribution of Dallas Pavilion 2 (2019)A sample contribution to Dallas Pavilion 2: a shipwreck becomes a flagship storeA sample contribution to Dallas Pavilion 2: the consequences of a legacy of racism
INVISIBLE COLLEGE CONVERSATIONS 