Please join us for the 2013 Bampton Lectures in America, presented by the artist Liam Gillick. Drawing upon the artist’s published work on the following periods, notably the books “Erasmus is Late” (1995), “Literally no Place” (2002) and “Construction of One” (2005 onwards) and his more recent polemic essays on work, abstraction and the contemporary, these four lectures will present the social stresses, bounding ideas, and applied effects that these moments have had on contemporary art – proposing a new way to approach both the super-subjective and documentarian strands of recent work. Using narrative, specific historical fragments and an extensive image archive the lectures will be an extended expression of the artist’s practice.
RSVP recommended but not required.
***All lectures will take place in Miller Theater, 2960 Broadway (at West 116th Street).
1820 Erasmus and Upheaval
Tuesday, February 26, 2013, 7 pm
Contemporary art is the product of a complex set of social, economic and psychological markers. This series of lectures presents a particular genealogy of the modern period in order to contribute a revised understanding of the origins of contemporary art and its analysis.
Starting in 1820, prior to the European revolutionary upheavals of 1848, the first lecture will address the immediate aftermath of the French and American revolutions and the stresses which led to new models of work, life and social organization.
1948 B. F. Skinner and Counter Revolution
Thursday, February 28, 2013, 7 pm
1948 is the starting point for the second lecture. Examining conspiracy, behavioralism, post-war restructuring and the delusions around applied modernism it will reveal the various counter measures, both intentional and structural, that shaped the post-war sense of self.
1963 Herman Kahn and Projection
Tuesday, March 5, 2013, 7 pm
For the third lecture 1963 is the pivot for a consideration of projection – both social and political. The rise of insurgency and the consolidation of the scenario as a tool of political and financial control is combined with new models of the presented self within developing sub-cultures.
1974 Volvo and the Mise-en-scene
Thursday, March 7, 2013, 7 pm
The final lecture rooted in 1974 and beyond looks at the mise-en-scène as a model for social and cultural organization. Continued shifts in technology and the rise of Neo-Liberalism are countered by the rise of new identifications and subjectivities.
Co-sponsored with Columbia University School of the Arts, Visual Arts Program.