CV for Serge Guilbaut - UBC Art History and Visual Art Department

THE UNIVERSITY OF BRITISH COLUMBIA
Curriculum Vitae for Faculty Members
Date January 2012
1.
SURNAME:
Guilbaut
FIRST NAME:
2.
DEPARTMENT/SCHOOL:
3.
FACULTY:
4.
PRESENT RANK:
5.
POST-SECONDARY EDUCATION
Serge
Fine Arts
Arts
Professor
SINCE:
July 1, 1990
Department Head
July 1, 1997-2002
University or Institution
University of California at Los
Angeles
University of Bordeaux, France
University of Bordeaux, France
University of Bordeaux, France
Pau, France
Degree
Ph.D.
Masters (Mention-Tres Bien)
Licence (Mention-Bien)
D.U.E.L. (Mention-AssezBien
Baccalaureate
Subject Area
Art History
Dates
1979
Art History
Art History
Art History
1972
1969
1968
Philosophy
1965
Indicate title of Ph.D. Dissertation and name of Supervisor
”Creation and Development of an Avant-Garde: New York Supervisor: T.J. Clark
and its Ideological Fight with Paris, 1945-1948.”
Special Professional Qualifications
6.
EMPLOYMENT RECORD
(a)
Prior to coming to UBC
University, Company or Organization
California Institute of the Arts
University of California at Los Angeles
Rank or Title
Dates
1976-78
1974-76
Lecturer
Teaching Assistant in Art History
1
Los Angeles County Museum of Art
Ethnological Museum of Bordeaux: Field
Researcher/Archives/Open Museum, Sabres
(Landes)
University of Bordeaux, France
University of Bordeaux, France
Photographer of Prints & Drawings
Technical Assistant
1973
1970-72
Technical Assistant in Cultural
Animator for the exhibition "2000
Years of Bordeaux History"
Teaching Assistant in Art History
for California students
1971
1969-70
2
(b)
At UBC
Rank or Title
Department Head
Professor
Associate Professor
Assistant Professor
Instructor II
(c)
Dates
1997-2002
July 1, 1990
February 1985
July 1, 1980
July 1, 1978
Date of granting of tenure at U.B.C.:
July 1, 1983
7.
LEAVES OF ABSENCE
University, Company or
Organization
at which Leave was taken
UBC
UBC
University of British Columbia
University of British Columbia
University of British Columbia
University of British Columbia
Type of Leave
Clark Institute Fellow
Getty Research Scholar
One year paid sabbatical
semi-sabbatical (6
months)
one year paid sabbatical
one year paid sabbatical
Dates
September-December 2006
September 2003-July 2004
July 1, 2001-june 30, 2002
July 1, 1993-June 30, 1994
July 1, 1988 - June 30, 1989
July 1, 1983 - June 30, 1984
TEACHING
(a)
Areas of special interest and accomplishments
Post-war American and French cultural history, including the history of post-war
Franco-American relations as they relate to art. Visual art and Theory. Cinéma.
SEMINARS: (samples)
Making Art During the War: Populism, Avant-gardism and Authoritarianism
Surrealism in Paris After World War II
Conceptual Art in New York in the 1970's
Abstract Expressionism in New York: The Second Generation
The Meaning of Abstract Art in Paris during the 1950’s
Theories of Art History: Picasso's work in the 1950's
The Europeans are coming: Painting in the 1980's
3
Unloading the Canon: Picasso and Matisse in the 1950's
Rushing Towards War: France and USA art between 1935 and 1940
"Les Nouveaux Réalistes", Paris 1960
Re-visiting Mexico: A Northern View of Mexican Culture 1935-1965
Speed, Brutality, Doubt and Silence in Post WWII Visual Culture
Sous les pavés la plage: May 1968 Utopies .
Art Production under De Gaulle, 1958-1968.
The Violence of Art in France 1930-1940
Around 1956 : Slouching Towards Post-Modernity
War Images in the XX and XXI centuries
“Breathless Days”, art in Europe and Las Americas-1959-1960
L.A. Cool in Beatnickland
(c)
Graduate Students Supervised
Student Name
Program
Type
Year
Principal
Ph.D.
Start
1987
Finish
1993
Supervisor
David Brian
Howard
Kay Dian Kriz
Aleksandra Idzior
Patricia Kelly
Sergio Allen
Serge Berard
Patrik Andersson
Shep Steiner
Semerjian, Victor
Steve Harris
Joan Handwerg
Jennifer Durrie
Martha Sesin
Kimberly Phillips
Joseph Monteyne
Andrew
MacIntosh
Ph.D.
Ph.D.
Ph.D.
Ph.D.
Ph.D.
Ph.D.
Ph.D.
Ph.D.
Ph.D.
Ph.D.
Ph.D.
Ph.D.
Ph.D.
Ph.D.
Ph.D.
1985
1995
1995
1995
1992
1993
1991
1990
1989
1994
1996
2000
2000
1993
1995
1991
2005
2001
withdrew
1998
2000
1997
1997
1997
withdrew
2002
2008
2007
2000
Deceased
X
X
X
X
X
X
X
X
X
X
Sharla Sava
Joseph McHugh
Patrik Andersson
Maureen Lunn
Victoria Scott
James Phillips
Serge Berard
M.A.
M.A.
M.A.
M.A.
M.A.
M.A.
M.A.
1992
1992
1991
1988
1997
1997
1989
1996
1996
1992
1993
2000
2000
1992
X
X
X
X
X
X
X
Co-Supervisor(s)
X
X
X
X
X
X
4
William Wood
Gillespie, Sandra
Steiner, Shep
M.A.
M.A.
M.A.
1990
1988
1988
1992
1992
1991
X
X
X
Semerjian, Victor
M.A.
1987
1990
X
Alberro, Alex
M.A.
1986
1990
X
Reeve, Charles
M.A.
1986
1989
X
Daniels, Marilyn
M.A.
1982
1987
X
Howard, David
M.A.
1982
1986
X
Heibel, Yule
M.A.
1983
1986
X
Harris, Steve
M.A.
1980
1985
X
Monahan, Laurie
M.A.
1981
1985
X
Smith, Toby
M.A.
1980
1984
X
Kirk, Gail
M.A.
1983
1988
X
Ince, Judith
M.A.
1978
1982
X
Dawn, Leslie
M.A.
1977
1982
X
Pohl, Françes
M.A.
1977
1980
X
Arnold, Grant
M.A.
1991
1996
X
Dunlop, Anne
M.A.
1989
1992
X
Melynchuk, Sue
M.A.
1989
1992
X
Thomsett, Andrea
M.A.
1985
1990
X
DeFina, Carol
M.A.
1979
1985
X
Freeman, Dana
M.A.
1977
1982
X
Elliott, Bridget
M.A.
1979
1982
X
Brent Epp :
Ph.D
Juan Gaitan
Tomaszewska
Mameni Sara
Ph.D
Lara
2007
2008
Ph.D
M.A.
X
X
2007
2007
2009
X
X
5
Karabeg Jasmina
Ph.D
Matt Lewis
finished
M.A/
Martha Sesin
Ph.D
Vytas Narusevicius
Ph.D.
2008
2006
X
2009
X
2010
X
2010
X
Not
SCHOLARLY AND PROFESSIONAL ACTIVITIES
Areas of special interest and accomplishments
Post-war American and French cultural history. History of post-war FrancoAmerican relations as they relate to art. Visual art and theory. Cinema. The
politics of art. Modern Art in Latin America. Be-Bop and Cool Jazz in France and
the U.S.
PROFESSIONAL ACTIVITIES
Radio Interviews and programs:
• Series of interviews on contemporary art, Radio Canada, March, 1979.
"Art and Politics", CBC Television, November, 1980.
• Regina, interview, C.B.C., Art and Politics, March 6, 1986.
• Vancouver, interview, CBC (French), Easter, 1988, "La chapelle
imaginaire", about religious painting.
• CBC Radio programme, French CBC, Montreal, "L'art dans tous ses
États", 10 half-hour programmes (Art from 1940 to 1956) 1990.
• Radio Belge: Programme on French Post W.W.II art - Belgium, 1991.
• CBC Interview for Radio Canada's show, Horizon regarding the 10th
anniversary of the Vancouver Art Gallery - October 1993.
• France Culture (National Radio Paris), Interview about my book, Voir,
Ne pas Voir, Faut Voir, April, 1994.
• Interview for Radio Canada (French) about Andy Warhol’s show at the
Vancouver Art Gallery June 1994
• CBC Architecture in Vancouver. CBC (French) Radio December 1995.
• CBC Contemporary Art in Vancouver CBC (French) Radio January
1996.
• CBC The Art of Roy Arden, CBC (French) Radio, December 1997.
• CBC Interview for Radio Canada (French) [Radio and Television] about
the show “Up Against the Wall Mother Poster” 1999.
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November 2000: Interview about Contemporary cultural politics,
France Culture (35mn).
•
CBC Montreal, August 2001, Radio programme for French CBC
Montreal on Cultural Globalization (3 hours) with interviews in Paris,
Montreal, Venice, Barcelona and Bilbao). The program was selected to
represent Canada in the European competition for best documentary in
Francophone Radio.
•
CBC (French) Public Interview for CBCTV on XXI century Museums
February 2011.
Television Programs and Interviews:
•
"Art and Ideology in the 40's in the U.S.", BBC Television, November, 1982 (halfhour programme)
• Invited to participate in the two part series T.V. program Irony Curtain, written and
directed by Murray Grigor, Channel Four, London. 1987.
• T.V. Programme on Post-war culture, (documentary) T.V. Liège Belgium, 1992.
• Participated in a documentary film about Culture and the Cold War, Channel 4,
England, (Interview and Consultant). September 1994.
• Interviewed for the film: Les Couleurs de la vie. Film by Jean-Christophe. Yu. for
Fondation J. Jacquemotte, Bruxelles - Belgium. 1995.
• TV Interview CBC about the Gericault show at the Belkin Gallery The Alien Body ,
1997.
Interviewed on CBC French Television, program about Vancouver artist Rodney
Graham, October 1996.
•
Participated in “Hidden Hands: A Different History of Modernism”, 4 hour
series, documentary for Channel Four, (With Frances Stonor Sanders, England,
1998.
• 2007: 3 (one hour each) Radio Programs: MACBA Radio Barcelona called “Radio
Waves: Hot Songs for a Cold War”.
Interviews in Newspapers and Books:
•
“On Studying British Modernism: an interview with Judith Mastaï and John
O’Brian.” in Collapse, N. 1. October 1995.
•
“Historien d’art Aujourd’hui”, interview with Yves Michaud (others in this series
include Hans Belting, Laurence Bertrand Dorleac and Michael Baxandall),
Connaissance des Arts, Janvier 1999, pp. 60-64.
7
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An interview about my scholarly life and writings in the U.S.A. has been
published in Amy Newman Challenging Art: Artforum 1962-1974 Soho press,
N.Y. 2000.
•
Interview for the Newspaper Clarin Buenos Aires, “ Trampas de la Golabizacion”
interview by Ana Maria Battistozzi. July 8 2001.
•
Interview for the newspaper La Vanguardia Barcelona “El Guggenheim functiona
segun el sistema ‘Fast Food’”, interview by Anna Maria Guasch, September 2001.
•
Interview with the photographer Craigie Horsfield published in “Craigie Horsfield
Relation”, edited by Catherine De Zegher, Fundation Gulbenkian Portugal/Jeu de
Paume Paris, 2006-7.
•
Interview published on the front Page of the Montreal Newspaper Le Devoir
called: “Le décolonisateur du Regard” 5 Mai 2008. (interviewd by Stéphane
Baillargeon).
•
The French radio station, France Culture, aired an hour-and-a-half long program,
“Surpris par la Nuit” (produced by Alain Veinstein, directed by Isabelle Rebre) on
May 22nd, 2009 on Charles and Jackson Pollock. Interviews with Sylvia and
Francesca Pollock and the art historians Eric de Chassey and Serge Guilbaut.
•
Interview/Profile in L’Express du Pacifique “Serge Guilbaut: Trublion Artistique,
April 4th 2011.
Miscellaneous:
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Two interviews with contemporary video artists: Lori Anderson at the Western
Front, Vancouver; and Martha Rosler, at Simon Fraser University, April, 1981.
Boston Institute of Contemporary Art, preparation of catalogue and advisor for show
Changing Interpretations of the 20th Century, 1986.
Invited to speak at the National Gallery of Canada, Ottawa, on the Barnett
Newman controversy, November, 1990.
Conducted seminar at UC Berkeley on my latest edited book, "Reconstructing
Modernism", M.I.T. Press, November 1990.
Organized and chaired a session at the American Studies Association in New
Orleans, "Pop Goes the World" (Organized another session on "Black American
Culture in Paris during the Cold War"), November 1990.
Organized and chaired a session for the UAAC Canada in Montrèal, November
1990.
Member of the task force on Professional Training for the cultural sector in Canada
Vancouver, November, 1990.
Member of the Canada Council jury for aid to exhibitions, Ottawa, February, 1991.
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Lecture at SFU (Centre for the Arts) on contemporary art, February, 1991.
Moderator at the Vancouver Art Gallery, Discussion with Susan Buck-Morse
(Cornell University) on her latest book on Eastern European culture: "East/West: Is
there a common Post-modern Culture?", April, 1991.
Public Discussion with the conceptual artist Jochen Gerz, Vancouver Art Gallery,
September 1994
Organized series of public conferences in relation to seminar on Mexico. Brought 6
scholars from Mexico and U.S. 1994.
February 2008: “Habilitiation” for quality of Research for Professor Richard
Leeman, University of Rennes (France)
April 2009: Adviser for publication Dartmouth University
Member of the Scientific Committee of the journal Quintana, Journal of the
Department of Art History at the University of Santiago de Compostela.
Member of the Scientific Committee of the journal Anales del Instituto de
Investigationes Esteticas , Universidad Nacional Autónoma de México.
•
April 2009: Member of Research group at the Getty Research Center meeting
for the upcoming show in Los Angeles called: “Pacific Standard Time” about
the cultural production of Los Angeles from 1945 to 1970 involving the entire
city of Los Angeles cultural structures.
•
February 13 2010: Article about my writing on Picasso published by Andrea Giunta
called El Guernica de Picasso in Clarin the Argentine newspaper, called: “Violencia
escatologica: Merde,mucha merde, como método “critico”.”
Organization of Symposia:
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1978: Organized an Art History Symposium: "War Crisis: Art Production in Times of
Turmoil", U.C.L.A. with Albert Boime, Tom Crow, Ken Silver, Liz Baldewicz, Marcia
Byrstryn.
1981 Organized an international symposium at U.B.C. called "Modernism and
Modernity: A Question of Culture or Culture Called into Question?" (14 speakers
among which: Marcelin Pleynet, Paul Tucker, Hollis Clayson, Benjamin Buchloh, Allan
Sekula, Clement Greenberg, T.J. Clark, Thomas Crow, René Payant, Nicole DubreuilBlondin, etc.)
1986 Conference: International Conference at U.B.C. on Franco-American-Canadian
Cultural Relations during the Cold War 1948-64, called "Hot Paint for Cold War", (with
Jean Baudrillard, Benjamin Buchloh, Tom Crow, T.J. Clark, Thierry de Duve, John
O’Brian, François Marc Gagnon, Constance Naubert Riser and Lary May)
1987 “Le Triumph of Pessimism: the Re-emergence of Modern Art in Post-World
War II Western Culture", (Speakers: François Marc Gagnon, Yule F. Heibel, Kader El
Janaby, Michel Leja and Luciana Rogazinski)
1992 Organized with John O'Brian a symposium called: "Threatened Identities: SelfImaginingMexico and Canada" (Speakers: Holly Barnet Sanchez, Mexican Museum, San
Francisco; Tom Cummins, University of Chicago; Oliver Debroise, Mexico City; Elena
9
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Feder, Stanford University; Tom Hill, Woodland Cultural Center; Desmund Rochefort,
University of Alberta; etc.)
1993 Organized a symposium called: "The State of Contemporary Art Criticism in
France" with Catherine David, Curator "Le Jeu de Paume, Paris"; Yves Michaud, Director,
Ecoles des Beaux Arts, Paris; Chantal Pontbriand, editor, Parachute, Montrèal.
1994 Organization (With Laurence Bertrand Dorleac, Laurent Gervereau and Gérard
Monnier
of an international colloquium in Paris: "Ou Va l'histoire de l'art
Contemporaine ? Objects, methodes et territoires", Paris 1993-94. ( 54 participants)
1995 Organized a symposium called New Theoretical Questions in Art History in
Marseillle/Aix en Provence (5 graduate students from UBC participated in the programme),
1995 Organized a series of Public Lectures “The Exotic Gaze and the Mexican Appeal:
Views for North America 1930-1960”, March/April U.B.C.,(Speakers: Francisco Reyes y
Palma, Instituto de Investigaciones Esteticas, Mexico City; Karen Cordero UNAM,
Mexico; Peter Wollen, UCLA Film Theory Department; James Oles, Curator, Yale
University Gallery; Rita Eder, Director of the Instituto de Investigaciones Esteticas, Mexico
City; Leonard Folgorait, Vanderbilt University, Tennessee)
1996 Help to organized (with Rita Eder) and participated in the Rockefeller Foundation
Research Group on “Re-writing the History of Modern Latin American Art”, Bellagio
Italy. October/November 1996. (ongoing until 2003)
1999 Organized conference Plop! Goes the World: A Reassessment of the 1960s UBC,
October, (with Thomas Crow, James Meyer, David Howard, Caroline Jones, Ted Joans,
Jonathan Katz, Cecile Whiting, Jonathan Weiberg, Anne Wagner, Patrixcia Kelly, Laurent
Gervereau, Carol Wells)
2001 Organized conference Reconstruction, Consommation, Contestation: Art and
Critical Debate in Postwar France 1945-1972 (With Laurence Bertrand Dorleac, Jill
Carrick, Rebecca de Roo, Herman Lebovics, Suzan Weiner, Tom McDonough etc…)
2002 Organized (with Laurence Bertrand Dorleac) conference Reconstruction,
Consommation, Subversion: Echanges Transatlantiques: Débats autour des Arts en
France et aux Etats-Unis entre 1945 et 1972. Paris, Fondation des Etats-Unis, September
(With Pascal Ory,Luc Lang, Jean Jacques Lebel, Tim Clark, Jelena Stojanovic, Daniel
Buren, Antoine de Baecque etc..)
2006 : March: Organized with the help of William Wood and Kim Phillips a two days
symposium called “Solitudes and Globalization: Post-World War II Art and Culture
Across the Americas” (16 speakers) with Thomas Cummins (Dumbarton Oaks Professor
of Pre-Columbian and Colonial Art, Harvard University), Pablo Helguera : Artist, New
York, Chantal Pontbriand (Editor, Parachute, Montréal, Canada), Monika Gagnon: Artist
Montreal, Martha Rosler (Professor of Visual Arts, Mason Gross School of the Arts,
Rutgers University), Paul Chaat Smith (Curator, National Museum of the American
Indian, Washington D.C.), Diana B. Wechsler (Professor of Sociology and Anthropology
of Art in the School of Philosophy, Universidad de Buenos Aires) and From UBC:
Richard Cavell (Professor, Department of English) Philip Resnick (Professor,
Department of Political Science) Patricia Marchak (Professor Sociology UBC)
•
2009: May Symposium “Breathless Days; 1959-1960” with Carla Benzan and
John O’Brian, UBC (12 Speakers). About Cultural Relations between Western
10
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Europe and ‘Las Americas’ (Canada, USA and Latin America). Speakers include
Clint Burnham (Simon Fraser University), Bruce Barber (Nova Scotia College of
Art and Design), Jill Carrick (Carleton University), Tom Crow (New York
University), Eric de Chassey (Director of the Villa Medici in Rome) Blair Davies
(Simon Fraser University), Mari Dumett (M.I.T. University), Steve Harris
(University of Alberta, Edmonton) Mona Huerta (Universite Sorbonne Nouvelle
[Paris III]), Luc Lang (Ecole des Beaux Arts de Cergy Pontoise), Richard Leeman
(University of Bordeaux), Susan Lord (Queens University), Tom McDonough
(SUNY, Binghamton), Regis Michel (Chief Curator of Drawings, Louvre
Museum, Paris), Ann Reynolds (University of Texas, Austin), and Tyler Stovall
(University of California, Berkeley), Ludovic Tournes (Universite Paris Ouest
Nanterre),
See Website at: http://breathlessdays1959-1960.wikispaces.com/CONFERENCE
Awards
1985
How New York Stole the Idea of Modern Art (paperback) made the
"New Noteworthy": New York Times Book Review list.
1986
Killam Research Prize, University of British Columbia
1988-89
Killam Faculty Research Fellowship
1990-91
Killam Faculty Research Fellowship
1991The French edition of "How N.Y.", received the "Prix des
libraires de la ville de Paris"
1991-92
Killam Faculty Research Fellowship
1994
Awarded the French title of "Chevalier des Palmes
Académiques."
1994
Selected as consultant for the city of Marseille cultural programs
including the assessment of the art historical program of the University of
Aix en Provence.
2003
Selected as the 2003 Mary Jane Crowe Visiting Professor Chair at
North-Western University, Evanston, U.S.A.
2003-2004
Awarded a Getty Research Institute Distinguished Research
Scholar Position.
2005 Awarded a one month (May 2005) special grant to stay and work at the Institut
National d’Histoire de l’Art (INHA) in Paris.
2006: Awarded a Sterling and Francine Clark Art Institute in residence 4 months
position (starting in September 2006)
2007, 2008, 2009: Awarded several Research Grants to organize summer seminars at the
Hartung/Bergman Foundation in Antibes where I have invited scholars from The US,
Canada, France and Argentina.
2008: Awarded the Prix de la Critique d’Art de Catalogne (ACCA) for my show: BeBomb presented in Barcelona (October 2007-January 2008).
11
PAPERS AND PREPARED TALKS: (Invited Papers)
1979
Organization of American Historians in New Orleans, "Political Context Of Abstract
Expressionism", April, 1979
Colloque International d'Histoire et de Théorie de l'art à Montréal, "Situation du
Formalisme Américain": "Du Trotskisme au Nouveau Libéralisme ou Les Aventures et
Mésaventures du Formalisme Greenbergien", Montréal, Octobre 1979
St. Lawrence University, New York, "Political Content in the Art of Jackson Pollock",
October 1979
1981
Universities Art Association of Canada, "On the Social History of Art", Montreal,
February 1981
1982
Princeton University, "Shout and Silence: Pollock's Art of Erasure", March 1982
Leeds University, England, "Road to Victory: the American Avant-Garde in the 40's,
June, 1982
1983
Nova Scotia College of Art and Design: "From Surrealism to Situationism: France and
Belgium in the 1950's", April, 1983
1984
Toronto: C.A.A. : "French Post War Art and Louis Aragon's Clinched Fist", February
1984
Pau, France, Musée des beaux-arts: "L'art Américain et la Guerre de 1940", August
1984
New York, Whitney Museum: "Abstraction and Politics", in conjunction with the show
"Abstract Art in America 1927-44", September 1984 (with Susan Larsen, Clement
Greenberg and Irving Sandler)
Roanoke, Virginia: "Revisionism in Art History: Hopes and Failures", Mountain Lake
Symposium (with Alan Colanhoum, Anthony Vidler, Kenneth Sonnier, Donald Kuspit),
October 1984
1985
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Guggenheim Museum: "The Dilemma of Abstract Art in Paris in the Late 1930's",
February 1985, in conjunction with the exhibition: "Kandinsky in Paris 1934-44", (with
Mary Ann Caws, Christian Derouet, Jane Hancock, Rose Carol Washton-Long, Robert
O. Paxton and Clark V. Poling)
Providence, R.I., Brown University: "Be a Champ: or How to Turn a Paper Tiger into a
Flying Tiger", in conjunction with the show: Flying Tigers: Painting and Sculpture in
New York 1939-46, May 7, 1985
Northwestern University: "From Trotskyism to Modernism in American Painting 193641", in conjunction with a symposium called The Political Confrontation of the Arts on
the Eve of the Second World War, May 1985
Montréal, Colloque Sur la Situation des Arts au Québec et au Canada : "L'art sans
histoire", Novembre 1985
St. Etienne, France, Colloque d'histoire de l'art contemporain "Les Abstractions: "Les
fondements politiques de l'expressionnisme abstrait américain", March 1985
1986
Ottawa, University of Ottawa, Fine Arts Department, paper: "The Frightening Freedom
of the Brush: the Boston Institute of Contemporary Art and Modern Art, 1948-50",
January 1986
Vancouver Art Gallery, "The Frightening Freedom of the Brush: the Boston Institute of
Contemporary Art and Modern Art, 1948-50", January 1986
The Regina Dunlop Museum, "The Frightening Freedom of the Brush: the Boston
Institute of Contemporary Art and Modern Art, 1948-50", February 1986
NSCAD, Halifax. The School of Art and Design, "Peace Offensive, Campaign of Truth
and the Purity of Art: New York, Paris, Difficult Entente in the 1950's", February 1986
Concordia University, Montreal, History Department, "Peace Offensive, Campaign of
Truth and the Purity of Art: New York, Paris, Difficult Entente in the 1950's, February
1986
U.B.C.: “The Rough and the Slick: Painting games in Paris and New York during the
Cold War”, in Conference Hot Paint for Cold War. September, 1986.
The Mendel Art Gallery, Saskatoon, "The Frightening Freedom of the Brush: the
Boston Institute of Contemporary Art and Modern Art, 1948-50", March 1986
The University of New York, Binghamton, "Painting After the Bomb in Paris",
February 1986
13
The ICA Boston, "Painting After the Bomb in Paris", February 1986
Columbia University (N.Y.): "Post-war Painting Games: the Rough and the Slick",
November 1986
Nova Scotia College of Art and Design (NSCAD), Halifax, "Post-war Painting Games:
the Rough and the Slick", November 1986
1987
University of Osnabruck, Germany, Conference on the Spanish Civil War, "The Spittle
and the Square: the impossible task of abstraction in Paris and New York 1938-39",
May 1987
American College in Paris, "Post-war Painting Games: the Rough and the Slick", in
European Cultural Studies, May 1987.
1988
Concordia University, Art History Department, Montreal, "The Post-war Painting
Games: the Rough and the Slick", January 1988
Montréal Museum of Fine Arts (McEwan retrospective): "Décrépitude et pouvoir:
signification politique du silence dans la peinture française abstraite d'après Guerre",
janvier 1988
University of Minnesota, American Studies Department, "The Power of Decrepitude
and the Politics of Silence in Post-world War II French and American Painting", April
1988
Seminar on Franco-American Cultural Relations, Carleton College, Minnesota, April
1988
Musée National d'art Moderne Centre Georges Pompidou, Paris: "Expositions
Indécentes; exposer ou s'exposer: La Beauté, la Trouille, le Spectacle", Novembre 1988
1989
Courtauld Institute, London, "The Power of Decrepitude and the Politics of Withdrawal
in post 1945 French Painting”, February 1989
The University of Grenoble, seminar on American contemporary art, February 1989
Ecole des Beaux Arts de Nimes, Seminar on French and American 1950's avant-garde
art, February 1989 with Krzysztof Pomian, Thierry de Duve.
1990
The Power Plant, Toronto, "The Power of Decrepitude and the Politics of Withdrawal in
Post-world War II Parisian Painting", March 18, 1990 in the International Lecture Series
14
, with: Yves Alain Bois, Douglas Crimp, Charlotte Towsend-Gault, Griselda Pollock,
Leo Bersani.
Antonio Tapies Foundation, Barcelona, Symposium on Abstract Expressionism,
"Cultural Fallout over Europe During the Cold War", October 1990
CAA, New York, "The Silent Cacophony of the Other" (Bram Van Velde), February
1990
Ottawa, National Gallery of Canada, "Les voix (voices) insondables du Père: Barnett
Newman's Voice of Fire", October 1990
University of California, Berkeley, "Tables and Masks: Bram Van Velde and the
cultural fallout over France during the Cold War", November 1990
University of Alberta, Edmonton, "Tables and Masks: Bram Van Velde and the cultural
fallout over France during the Cold War", November 1990
1991
Keynote speaker at the International Association of Art Critics, Los Angeles, "La Fin de
la Critique Artistique dans le Contexte de la Spectacularisation Génèralisée", 30 pp,
October 1991
1992
April 1992, paper given at the conference titled, "Les Français à New York pendant la
seconde guerre mondiale", organized by the French Department, Columbia University,
New York: "Le retour aux désordres: La peinture écartelée dans le Paris d'après guerre",
30 pp.
Working paper (60 pp) given at the seminar organized by Benjamin Buchloh and Mary
Kelly at the Whitney Museum, New York, April 1992
Paper given at UCLA Art History Department, "French Post-war Abstraction", 30 pp,
May 1992
Paper given at Occidental College, Pasadena, In the series “Darkness at Noon” " Tables
and Masks: Bram Van Velde Abstract Expressionism and the Fallout over France
during the Cold War", 30 pp, May 1992
Paper given at Harvard University at the Barnett Newman symposium, "Barnett
Newman and Bram Van Velde: The Art of Gendering North West Coast Cultures", 20
pp, May 1992 (with Yves Alain Bois, John O’Brian, Donald Judd and Nan Rosenthal).
15
Paper given at the International Association of Art Historians in Berlin,, "A Plea for
Parisian Abstraction", July 1992 (With T.J Clark, Tom Crow, Benjamin Buchloh and
Rosalind Krauss)
October 1992: “Como escribir la historia del arte modern despues del Nuevo Orden
Mundial?” Seminar at CURARE Espacio critic para las Artes. Mexico City.
1993
January: “Fifty-Seven Channels and Nothing on: Art History and the New World Disorder”,
Lectures in the Humanities UBC Vancouver,
Paper and Seminar, Art History and French Department, University of Chicago, (workshop
on Interdisciplinary approaches to Modern France) May 1993. “The Power of Decrepitude
and the Politics of Withdrawal in Post-World War II Parisian Painting”
Paper and seminar "Como escribir la historia del Arte Moderno después del Nuevo
Orden Mundial? CURARE, Mexico City, 1993
1994
Paper given at International Conference prepared by the Louvre Museum in Paris.
Thème Vies d'artistes: "Art, Consommation et politique dans les années 1950: Cataloguer
l'artiste moderne." 30pp, (with Roberto Guerrini [Udine], Thomas Puttfarken [Essex], Stefen
Germer [Bonn), Hans Belting [Münich] etc...), October 1994
Paper given at International Association of Art Historians in Zacatecas, Mexico:
"Aztéques et Celtes à l'assaut de l'histoire contemporaine", 20 pp, November 1994
Paper given at the University of Austin, Texas with the artist Barbara Bloom, Michael
Kimmelman of The New York Times, Rhonda Liberman (Art Forum), Christopher
Phillips (Art in America), Mark Poster, (UC Irvine), Vivian Sobchack (Film Studies
UCLA) and the photographer Alex Webb. Talked titled: "José Guerrero and Antoni
Tapies: The color of freedom against the wall." 35 pp 1994
Paper given at the Conference: “Contre la Fascination de l’Image”, 20 pages, Paris, Ecole
Nationale des Beaux Arts, “Ou va l’histoire de l’art?” October 1994.
“Les traditions Nationales en Histoire de l’Art”, 20 pages, Paris, Colloque Ou va l’histoire
de l’art, octobre 1994.
“1955: The year the Cowboys fought the Celts”, in Conference called Cold War, London
University College, October 1994.
1995
16
“The UN Building in New York: A Cold War Architecture?,” Columbia University,
Department of Architecture, October 1995.
“Les Deux Plateaux of Daniel Buren in Paris,” International Conference of Art Historians,
Mexico City, October, 1995.
1996
“Latin American Art does not Exist” Rockefeller Symposium on Latin American Art,
Oaxaca, Mexico, January 31-February 6, 1996.
“The Notion of the Modern in Latin America” Rockefeller Centre Bellagio, Como Lake,
Italy, September 1996
“Cargo Cult again: The importation of abstraction to Brazil in 1947”, Mexican Art Historical
Association Conference, Puebla, Mexico, November 1996.
1997
“1955: The Year the Cow-boys Fought the Celts”, Yale University, The French Fifties (with
Agnes Varda, Tyler Stovall, Kristin Ross, Richard Kuisel, Romy Golan, Michael Kelly,
Anne Simonin, Michele Cone), Sept. 1997.
“Plenary Session: Current Challenges Facing Art Institutions” (with Ron Burnett and Ruth
Phillips), UAAC, Emily Carr Institute of Art and Design, 1997.
“Deliquescent Bodies with Eyelashes: Conjuring 1980’s everyday life in Antonio Tapies’
Abstraction”, Dalhousie Art Gallery Halifax. Participation in the Critics Series with Joan
Copjec and Jeanne Randolph, September 1997.
“Suicidal Orgasm: Arshile Gorky’s ‘The Liver is the Cock’s Comb’ 1944, Nova Scotia
College of Art and Design, Halifax, September 1997.
“The Plight of museums: Green College with Regis Michel, Chief Curator of drawings,
the Louvre museum, Paris, Scott Watson and Maureen Ryan, October 1997.
1998
“955, The Year the Cow-Boys fought the Gaulois”, Zentrum fur Kunst und
Mediatechnologie Karlsruhe, Germany (ZKM) (With Richard Shusterman).
1999
Respondent and Seminar on Pop Art at Yale University for the Conference “Pop and
Popism”, March 1999.
17
“From Paris With Love and Hate”, US Studies, seminar, University of Toronto, March
1999.
“Geometry and Brazil’s Soul in 1947: Art Criticism, Modernization and Otherness”,
Talk given at the Congress called “Biennale and Documenta 1950-2000”, with Renato
Barilli (Bologna), Arturo Schwarz (Milan), Hans Belting (Karlsruhe), Enrico Cispolti
(Siena), Victoria Schmidt-Lissenhoff (Trier) etc., Kassel, Germany, November 1999.
“Informer à Travers L’Informe: Les Abstractions de Franz Kline et Antoni Tapies”,
Philosophy Department, Sorbonne, Paris, November 1999.
“Miel y Mierda: Los Cuerpos de Antoni Tapies en Los Anos 1980”, Centro Argentino
de Investigadores de Arte, Buenos Aire, October 1999.
2000
“Suicidal Orgasm: Arshile Gorky’s ‘The Liver is the Cock’s Comb”, Smart Museum,
University of Chicago, March, 2000.
“Playing Cowboys and Gauls: Breton, Etienne and the U.S. Cultural Invasion in 1955
Paris”, University of Iowa, April 2000.
“Playing Cowboys and Gauls: Breton, Etienne and the U.S. Cultural Invasion in 1955
Paris”, Peter Brieger Lecture, University of Toronto, March, 2000.
“French Art seen by American critics in the 1950’s” The Spriestersbach Lectureship at
the University of Iowa: April 15, 2000
“ Cultural Globalization and the creation of Boutique art.” Lecture and Seminar at In Site
2000 for Contemporary Art San Diego and Tijuana with Suzann Buck-Morss, Masao
Miyoshi, David Harvey, David Avalos. October 2000
“The Art of Veira Da Silva; the Saccadic eye.” Veracruz Mexico in the Getty Founded
seminar on Latin American Modern Art: Revisions. October 2000
« Muséalisation du Monde ou ‘Californication’ de l’Occident? » : Ecole des Arts et
Métiers, Paris, Participation in the groundbreaking Université de tous les savoirs
(lectures were broadcast on French TV and are published as an encyclopaedia for the
XXI century). November 2000
“Global Culture and the creation of Boutique Art.” La Havana Cuba, Intervention at the
Biennale of Contemporary art. November 2000
2001
18
“Nouveau Réalisme, Nouveau Roman, Nouvelle Figuration and Nouvelle Vague: What’s
New in Paris?” UCLA, April 2001
“ Let’s Tango: Reconstructing French and U.S. cultural Identities after WWII”. Seminar at
the University of Buenos Aires. May 2001
“ ‘Leur faire avaler leur chewing-gum’ : Some chewy problems in the artistic and political
scene of 1954 France.” University of Southampton, Keynote Speaker in conference
“France and America: Culture and Society in the 20th Century” July 2001
“Globalisation and Post modernity”. Presentation/seminar at the Summer University
Madrid, El Escorial: August 2001
“ Pierre Francastel’s Peculiar Art History”,Paper given at a conference I organized at
U.B.C. with Rebbecca de Roo and Jill Carrick called : “Reconstruction, Consommation,
Contestation”, October 2001
2002
“ Slow Wols, Ou deux ou trois choses que je sais de lui.” Paper presented at the conference:
Reconstruction, Consommation et Subversion , Paris, October 2002
« Conscious and Unconscious Content of Post-war Abstract American Art” Tacoma Art
Museum. Octobre 2002 in relation with the show : The New York School : The Politics of
Abstraction.
Picasso\Picassiette: Les tribulations d’un agent double au cours de la guerre froide »,
Picasso Symposium, Ecole Nationale des Beaux-arts, Paris et Institut Universitaire de
France. November 2002
2003
« Jean Fautrier: The colour of Horror », Keynote Speaker at the Symposium accompanying
the Jean Fautrier show at the Miriam and N.Y. (with Yves Alain Bois, Benjamin Buchloh,
Karen Butler, Curtis L. Carter etc…) March 2003.
Conversation LACMA with Daniel Buren, “Stripes Strike” April 2003
2004
April : Yale University « The Good, The Bad and the Pretty : The Fear of Cultural
Globalization in France at the Beginning of the Cold War », Empire/Globe : Art in
International Networks , (with Wu Hung, David Joselit, Gulru Necipoglu, Darcy Grigsby,
Mimi Yiengpruksawan, Pamela M.Lee, Miwon Kwon, Bert Winther-Tamaki)
2005
19
: Attachantes Taches ou Violentes giclées? : Les enjeux de la guerre froide INHA Paris :
May 2005.
“Art, Fashion and all that Jazz in Post WWII Paris” Barcelona, MACBA September 2005
“Fautrier and Wols Ways”: Clark Institute: December 2005
2006
“Factory of Facts: Research as Obsession with the scent of history”, The Clark Institute
for the conference called: What is Research in the Visual Arts?, Obsession, Archive,
Encounter. (With Marquard Smith, Michael Ann Holly, Marc Gotlieb, Ernst Van
Alphen, Alex Potts, W.J.T. Mitchell, Mieke Bal) May 2006:
April 25-27 “Be Bomb: The transatlantic War of images and all that Jazz”
seminar/symposium at The Terra Foundation for American Art Musée d’art Américain de
Giverny with students from my graduate seminar ( Julie Bevan CCST, Marilou Loumis
MFA, Michael Windower Ph.D, Lisa Marshall MA, Jeffrey DeCloet, MA)
Organized a one month series of conference around my show Be-Bomb” in Barcelona
(MACBA) with Caroline A.Jones, Laurence Bertrand Dorleac, Valeriano Bozal, Annie
Claustres, Andrew Hemingway, Jordi Inanez, Rachel Perry and Frances Stonor Saunders.
2007
“Picasso’s Faena: Joy of Living and Horrors of War”, The University of Texas at Austin,
for the conference called Guernica and After: The Power of Representation , (With
Francis Frascina, Andrea Giunta, Jacqueline Barnitz, Robin Greeley, Michael Orwicz).
April 21-25 2007
“The other side of the Square” Talk at the Maison Française N.Y.U. in relation with the
Grey gallery show Geometry of Hope: December 29th 2007
“Different Grooves :USA-France Postwar cultural relations” and b) “Disk-Jockeying for
position in the 1950s.” Organization of a three days conference and Jazz concert for the
Getty Research Center in: Los Angeles called Côte à Côte/Coast to Coast: Art and Jazz in
France and California.
Public interview and discussion with the French Jazz photographer Marcel Fleiss.
2008
Presentation of “Art Fashion, Jazz and Politics Under the Atomic Cloud, 1945-1956 at
the Celebrate Research Week UBC’s 100th Anniversary, UBC Robson Square. March
2008
20
Round table at ARTSLANT, Los Angeles, for the launching of two books: LEARNING
FROM THE BILBAO GUGGENHEIM (Center for Basque Studies Conference Papers)
University of Nevada, Reno, 2005. and INSTITUTIONAL CRITIQUE AND AFTER
(SoCCAS series vol. II)
« Autour d’une Exposition : Houleuse Culture Transatlantique 1946-56 »
Public Seminar about Be-Bomb at l’école des Sciences Politiques, Paris. July 2008.
Directed a 4 day long seminar at the Fondation Hartung, Antibes on “A new type of PostWorl War II art History: Cultural Relation between Europe and the Americas (Canada,
U.S.A and Latin America)” with Eric de Chassey, Emmanuelle Loyer, Sarah Rich and
Fabrice Flahutez. July 2008:
“Museum Ad Nauseam? Museums in the post-modern labyrinth”, Speaker at the “Creación
artística e identidades culturales” Consello de Cultura Gallega Santiago de Compostella,
Spain. 18-19 September 2008.
“Marketing Expressivity in New York during the 1950s:, at the symposium Post war
Modernisms and Postmodernisms, Yale University, 3-5 October 2008.
2009
Clement Greenberg at 100: Looking Back to Modern Art , Harvard University conference.
( Darby English, Mark Godfrey, Caroline Jones, Louis Menand, Ann Reynolds, Eric
Rosenberg, John O’Brian, Stephen Melville, Michael Lobel, Harry Cooper), Round Table
with Benjamin Buchloh, Rosalind Krauss, Yves Alain Bois, Serge Guilbaut, Thierry de
Duve. April 3-4, 2009.
Getty Research Center: Discussion group on “L.A. Cool”, May 2009
Organization and presentation of a Research project: “Breathless Days: 1959-1960, Cultural
relations between Europe and ‘Las Americas’ (Canada, US. And Latin America)” at the
Bergman/Hartung Foundation in Antibes (France) with : Eric de Chassey (university of
Tours), Richard Leeman (INHA Paris), Cécile Whiting (University of California, Irvine),
John O’Brian (UBC), Jonathan Katz (University of N.Y. Buffalo), Andrea Giunta
(University of Texas, Austin/ University of Buenos Aires), Tonel (artist Cuba), Regis
Michel (Musée du Louvre, Paris), (Hadrien Laroche (Ecrivain, Paris). June 10-16.
2010
January 2010 : « Expositions ou Explosions: Positions critiques de Pierre Soulages. »,
Musée Beaubourg Paris, Colloque Pierre Soulages,
April 17th; Keynote speaker: Graduate Student Symposium, Pen State University.
21
June 2nd: Public Discussion of Maureen Murphy’s Book De L’Imaginaire au musée; les
arts d’Afrique à Paris et à New York (1931-2006), Les Presses du Réel, 2009, at the
Quai Branly Museum Paris.
June 4-6: INHA Paris, Co- organiser of the colloquium on the art critic Michel Ragon.
Presentation given called « A la Tienne Michel: A ce Dragon de Ragon. »
July 2010: Participation in INHA seminar on « La Valeur de l’Artiste : Ranking systems »
with Philippe Bordes, Alexander Nagel, Annie Cohen Solal etc…
October 18-19: Tate Gallery, Presentation to Tate curators of “Problems of curating in the
XXI century”.
November 22-26 : Invited Keynote Speaker University of Sao Paulo, for the symposium
Sobre Historicidade E Arte Contemporânea “‘Leur faire Avaler leur Chewing-Gum’ :
Some chewy problems in the artistic and political scene around 1954 in France.”
2011
May: “Slow Wols 1947”, presented at the symposium “Les Sujets de l’Abstraction”, Musée
Rath Genève.
October: Keynote Speaker CAIA Biennale Buenos Aires, Argentina: “ Lightning from the
past: Police, Pot, Public and Stan Douglas ‘Gastown Riot’.”
November: Lecture at NYU on Antoni Tapies “And So Said Antoni Tapies”
2012
March: Grey Gallery New York: “ ‘Leur Faire Avaler Leur Chewing-Gum’, Violent Art
Scenes in Paris 1953” Symposium “Mediatic Networks in Postwar Paris: Art, Sound and
Film in Motion” NYU.
April: “Jean Fautrier: The Horror of Colour”, AGA Museum Edmonton.
1. REFEREED PUBLICATIONS
(a)
Journals
ARTICLES:
1974
"Jo Baer, Peintre traditionnel et 'Radical'", Art Press, No. 11, Mai 1974, Paris, pp 16-18
1975
22
"The Bingo-Bongo Art Scene: The Beat Generation", L.A.I.C.A. Journal (Los Angeles
Institute of Contemporary Art), April 1975, pp 15-19
1978
"Création et développement d'une Avant Garde: New York 1946-1951", Histoire et
Critique des Arts, Juillet 1978, Paris, pp 27-48
1979
*
"Les Nouvelles Aventures de l'avant garde en Amérique", Parachute, Hiver 1979,
Montréal, pp 16-22 (translated and published as below)
1980
*“The New Adventures of the Avant Garde in America: Greenberg, Pollock, or Trotskyism
to the New Liberalism of the 'Vital Centre': October, No. 15, Winter 1980, pp 61-78
1981
"Paris-Paris ou quand la recherche du temps mythique rend l'histoire Amnésique",
Parachute, No. 24, Automne, 1981, pp 21-24
"Performance as Social Intervention", Parachute, No. 24, Automne, 1981, pp 28-32
"Sur les grandes lèvres du petit palais: Au Petit Palais du Bout des lèvres-Le 'Sommeil'
de G. Courbet", Subobjectivités , Collection « Le Désir Libertaire », Paris, novembre
1981, pp 63-66
1983
"The Relevance of Modernism", in Modernism and Modernity, Nova Scotia College of
Art and Design Press, 1983, pp 9-15
1985
"Art History After Revisionism: Poverty and Hopes", Art Criticism, Edited by Donald
Kuspit, Vol. 2, No. 1, 1985, pp 39-50
“The Frightening Freedom of the Brush: the Boston Institute of Contemporary Art and
Modern Art” in Dissent: the Issue of Modern Art in Boston, the ICA, Boston, 1985, pp.
52-93.
1986
23
*
"Les fondements politiques de l'expressionnisme abstrait Américain", pp 167-184, in
Les Abstractions I: La Diffusion des abstractions, C.I.E.R.E.C., St. Etienne, 1986, pp
167"Hot Paint for Cold War", in C Magazine", Toronto, December 1986, pp 14-19
1987
"Un Autre Style: la Colonne Burennique (Daniel Burren)", Parachute, The Private and
the Public, September, October, November, 1987, pp 5-12
"The Triumph of Pessimism: The Joy of Being in a Tunnel", "C Magazine", Winter,
1987-88, pp 44-49
1989
*
"Bram Van Velde en Amérique: La Peinture Invisible", in Bram Van Velde
rétrospective catalogue, Centre Georges Pompidou-Beaubourg, Paris, November, 1989,
30 pp
1990
"Jeff Wall - Interview", (with T.J. Clark, Claude Gintz and Anne Wagner) published in
Parkett (in German and English), Zurich, December 1989 and January 1990, 5 pp (A
longer version was published in Jeff Wall, Szenarien im Bildraum der Wirklichkeit,
Verlag der Kunst, Dresden, 1997. p. 189-235
*
"Post-war Painting Games: the Rough and the Slick", in Reconstructing Modernism,
M.I.T. Press, Boston, 1990, pp 30-85
1991
"Rideau de Peinture et Rideau de fer: l'état de la critique en Europe en 1948", catalogue,
Extra Muros, Musée des Beaux Arts, La Chaux de Fonds, Switzerland, 1991, pp 92-115
"L'art après la guerre du golfe: Retour à l'ordre, Nouvel ordre ou ordre nouveau?", in
L'Amour de l'art, catalogue, Musée d'art contemporain Lyon, April 1991 5 pages
1992
* "Material for Reflection: The Walls of Antoni Tapies", in Tapies: Comunicacio Sobre el
Mur, Fundacio Antoni Tapies, Barcelona, pp 33-46, Barcelona, 1992 (This was a central
essay of an important retrospective which is travelling to Valencia and to the Serpentine
Gallery in London, the text was published in Catalan, Spanish and English). The catalogue
received the ACCA (Association of Catalan Art Critics) prize of Art Criticism in 1992.
24
"The New Adventures of the Avant Garde in America", published in an anthology:
Modern Art After Pollock: the Critical Debate, published by Harper and Row, pp 153166 also re-published by Phaidon Press in "Art and Modern Culture", an anthology of
critical texts edited by Francis Fascina and Jonathan Harris, 1992.
1993
"Pluralism, Balkanization and the revenge of the 'Primitive'" in Beyond Walls and Wars,
ed. by Kim Levin, Midmarch Press, N.Y., 1993, pp 225-235
*
"Le marché de l'expressivité aux États-Unis", in Histoire du Marché de L'art de la
Renaissance à nos jours, Edition la manufacture, Besançon, 1993. pp 243-289
"A Plea for Parisian abstraction," Kunstlericher Austausch, Berlin, 1993, pp. 259-268.
1994
*
"The Frightening Freedom of the Brush: the Boston Institute of Contemporary Art and
Modern Art, 1948-1950", in Dissent in Boston, catalogue for the ICA, 1985, pp 52-93,
re-published in Marcia-Pointon, editor: Art Apart: Art Institutions and Ideology Across
England and North America, Manchester, University Press, 1994
"Journey to the Centers of Modernity: José Guerrero's Color of Freedom." in Guerrero,
Museo Nacional, Centro de Arte Reina Sofia, Madrid, pp 45-85 (English and Spanish.) 1994
“Azteques et Celtes à l’assaut de l’histoire contemporaine”, in Arte, Historia E Identidad En
America,-Visiones Comparativas, Mexico, p. 809-821. Fall 1994
1995
Editor of Special Issue of Canadian Art Review or RACAR called “Modernism in
Question No. XXVIII, 1-2, 1991. Spring 1995.
“Point de Chute”, Introduction to the RACAR special issue on Modernism p. 3-4. 1995
“Paris Perdu” in “Paris 1944-54, Artistes, Intellectuels, Publics: La culture comme
enjeu.” Revue Autrement, Paris, May 1995, P. 45-61.
*“Suicidal Orgasm: Arshile Gorky’s ‘The Liver is the Cock’s Comb’,” International
colloquium of Art History, UNAM, Mexico City, January 1995. 18 pages
“On Studying British Modernism: an Interview with Judith Mastai and John O’Brian”,
Collapse, Vancouver, 1995, p. 29-36.
1996
Introduction to Où va l’histoire de l’art contemporain? Ecole Nationale supérieure des
Beaux Arts, Paris, 1996, pp. 13-16.
25
* “Contre la fascination de l’Image”, in Où va l’histoire de l’art contemporain? Ecole
Nationale supérieure des Beaux Arts, Paris, 1996, pp. 306-314.
“L’avant-veille Américaine: Barnett Newman, le Mexique et l’art Moderne”, in Les
‘Vies’ d’artistes, Editions du Louvre et (énsb-a), Paris, 1996, pp. 251-271
* “Clefs pour l’art d’Amérique” in 1946: L’art de la Reconstruction, Musée Picasso
Antibes, Skira, 1996, p. 77-89.
* “The Taming of the saccadic eye: the Work of Veira da Silva in Paris”, in Inside the
Visible, ICA, Boston, MIT Press, 1996, p. 319-329.
1997
* Rodney Graham et Francis Alys: Silence, discours et cacophonie - Voyages au centre de
la Périphérie. Parachute, No. 87, July - Au. - Sept., 1997, p. 12-22.
“Orgasme suicidaire: le foie est la crête du coq d’Arshile Gorky”, in L’image (Special
Issue on Desire), Paris, 1997, pp. 65-90.
*“Théodore Gericault: the Hoarse Voice of History” in Gericault: The Alien Body,
Tradition in Chaos, Vancouver, 1997, pp. 4-17.
1997
“Recycling or Globalizing the Museum: MOMA-Guggenheim Approaches”, Parachute,
Montreal, N. 92 – Oct-Dec, 1998, pp. 63-67.
1999
“Get a(n) (everyday) Life!, Paris, in “L’encagé”, catalogue of the show “Up Against the
Wall Mother Poster”, Morris and Helen Belkin Art Gallery, 1999, pp. 2-5.
“Miel y Mierda: los cuerpos de Antoni Tapies en los anos 80”, in Epilogos y Prologos
Para un Fin de Siglo, CAIA, Buenos Aires, 1999, pp. 19-28.
2000
* « 1955 : The year the Gaulois fought the Cowboy.” In Yale French Studies Special
Issue called The French Fifties. 2000, N0 98, p. 167-182.
2001
26
“The New Adventures of the Avant Garde in America” republished in Francis
Frascina Pollock and After: The Critical Debate second edition, Routledge, London
2001. p.197-211.
“Nueva-York, Capital del Arte”, in Summa Pictoria, Historia Universal de la Pintura ,
Volume X, De las Vanguardias a la postmodernidad, 2001 p. 63-79.
2002
*« Muséalisation du Monde ou Californication de l’Occident ? », in Qu’est-ce que la
culture ? Université de Tous les Savoirs, Paris, Vol. 6, Odile Jacob, Paris, 2001 p.
369-382 (Republished in paperback in 2002.)
* « De la Terre au Ciel avec Riopelle », in Riopelle, Musée des Beaux-Arts de
Montréal, published by Connaissance des Arts, June-September 2002, pp. 17-27.
(Published in English as “From Earth to Sky with Riopelle.”)
“Dripping on the Modernist Parade: The Failed Invasion of Abstract Art in Brazil
1947-1948”, Kunst und Politik, Jahrbuch der Guernica-Gesellschaft , special issue on
Postcolonialism, no 4, 2002, pp. 79-91
2003
“The University and the Museum in the Global Economy” in Conversation 1,
Fugitive Sites In(fo) Site, San Diego, 2003, p. 208-213.
2004:
*“Deliquescent Bodies with Eyelids: Conjuring Everyday Life in the 1980s”, in
Tàpies in Perspective MACBA, Barcelona, p. 291-309
2005
“Points de Vue”: Connaissance des Arts , « Chef d’œuvres de la Phillips Collection »,
No 267, 2005-6, p.27-28.
"Sleeping in Bilbao: The Guggenheim as a New Cultural Edsel?" in Learning from
the Bilbao Guggenheim , Edited by Anna Maria Guasch and Joseba Zulaika; Center
for Basque Studies, University of Nevada Reno, 2005, p. 133-149
2006
« De la terre au ciel avec Riopelle » is reprinted in the exhibition catalogue Riopelle .
The show was presented at the Musée des Beaux Arts de Montréal and at the
27
Hermitage Museum in St Petersburg and at the Musée Cantini in Marseille. (Three
versions of the catalogue (English, French and Russian). 2006-07
« Conversation with Craigie Horsfield » in Craigie Horsfield Relation, edited by
Catherine De Zegher, Fundation Gulbenkian Portugal/Jeu de Paume Paris, 2006-7.
“Museitzacío del món o californicacío d’occident?” in Nexus No 35, Barcelona, 2006, p.
112-120.
2007
“Squares and Stains: The Impossible Mix in Cold War Paris”, Catalogue Essay for the
exhibition The Geometry of Hope: Latin American Abstract Art from the Patricia Phelps de
Cisneros Collection Blanton Museum, Austin. 2007, p.62-74
* “Disdain for the Stain: Abstract Expressionism and Tachisme” in Joan Marter ed.
Abstract Expressionism: The International Context, Rutgers University Press,
Newbrunswick, 2007, p. 29-51.
“Serge Guilbaut: Intrevista” in Anna Maria Guasch La Critica Dialogada , Cendeac,
Cartagena, Spain, 2007, p. 59-67 (along with Buchloh, Foster, Danto, Pollock, Krauss,
Crow, Lippard, Crimp, Kuspit)
*« La longue marche des Musées à l’age touristique: Le Centre Pompidou, le MoMA, le
Guggenheim et la Tate gallery» , in Le Centre Pompidou : Trente Ans d’Histoire , ed.
Bernadette Dufrêne, Beaubourg, P. 544-557, Paris 2007
2008
*« la genesis de Guerrero : redefiniendo y depurando la energia en Nueva York (19501965) » in Catalogue Razonado José Guerrero, Volume 1, 2008, p. 48-68.
Introduction for the book The Art of Defeat: France 1940-1944 written by Laurence
Dorleac and published by The Getty Institute. 2008.
*“Factory of Facts: Research as Obsession with the Scent of History” in What is
Research in the Visual Arts?; Obsession, Archive, Encounter Edited by Michael Ann
Holly and Marquard Smith, Clark Studies Visual Arts, Sterling and Francine Clark Art
Institute and Yale University Press, 2008. P. 105-119.
2009
“Ménage à Trois: Paris, New-York, Sao Paulo, and the Love of Modern Art” in Barbara
Groseclose and Jochen Wierich Eds. Internationalizing The History of American Art :
Views , The Pennsylvania State University Press, 2009, p. 159-178.
28
*October: “Pierre Soulages l’Américain?” in the Retrospective Soulages Catalogue for the
Centre Pompidou, Paris, p.36-54.
« Picasso-Picassiette, O las tribulaciones de un agente doble durante la guerra fria », in La
Tretas de lo Visible , Ed. Gabriela Siracusano, CAIA, Buenos Aires/ Getty Research
Center,2009, p. 131-151 (with Griselda Pollock, Ticio Escobar, Gerhard Wolf, Rita Eder,
Tom Cummins, Dario Gamboni, Hans Belting)
December: « La faena de Picasso: alegria de vivir y horrors de la guerra », in Andrea
Giunta Ed. El Guernica de Picasso : el poder de la representation, Europa, Estados
Unidos y America Latina , Editorial Biblos, Buenos Aires Argentina, p. 23-35.
“Museum Ad Nauseam ? os Museos no labirinto posmoderno” in Maria Luisa Sobrino
Manzanares (Ed.), in Creación artística e identidades Culturais Consello da cultura
Galega, Santiago de Compostela, p.21-39.
2010
Editorial for the magazine Critique d’Art, Automne 2010, “Pour en finir avec la
dépression Lyrique”, p. 2-4
“Success : How New York Stole the Notion of Modernism from the Parisian, 1948” in
Exhibition: Magnet: New-York Argentine Art from the 1960s, Fundacion Proa, Buenos
Aires July/October 2010, p. 37-62
2011
”Collecting Bohemia in Post-WWII New York: The Baker Collection, p. 49-81.” In Get
There First, Decide Promptly: The Richard Brown Baker Collection of Postwar Art, Yale
University Press, New Haven, 2011. (with Jennifer Farrell, Thomas Crow, Robert Storr,
Jan Howard and Judith Tannenbaum.)
“ Lightning from the past: Police, Pot, Public and Stan Douglas ‘Gastown Riot’.” In Stan
Douglas Abbot & Cordova, 7 August 1971, Arsenal Pulpe Press, Vancouver, 2011, p. 2647.
“Early Golub: The Force of Powerlessness and the Power of Forcefulness”, in Leon
Golub Ed. Jon Bird and Manuel J. Borja-Villel, Museum Reina Sophia Madrid, 2011, p.
120-174..
“And So Said Antoni Tàpies”, Introduction in Antoni Tàpies: Collected Essays Indiana
University Press, 2011, P.13-39.
“The Anti-Square Merry-go-Round Show: Action and Politics in Los Angeles around
1955.”, in Pacific Standard Time Los Angeles Art 1945-1980, Ed. Rebecca Peabody,
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Andrew Perchuk, Glenn Phillips and Rani Singh, The Getty Research Institute, 2011, p.
63-65.
“Vive the Utopian Highway”, in Pablo Helguera And Sarah Demeuse Eds. The School of
Panamerican Unrest, Jorge Pinto Books, New York, 2011, p. 73-76
In Press:
Matisse « From the master’s Voice: ‘Bavardages or Radotages’? » Getty
Publications, in press.
BOOKS
(a)
Authored
Essai d'implantation rurale dans les landes aux XVIII et XIX siecle, Edition Musée,
d'Aquitaine, Bordeaux, France, 1972, 100 pp
1983: * How New York Stole the Idea of Modern Art: Abstract Expressionism,
Freedom and the Cold War, University of Chicago Press, 1983, 277 pp
1990 : Comment New York Vola l’idée d’art moderne Edition Jacqueline Chambon, Nimes,
1991: How New York Stole the Idea of Modern Art, published in Spanish, Edition
Mondadori,
1992: How New York Stole the Idea of Modern Art, published in Polish, Hotel Stucky.
1996: How New York Stole the Idea of Modern Art, published in German, Verlag der
Dunst, Berlin,
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2006: How New York Stole the Idea of Modern Art published in Paperback by Hachette
Paris, France.
2007 Reprint (paperback) of How New York Stole the Idea of Modern Art in Spanish,
Tirant lo Blanch, Valencia.
2009: How New York Stole the Idea of Modern Art Publish in Turkish by Sel Yayincilik
Istanbul.
*1994 : Voir, Ne pas Voir, Faut Voir: Essais sur la perception et la non perception des
oeuvres. Editions Jacqueline Chambon, Nimes, 248 pp.
*1995: Sobre la desaparicion de Ciertas obras de arte. Mexico City, CURARE/FONCA.
273 pages. 1995
2009: Los espejismos de la imagen, Essays, Editions Akal, Madrid.
(b)
Edited
* 1983: Co-editor, with David Solkin, Modernism and Modernity. Nova Scotia College of
Art and Design Press, , 280 pp
*1990: Reconstructing Modernism: Art in New York, Paris and Montreal 1945-64, editor
M.I.T. Press, 420 pp.
*1996: Co-editor with John O’Brian and Bruce Barber, Voices of Fire: Art, Rage and
Power. University of Toronto Press. 210 pp
*1996 : Co-editor with Laurent Gervereau, Laurence Bertrand Dorleac and Gerard Monnier,
Où va l’histoire de l’art contemporain?, Ecole Nationale supérieure des Beaux Arts, Paris, ,
492 pp.
1997: Co-editor with Maureen Ryan and Scott Watson, Theodore Gericault: the Alien Body:
Tradition in Chaos, Morris and Helen Belkin Art Gallery, Vancouver, 251pp.
2007: Editor: Be Bomb: Art, Fashion and all that Jazz Paris/New York 1946-1956
MACBA, Barcelona, 700pp. (Spanish, Catalan and English)
Exhibitions:
1997: Theodore Gericault: the Alien Body: Tradition in Chaos, Morris and
Helen Belkin Art Gallery, Vancouver
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•
•
1999: Up Against the Wall Mother Poster, Vancouver, Belkin Art Gallery,
on U.S. and French 1968 political Posters.
2007 : Be Bomb: Art, Fashion and all that Jazz Paris/New York 19461956 MACBA, Barcelona. The show received the prize for the best show
of the year (2007) from the ACCA (Association of Catalan Art Critics)
INTERVIEWS AND DISCUSSION ON MY BOOK; "How New York Stole the Idea
of Modern Art:Abstract, Expressionism, Freedom, and the Cold War":
California Institute of the Arts, Valencia, California, January 1984
U.C.L.A. Studio Department, Los Angeles, February, 1984
Los Angeles Contemporary Design Centre, February, 1984
Toronto radio CBC-FM "Morningside" , February, 1984
Los Angeles Herald Examiner, February, 1984
Toronto AM radio, September, 1984
Pau, France, interview radio des Gaves, August, 1984
Pau, France, interview FR3 (National French radio), August 1984
Montreal, interview/newspaper, La Presse, November 10, 1985
Boston, interview, T.V. WGBH (PBS), on Boston exhibition,"Dissent", February
1986
France Culture (national French Radio), interview by Pierre Descargues, January,
1989, Paris
Radio Canada (French, Montreal) interview by René Viau, January 1989, Paris
Sprengel Museum Hannover Germany, Discussion 1998
Art School Karlsruhe Germany, Discussion, 1998
The book was featured in a double page display in Actuel, special issue of the Bibliothèque
Idéale 1945-1989, as the reference book for the 1950s. 1989
How New-York Stole the Idea of Modern Art was listed in The Nation as one of
the favourites 100 non fiction book in translation published in English since 1900. (in
2000)
2003: Interview by Paul Nelson Public Radio Peoria Productions, Tacoma. (2
hours)
WORK SUBMITTED (including publisher and date of submission)
WORK IN PROGRESS (including degree of completion)
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Book on post-war international relations: The spittle, the square and the (un)happy Worker:
the search for identity in Paris, N.Y. and Montreal, 1945-56, University of Chicago
Press, Gallimard, Paris (2012)
Edition of a book on Matisse writings. I will edit and write the introduction of a book which
will present the unpublished manuscript I found in the Getty archives with analysis from
Yves Alain Bois and Laurence Bertrand Dorleac. Getty Publications 2012
ARTISTIC WORKS, PERFORMANCES, DESIGNS
Participation in Art Shows:
Several photographic shows in Pau France in the 1960s.
• Drawings, Vancouver, 1996.
• Artropolis, “Browser” , curated by Kitty Scott, 1997.
•
•
•
Acting: Role of Elie Faure the famous 1930s French art historian in the Film
A Banquet in Tetlapayac (relating the filming of Einseinstein’s film “Que
Viva Mexico”) by Olivier Debroise. The film was presented among many
venues in Europe and America at the Vancouver Film Festival. Film by
Olivier Debroise, with Cuauthemoc Medina, Sally Stein, Andrea Fraser.
October 2000.
The French radio station, France Culture, aired an hour-and-a-half long
program, “Surpris par la Nuit” (produced by Alain Veinstein, directed by
Isabelle Rebre) on May 22nd, 2009. Interviews with Sylvia and Francesca
Pollock and the art historians Eric de Chassey and Serge Guilbaut; readings
by Sylvia Pollock, Luc-Antoine Diquero and Sanford McCoy..
April 2012, UBC Koerner Gallery , Serge Guilbaut a Retro-perspective , 98
pages catalogue.
33