My review of Andres Veiel’s 2017 documentary Beuys has been published in FIELD: A Journal of Socially Engaged Art Criticism (issue 9, winter 2018). The article contains many of my thoughts on Beuys’s relationship to socially engaged art and his reception in the US. Access it here.
Click on “Contact” and follow the link to join my mailing list. I haven’t used it yet—but I promise that there will be some good updates soon! This spring, for example, I have several new publications, including articles in the Journal for Curatorial Studies and FIELD and (finally!) Peter Halley Paintings of the 1980s: The Catalogue Raisonné with JRP Ringier.
I’m pleased to announce the publication of my essay, “Directing Energy: Gordon Matta-Clark’s Pursuit of Social Sculpture,” in the catalogue for the exhibition Gordon Matta-Clark: Anarchitect at the Bronx Museum, open from November 12, 2017 to April 8, 2018. The essay discusses Matta-Clark’s socially engaged projects, including Food, Fresh Air Cart, Graffiti Truck, and the Resource Center and Environmental Youth Program for Loisaida.
Cara Jordan, “Directing Energy: Gordon Matta-Clark’s Pursuit of Social Sculpture,” Gordon Matta-Clark: Anarchitect, exh. cat. (New Haven: Yale University Press, 2017), 36-63.
I’m pleased to announce that for the academic year 2017–2018, I will be the Provost’s Fellow in the Arts and Assistant to the Director at the Center for the Humanities at the City University of New York Graduate Center. In my new position, I will be working with the acting director, sculptor Keith Wilson, on academic conferences and workshops, in addition to assisting with exhibitions.
Our first projects include Block Party: Peter Krashes (Sep 15–Oct 28), an exhibition Keith co-curated with Katherine Carl at the James Gallery featuring paintings by Prospect Heights–activist Krashes, and the symposium “Casting the Curriculum: The Parthenon Marbles, Plaster Casts, and Public Sculpture” (Oct 24), a day-long event to welcome CCNY’s long-term loan of plaster casts made of the Elgin marbles to the GC.
I will be presenting a paper entitled “Joseph Beuys’ Memorial to the Future” at the symposium Public Art: New Ways of Thinking & Doing at York University, Toronto, on 20 May 2017. For more info: https://www.publicartsymposium.com/
I’m happy to report that this semester I’ve returned to teaching at CUNY’s City College while I finish Peter Halley’s catalogue raisonné (coming out this summer!) and an essay for the Bronx Museum’s Gordon Matta-Clark show this fall.
My new article, “Appealing for an Alternative: Ecology and Environmentalism in Joseph Beuys’ Projects of Social Sculpture,” is posted on Seismopolite: Journal of Art and Politics in their second issue on Art & Political Ecology. In it, I discuss how Joseph Beuys dealt with the aftermath of the Second World War in West Germany and sought alternatives to a political system that he felt did not address the needs of the public. The article is primarily concerned with his ecological and environmental activism.
On 19 October 2016, I passed my final examination for the degree of Doctor of Philosophy in Art History at the City University of New York Graduate Center. The degree will be awarded in February 2017 with a certificate in American Studies.
The full text of my dissertation can be found on CUNY Academic Works.
I will be presenting on my PhD research at the symposium “From Social Sculpture to Art Related Action” at Zeppelin Universität in Friedrichshafen, Germany, on Saturday, 29 October 2016. My paper, entitled “Open to Interpretation: The Resonance of Social Sculpture in the United States,” will explore Beuys’ concept of social sculpture through the work of U.S. artists Suzanne Lacy and Rick Lowe. The symposium will take place Oct 28-29 and will also include talks by Grant Kester, Andrew McNiven, Christiane Meyer-Stoll, Rainer Rappmann, John Roberts, Christof Salzmann, Ulrike Shepherd, Johannes Stüttgen, and Karen van den Berg.
I will be presenting my research on Joseph Beuys’ response to Cold War ideologies at the Universidad de Barcelona, Spain, during the doctoral seminar associated with “Cold Atlantic. Cultural War, Dissident Artistic Practices, Networks and Contact Zones at the Time of the Iron Curtain” on 9 September 2016.