Renowned for his writings on postwar American art and queer art history, Katz curated the much-discussed 2010-11 exhibition Hide/Seek: Difference and Desire in American Portraiture at the National Portrait Gallery in Washington, D.C. He is also a co-founder of Queer Nation in San Francisco, founder of the Harvey Milk Institute, and former director of the Larry Kramer Initiative for Gay and Lesbian Studies at Yale University. His writings have appeared in Art in America, Art & Text, Art History, Art Journal, and numerous other publications. He is co-author with Moira Roth of Difference/Indifference: Musings on Duchamp and Cage.
Katz is currently an associate professor and director of the Ph.D. program in Visual Studies at University of Buffalo. He has previously taught at Smith College, Stony Brook University, University of Amsterdam, and Yale University. At the City College of San Francisco, during the 1990s, he was the first full-time, tenured faculty member in gay and lesbian studies in the United States.
Katz’s scholarly work addresses why the American avant-garde in the Cold War era came to be dominated and defined by queer artists who remained silent about their sexuality in what was perhaps the single most homophobic decade in this nation’s history. His research and writing has focused on composer John Cage and painters Robert Rauschenberg and Jasper Johns, although he also has written about poet Frank O’Hara, French theorist and radical feminist Monique Wittig, artists Agnes Martin, David Hockney, Andy Warhol, Keith Haring and others. Currently, he is co-curating “AIDS/Art/America,” a major 2014 international touring exhibition offering the first examination of the ways AIDS shifted post-modernist premises in the art world.
R. H. Quaytman
Painter R. H. Quaytman, whose work addresses the critical and institutional contexts of painting, will speak at Watkins on her first visit to Nashville. The lecture, second in the 2013-14 Visiting Artists Series, is free and open to the public.
In her recent work, the New York-based Quaytman has placed the language of painting into dialogue with the real world contexts of the museums or galleries where it appears. Her work aligns the aesthetics of painting with more austere and intellectual traditions of conceptual art and institutional critique.
About the artist
R. H. Quaytman was born in 1961 in Boston, and lives and works in New York. She received her B.A. in painting from Bard College (1983), and attended the post-graduate program in painting at the National College of Art & Design in Dublin (1984) and the Institut des Hautes Études en Arts Plastiques in Paris (1989). She was subsequently awarded a 2001 Rome Prize Fellowship. Quaytman was director of Orchard, a cooperative gallery in New York, open from 2005 to 2008, and is currently faculty of Milton Avery Graduate School of the Arts, Bard College.
Quaytman incorporates optical abstractions, silkscreened photographs, diamond dust layers, and hand-painted trompe l’oeil elements into her works. Using these diverse techniques, she weaves personal, art historical, and formal narratives to explore the many contexts in which painting can be seen and understood. Presented in groups she considers “chapters,” Quaytman’s works invite the viewer to look from one painting to another, considering individual works within the context of the group.
Solo exhibitions of her work have been mounted by Galerie Nathalie Obadia, Paris; The Renaissance Society, Chicago; Museum Abteiberg, Monchengladbach, Germany; Gladstone Gallery, Brussels; Kunsthalle Basel, Switzerland; Institute of Contemporary Art, Boston; Freidrich Pretzel Gallery and Miguel Abreu Gallery, New York; Vilma Gold Gallery, London; Neuberger Museum, Purchase, New York; and Museum of Modern Art, San Francisco, among others.
In the past decade she has participated in more than 60 group exhibitions in galleries and museums throughout the world, including London, Paris, Vienna, Warsaw, Rome, Berlin, Venice, Brussels, Antwerp, Stockholm, New York City, Los Angeles, San Francisco, St. Louis and Ft. Worth. She was also included in the 2011 Venice Biennale and the 2010 Whitney Biennial.
Quaytman is the author of Allegorical Decoys (MER Press, 2008), inspired by her time as director of the Manhattan cooperative gallery Orchard, and Spine (Sternberg Press, 2011), which brings together all her paintings produced since 2001, the year she began conceiving and organizing her output in chapters (includes 20 chapters total). She is also a contributor to Corrected Slogans: Reading and Writing Conceptualism (Triple Canopy, 2013), a collection of conversations with innovative artists and poets addressing conceptual practices in contemporary art and poetry.
Free parking in campus lot
Chicago-based new media artists Nick Briz and Jon Satrom will speak at Watkins College of Art, Design & Film on Monday, March 3, in the final installment of the Watkins Visiting Artists Series. Their remarks about the ethics of saving/sharing, experimentation, conscious copying, hacking and collaboration will begin at 6 p.m. in the Watkins Theater, followed immediately by a reception to celebrate the gallery show RipZipRARLANd, an exhibition of ripped work from artists working in a variety of genres including net.art, glitch art, video, and dirty new media.
The theme of the exhibition is based on the infinitely copyable nature of new media, lossy and corrupt works, and the intentions involved in their preservation and distribution. The show will be on display in the Brownlee O. Currey, Jr. Gallery on campus through March 20.
RipZipRARLANd (which takes its combination name from several new media terms) is a utopist local area network inspired by experimental new media art, and guests are invited to bring their digital files to copy to the RipZipRARLANd Local Area Network Archive installed at Watkins for the run of the show.
Recognized internationally as leaders in the counter new media art movement known as glitch, Briz and Satrom undermine interfaces, bend data and provoke glitches in the arena of digital media. Their practices have grown out of the infinite copy-ability of data and inevitable decay of digital media. They hack, reclaim, remix and share in an effort to promote and preserve a genre/medium/culture.
As [users/artists] we consider ourselves [creators/producers], however, in the eyes of contemporary (networked) corporations, we are the product being sold for billions of dollars. These wide-spread software-as-service models don’t trade in their technology as much as they trade in humans. SoftwARE iz Humans.
Nick Briz is a new media artist, educator and organizer based in Chicago. He is an active participant in digital culture and experimental new media, specifically through his work/research/writing on glitch art, remix-culture and digital literacy, and he regularly organizes events related to these theories/practices as well as teaching at the Marwen Foundation and the School of the Art Institute of Chicago, where he is Instructor in Contemporary Practices. His work has been shown internationally at festivals and institutions such as the FILE Media Arts Festival (Rio de Janeiro), the Images Festival (Toronto), the Museum of Contemporary Art Chicago, the Museum of Moving Image (NYC), Furtherfield Gallery (London); Museo De Arte Contemporaneo de Caracas, and LEAP Berlin. Briz has been featured in on/off-line publications including Rhizome.org, Furtherfield.org, the Creators Project, Creativity Online, PSFK, and Neural Magazine. He works collaboratively/commercially as Branger_Briz, a digital interactive agency, and is co-founder/co-organizer of the GLI.TC/H international conference/festival/ gathering. His work is distributed through Video Out Distribution (Vancouver) as well as openly and freely on the web. Briz holds a BFA from the University of Central Florida and an MFA from SAIC. See more at nickbriz.com
Jon Satrom is a Chicago-based artist, educator and designer who performs realtime audio/video, makes kludgey work-flows, creates colorful glitch-ware, and enjoys working within collaborative projects and open systems. He spends his days fixing things and making things work, and spends his evenings breaking things and searching for the unique blips inherent to the systems he explores and exploits. By over-clocking everyday digital tools, Satrom kludges abandonware, funware, necroware, and artware into extended-dirty-glitchy-systems for performance, execution, and collaboration. His time-based works have been enjoyed on screens of all sizes; his Prepared Desktop has been performed in many localizations. Satrom organizes, develops, and performs with I ♥ PRESETS, poxparty, and GLI.TC/H, in addition to other initiatives with talented dirty new-media comrades. Currently Instructor in New Media at the School of the Art Institute of Chicago, Satrom holds a BFA in Video/Sound/Art and Technology from SAIC. See more at jonsatrom.com and watch his TedxDePaulU talk, “Creative Problem Creating” • http://www.youtube.com/watch?v=OFwNtXpuMq4