CHRISTIAN VIVEROS-FAUNÉ

USF's Contemporary Art Museum presents The Neighbors: Slide Shows for America, a photography exhibition. Louisiana artist Douglas Bourgeois paints the natural world around him. The Repertory Dance Theatre in Salt Lake City, Utah, spreads the power of dance to students through educational programs. Animals at the Sacramento Zoo create works of art.

FULL VIDEO HERE

Life During Wartime: Art in the Age of Coronavirus participating artist Jake Chapman talks with USFCAM Curator-at-large Christian Viveros-Faune about about he and his brother Dinos's new series titled The Disasters of Yoga II (2019-2020).

La experiencia de ir a un museo mutó por la pandemia. En su lugar han surgido otras formas, como esta exposición digital que los invitamos a observar. Informa  Alonso Castillo, Voz de América, Miami.

VIDEO COMPLETO AQUI

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READ INTERVIEW HERE

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PHOTO: Gran Sur: Chilean Contemporary Art from the Engel Collection, Installation view, Alcalá 31, Madrid, Spain, 2020

Spencer Tunick participa de la muestra colectiva "Life During Wartime: Art in the age of the coronavirus",

curada por Christián Viveros-Fauné para USFCA, Tampa, Florida.

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El periódico mexicano La Jornada conversó con el artista acerca de la muestra, su obra, y el contexto actual de la sociedad.

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LEE El ARTICULO COMPLETO AQUÍ 

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Foto: Spencer Tunick, Stay Apart Together, 2020

Part of the online exhibition at USFCA

Click here for full article

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Sabrina Amrani is pleased to announce the online group exhibition ‘You and Me and Everyone We Know’ curated by Christian Viveros-Fauné, presenting works by Manal AlDowayan, Mónica Bengoa, Sebastiaan Bremer, Gianfranco Foschino, Anastasia Samoylova and Jorge Tacla.

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Sometimes a title is enough. I admit that this one I brought it up unconsciously, without realizing it was from a 2005 North American film. The film, by the way, consists of several plots that revolve around the intertwined lives of a large number of characters. When I realized that my title could also constitute a little plagiarism, or perhaps a tribute, I decided to keep it. We are all intertwined as never before; we are also isolated like never before. Our limbo state is due to a plague that in normal times we would classify as a film.

The simple idea of being able to invoke different voices - you, me and all the people we know - serves as a pretext to generate this exhibition: a 100% virtual exhibition that deals with both intimacy and isolation, the current obligation to make social distancing, but also the absolute need to maintain active labor and emotional ties. The effort involved in putting together this exhibition is different from that required to organize a normal exhibition. It requires greater faith, generosity and introspection, because you also want to pose and answer, at least partially, a question: how to invoke the possibilities of art in the midst of a global pandemic to trigger ideas, stories, conversations, emotions, feelings and mental states that allow us to reflect on our external and internal realities?

These and other reflections are made possible thanks to the presence, widely digital in this instance, of great works proposed by an eclectic group of international artists. They are Manal AlDowayan (SA), Mónica Bengoa (CL), Sebastiaan Bremer (NL), Gianfranco Foschino (CL), Anastasia Samoylova (RU / USA) and Jorge Tacla (CL / USA). Each of them presents a single work for this exhibition; their possible meanings are expanded or altered ("re-meanings") by the current crisis. Most of their works were done before March 22, the date the World Health Organization (WHO) officially declared the coronavirus a planetary pandemic. One was made entirely during the current quarantine period. Through their respective media, which include painting, drawing, photography, textiles and video, each of these brilliant artists exhibits a conviction as urgent as it is millennial: art is not just thinking, it is giving shape to thought.

I want to add one more observation to this text as an appendix. For the first time since the invention of the internet, we can say that, You and Me and Everyone We Know share the same reality under the new health system of covid19. Today, through this same medium, ironically, we can approach important meditations, such as those we see gathered in this exhibition, on how this new reality connects us, the least the vast majority, above all.

Christian Viveros-Fauné
Brooklyn, April 9th 2020

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Pictured: Sebastiaan Bremer | I Am Holding My Breath for Weeks Now (2020). 

Interview with The face of America

http://bayartfiles.com/an-interview-with-christian-viveros-faune/

Click aquí para leer artículo completo

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Entrevista  para Arteinformado

Join us for an in-gallery conversation with artist Zhao Gang and guest curator Christian Viveros-Fauné for the opening of Zhao Gang: History Painting. Gang will discuss his paintings, practice, and how he has come to be positioned as an insider's outsider of both Chinese and American cultures. Experience the artist's work hung salon style in a 130-square-foot "apartment" built within the exhibition gallery and learn more about this format that mimics the 1980s phenomenon of "apartment art." Zhao Gang: History Painting opens on Thursday, May 23, 2019 at 6pm and is on view through January 5, 2020.

(MIAMI, FL — April 15, 2019) — Pérez Art Museum Miami (PAMM) is pleased to present Zhao Gang: History Painting, an exhibition of fourteen paintings that bring together the radically multicultural aspects of Gang’s art and identity as an artist who is both Chinese and American. On view from May 24, 2019 through January 5, 2020, the exhibition serves as a critical re-reading of the history of contemporary art both in the East and the West.

Zhao Gang is a key figure in Chinese contemporary art, and the youngest member of the Stars Group— China’s first modern art movement. Born in Beijing in 1961, Gang left China in 1983 to study, live, and work in Europe and the United States. After returning to China 24 years later, Gang developed a dynamic, provocative painting practice that freely combines Western and Eastern influences as a lens to reflect on the profound changes affecting his native country. Before Gang left, there was no such thing as “Chinese contemporary art.” By the time he returned, globalization had ushered in not just multiple styles and forms of art, but also an entire art economy.

Zhao Gang: History Painting will feature fourteen paintings, dating from 1997 to 2018, that bring together the complex cross-cultural aspects of Gang’s identity and practice. Though the artist is Chinese and American, he is considered—and considers himself—an outsider in both cultures. As both native and newcomer, Gang has developed a darkly ironic, often crude approach to depicting Chinese history. His paintings elide centuries-old tropes with images from the Cultural Revolution, images drawn from memories of his childhood, and images of China as an economic and cultural powerhouse in the new millennium.

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A number of the works will be displayed salon style inside a 130 square foot “apartment” built insidePAMM’s Rose Ellen Meyerhoff Greene and Gerald Greene Gallery in order to mimic the Beijing practice of showing art in residential apartments—a practice that sustained the city’s experimental scene in the 1980s and ‘90s. The idea of “apartment art” rose as young artists organized exhibitions at home as a response to the lack of exhibition opportunities and government-approved venues. Gang’s “apartment show” will materialize the challenges faced by artists of his generation in China, while drawing parallels between instances of censorship in both East and West, as well as artists’ responses to the ongoing curtailing of freedom of expression.

Zhao Gang: History Painting strengthens and expands PAMM’s emphasis on the art and culture of the Atlantic Rim—the Americas, Western Europe and Africa—all places that have historically seen a significant uptick in the presence of Chinese investment, immigration, and culture. In the same way in which it is possible to speak about artists who represent a gender-neutral intersection of identities and cultures as Latinx, it is also possible to speak about Zhao Gang’s artworks as being emblematic of and anticipating a growing Chinese-Western cross-culturalism. His paintings, in many ways, predict and expand the idea of a contemporary art that opposes cultural binaries and incorporates ideas and motifs from many cultures at once.

Zhao Gang: History Painting is organized by Guest Curator Christian Viveros-Fauné and coordinated at Pérez Art Museum Miami by Assistant Curator Jennifer Inacio.

Sunday, May 5, 2019 - 2-3PM

Veterans Room
Park Avenue Armory
Park Avenue at East 67th Street

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What has been the historical relationship between visual art and politics and what is it today? Artist Seth Cameron and art critic Christian Viveros-Fauné (author of Social Forms: A Short History of Political Art (David Zwirner Books, 2018)) engage in a conversation about paradigmatic cases that have given voice to art's strongest calls to political action over the last 150 years. From Francisco de Goya's The Disasters of War (1810-20) to David Hammons's In the Hood (1993), the panelists examine the ways in which artists have dealt with local and global political crises, the rise of consumer culture and the challenges of technologies—and how the long-lasting impact of their contributions continue to compel us today.

Panel:

Seth Cameron, artist, writer, and co-founder, The Bruce High Quality Foundation
Christian Viveros-Fauné, author and Curator-at-Large, University of South Florida Contemporary Art Museum

We are delighted to announce that Christian Viveros-Fauné will be joining us at Artland as our first ever Chief Critic.

Based in New York City he will write primarily about exhibitions and the cultural landscape there, articles that will also feature Artland’s revolutionary and market leading Artland 3D, virtual exhibition tours that enable the viewer to pay compelling virtual visits to actual exhibition spaces.

“Christian's distinguished record of curatorial expertise brings a gravitas to Artland’s platform that we have wanted for some time. His insights from New York, the de facto capital of the international contemporary art industry, will contribute incisive yet accessible ideas our readers will enjoy, and his critical writing will bring a new perspective to our programming,” Artland CEO and co-founder Mattis Curth said in a statement. “His global reach will bring a new audience to us, and his distinctive voice is perfect for guiding an emerging generation of collectors into and around the industry."

In 2010, Viveros-Fauné was awarded the Creative Capital/Warhol Foundation Arts Writers Grant and was named the inaugural critic-in-residence at the Bronx Museum from 2010 to 2011. He was a critic for the Village Voice for a decade, and his writing has appeared in publications such as Art in America, ArtReview, artnet, Artnews, Frieze, Art in Australia, Newsweek and The New Yorker. His latest book, Social Forms: A Short History of Political Art, was released by David Zwirner Books in December 2018.

Viveros-Fauné has also served as a lecturer at Yale University and the Pratt Institute, and as a visiting critic at the Rhode Island School of Design and at Holland’s Rietveld Academie. He is currently an art critic for Art Agency Partners and is the author of their regular in other words column.

From 2001 to 2018, Viveros-Fauné organized exhibitions at numerous international venues, including the Art Museum of the Americas in Washington, DC; the Bronx Museum of the Arts; the Fundación CorpArtes in Santiago, Chile; the Centro Atlántico de Arte Moderno in Las Palmas, Spain; and the Museo de Arte Contemporáneo de Lima in Peru. He is currently the Curator-at-Large at the University of South Florida Contemporary Art Museum and the Kennedy Family Visiting Scholar at the USF School of Art and Art History.

Commenting on his new post, Viveros-Fauné said: "I am really looking forward to working with Artland to continue to make the global art world more accessible. Since 2016, Artland has made it its mission to demystify the art experience through technology; now that it has added first rate content to its remit, I am proud to be able to collaborate with their amazing team."

Using the infamous 1993 Whitney Biennial as a starting point, this panel will address how institutions show political art today; how the climate for viewing and understanding political art has shifted (or not); and, in turn, what political art looks like in a time of increasing connection, image-literacy, and social-collectivism.
 

Moderator: Christian Viveros-Fauné, Writer and Curator, University of South Florida Contemporary Art

Museum
 

Participants: Elisabeth Sussman, Curator and Sondra Gilman Curator of Photography, Whitney Museum

of American Art; Ben Davis, Critic (panel participants in formation)

Sábado 2 de marzo, 17 hrs. Feria ARCO, Sala 38, Pabellón 7.

Lanzamiento de Greatest Hits II: Arte en Nueva York, 2001-2015, del crítico chileno-neoyorquino Christian Viveros-Fauné, publicado por el Centro de Documentación y Estudios Avanzados de Arte Contemporáneo (CENDEAC). Con Javier Castro Flórez (coordinador de actividades del CENDEAC) y Juan José Santos (crítico de arte El País y autor Curaduría de Latinoamérica: 20 entrevistas a quienes cambiaron el arte contemporáneo, CENDEAC, 2018). 

Según el crítico de artnet News Ben Davis, el libro de Viveros-Fauné representa “la gran amenaza del arte crítico de Nueva York por partida triple: puede explicar las partes más difíciles del arte contemporáneo con estilo y claridad, indignarte con las injusticias de la sociedad y hacerte reír a carcajadas. Una vez sería una hazaña, pero el hecho que lo haga una y otra vez lo convierte en uno de los grandes”.

Christian Viveros-Fauné is curator-at-large at the University of South Florida Contemporary Art Museum and Kennedy Family Visiting Scholar at the USF School of Art and Art History. He was awarded Creative Capital/Warhol Foundation Grant for arts writing in 2010, was named critic in residence at the Bronx Museum in 2011, and has been a lecturer at Yale University, Pratt University and Holland’s Gerrit Rietveld Academie. He writes regularly for ArtReview, Sotheby’s in other words, and The Art Newspaper. He has curated numerous museum exhibitions around the world and is the author of several books. His most recent, Social Forms: A Short History of Political Art (2018), was published by David Zwirner Books.

Lisa Yuskavage received her BFA from the Tyler School of Art, Temple University and her MFA from the Yale University School of Art. Yuskavage’s work has been the subject of solo exhibitions at institutions worldwide and is included in numerous museum collections. In 2020, The Baltimore Museum of Art and the Aspen Art Museum will co-organize a solo presentation of the artist’s work. The artist’s work is represented by David Zwirner. Yuskavage lives and works in New York.

Following the discussion will be a book signing of Christian Viveros-Fauné’s new book Social Forms: A Short History of Political Art, published by David Zwirner Books.

Thursday, February 7 at 7 pm

FAH101 University of South Florida

College of the Arts

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Reception to follow in the CAM at 8:00 pm

Open Letter on Behalf of Cuban and International Arts Professionals Regarding the Decree 349/2018: "We Request a Dialogue between Cuban Arts Professionals and the Cuban Government to Reconsider this Measure."

January 11 – March 2, 2019
USF Contemporary Art Museum

Curated by Christian Viveros-Fauné: organized by USF Contemporary Art Museum

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The four international artists in The Visible Turn: Contemporary Artists Confront Political Invisibility, Karolina Sobecka, Bosco Sodi, Tavares Strachan, and Jorge Tacla, create installations in response to the phenomenon of cultural concealment. They combine the presentation of objects and performances inside an exhibition venue with artist-directed activities that engage and support communities in the Tampa Bay area affected by political or social invisibility. Together, their works refer to people and ideas that have crucially been omitted from today’s social, political, economic, and cultural processes. According to Duchamp’s logic, invisibility is impotence. What is powerful is to be seen. 

Monday, December 3, 2018 6–8 PM 

34 East 69th Street New York 

Kindly RSVP to Annie Lyall Slaughter at annielyall@davidzwirner.com

A private gathering featuring a conversation about art criticism today and tomorrow with Dawn Chan Jarrett, Earnest Orit Gat, Annie Godfrey Larmon, and Christian Viveros-Fauné. Moderated by Prudence Peiffer.

Wednesday, November 28 at 6:00pm

Marano Campus Center, Auditorium, Room 132 
Marano Campus Center, 7060 NY-104, Oswego, NY 13126, USA

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New York-based Christian Viveros-Fuané shares his wide range of experience in the art world; he has served as a critic, writer, curator and dealer. His writings have appeared in many international publications such as Art in America, Artnews and Newsweek. He has organized exhibits at museums in many countries including the Bronx Museum of Art and the contemporary museums of art in Santiago, Chile and Mexico City. He recently joined the Universal of South Florida Contemporary Art Museum as museum curator at large and visiting scholar. Free.

Keynote Conversation, Thursday, November 1, 7:30 PM
Marquette University Weasler Auditorium 1506 W Wisconsin Ave.
Curtis L. Carter Art and Social Change Lecture
• Elizabeth Hinton, Associate Professor, History and African and African American Studies, Harvard University
• Christian Viveros-Fauné, art and culture critic and curator-at-large at University of South Florida Contemporary Art Museum

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The Milwaukee Art Museum and the Haggerty Museum of Art have convened a symposium on art and social issues, focusing specifically on criminal justice reform. Entitled, "The Milwaukee Model: Envisioning the Role of the Arts in Criminal Justice Reform," the three day series of talks and workshops features a local and nationally renowned panel of artists, curators, academics, and criminal justice experts.

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Christian Viveros-Fauné is one of those experts. He’s an art and culture critic and the curator-at-large at the University of South Florida Contemporary Art Museum. He also has a keen interest in art and politics and how they inform each other. Viveros-Fauné discusses the intersection of art and criminal justice with Lake Effect's Bonnie North. 

For the press release, please click here.

Curated by Christian Viveros-Fauné

Organization of American States | Secretariat for Hemispheric Affairs
AMA | Art Museum of the Americas
201 18th Street NW, Washington DC 20006 

April 19 - July 8, 2018
Hours: Tuesday-Sunday, 10am-5pm

Opening reception: Wednesday, April 18, 6-8pm

GIVE LIGHT, BUT BURN NOT THE SAINT

By BOSCO SODI

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March to May 2018

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The exhibition of the Mexican artist Bosco Sodi, curated by Christian Viveros-Fauné, will be open to the public from March 17 to May 6 at the Museum of Visual Arts – MAVI. It is his first exhibition in the country.

Episode 19: Klimt and Schiele plus Songs for Sabotage

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A look at the life and art of the two Austrian greats as shows open marking the 100th anniversary of their deaths. And the New Museum Triennial is reviewed.

March 1, 6:30-8:00 PM

The Dedalus Foundation

25 East 21st Street, Floor 4

In 1973, literary critic Harold Bloom published The Anxiety of Influence: A Theory of Poetry. His central thesis was that poets are both hindered and encouraged in their creative process by the ambiguous relationship they necessarily maintain with precursor poets. A similarly fraught and productive relationship exists between visual artists and their own forerunners. Painter Angel Otero and critic-curator Christian Viveros-Fauné examine both the anxiety and advantages of influence in a freewheeling conversation that centers on Otero's relationship with various generations of artists as well as on the Puerto Rican painter's exhibition "Angel Otero: Elegies," currently on view at the Bronx Museum of the Arts.

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RSVP Required

Please email rsvp@dedalusfoundation.org

The McKnight Visual Artist Fellowships are awarded annually to eight established Minnesota-based artists. This discussion series, pairing a nationally recognized art critic or curator with two McKnight Visual Artist Fellows, offers attendees an opportunity to learn more about the fellows as well as about how their work intersects with broader contemporary art ideas and concerns.

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Friday, February 16

6:30 pm

Minneapolis Institute of Art

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Free, but ticketed. Reserve tickets in advance at ticket.artsmia.org.

What does it mean when an international city decides to put our shared cultural heritage behind a paywall? Is it just another way to soak the rubes? Village Voice art writers R.C. Baker, Jennifer Krasinski, Siddhartha Mitter, Mallika Rao, and Christian Viveros-Fauné sat down to discuss the machinations of the Met’s decision.

Artists and industry insiders shed light on the commercial forces behind the veneer of genius and glamour than often shrouds contemporary art in Barry Avrich's documentary "Blurred Lines." 

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Starring Christian Viveros-Fauné, Julian Schnabel, Marina Abramovic, Glenn Lowry, Sarah Thornton, among others.

Mónica Bengoa, junto al Consejo Nacional de la Cultura y las Artes y BULB!, tiene el agrado de invitarlos al lanzamiento de m. [una tentativa de inventario exhaustivo, aunque siempre inconcluso], libro realizado en el marco de Tentativa de Inventario, exposición retrospectiva que inauguré el pasado 6 de diciembre en el Museo Nacional de Bellas Artes.
Esta publicación incluye textos de María José Delpiano, Paula Dittborn, Fernando Pérez Villalón y Christian Viveros-Fauné y es al mismo tiempo el catálogo de la mencionada exhibición.

Miércoles 24 de enero 2018
19:30 horas

Salón Blanco, Museo Nacional de Bellas Artes
José Miguel de La Barra 650,
Santiago

With the support of the Direction of Cultural Affairs of the Ministry of Foreign Affairs of Chile, Transformers: Recent works of Darío Escobar and Patrick Hamilton, curated by Christian Viveros-Fauné, will open on April 4 in the Art Museum of the Americas (AMA), Washington, DC.

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Best of 2017: Our Top 20 NYC Art Shows

Brooklyn Public Library, in association with artcritical.com, presents THE REVIEW PANEL: An evening conversation about art.

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Guests: Jonathan Kalb, Laila Pedro and Christian Viveros-Fauné. Moderated by David Cohen.

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December 12, 2017

7 - 9 pm

Dweck Cultural Center, Brooklyn Public Library

New York

Panelists: Alexander Alberro, Art Critic, and Professor of Art History, Barnard College, New York; Kaira Cabañas, Associate Professor of Global Modern and Contemporary Art History, University of Florida, Gainesville. Moderator: Christian Viveros-Fauné, Art Critic and Curator, New York

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Thu 07 Dec

5pm - 6pm

Miami Beach Botanical Garden

Banyan Room

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"Miki Kratsman: People I Met / Gente que conocí", curated by Christian Viveros-Fauné

Opening November 25 at 7:30 pm

MAC Quinta Normal, Santiago, Chile

Jorge Tacla, "Todo lo sólido se desvanece", curada por Christian Viveros-Fauné

Inauguración 21 de noviembre 

CorpArtes, Santiago, Chile

Christian Viveros-Faune, art critic of the Village Voice and ArtNet News, and also former dealer and co-owner of Roebling Hall, talks about Christian-gate, which got him fired and re-hired at the Voice; Damien Hirst’s obituary; the state of the art world, in New York in particular; and the life of a critic.

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ANGEL OTERO OPENING RECEPTION

Wednesday, October 25, 2017, 6:00pm-8:00pm

Join us for the opening reception for Angel Otero: Elegies, organized by Christian Viveros-Faune.

Tuesday, September 12, 2017

6:00 to 7:30 PM

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Please join us at the apartment of Alison and Donald Weiss for a conversation with artist Angel Otero and curator Christian Viveros-Fauné on the upcoming exhibition Angel Otero: Elegies.

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Alison and Donald Weiss

150 East 69th Street, Apt 22G (Between Lexington and 3rd)

New York City

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RSVP by Friday, September 8 to Allison Grandy to agrandy@bronxmuseum.org / 718-681-6000

Thursday, September 14 | 5 - 6 pm

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The second annual EXPO CHICAGO Art Critics Forum will highlight significant issues in arts journalism today, hosting leading national and international critics to discuss topics related to writing, authorship and publishing amongst their colleagues and peers. The 2017 Forum, “Criticism in the Post-Truth Era,” will address the impact of the current political climate on the state of art journalism. Led by artnet News Critic Christian Viveros-Fauné, the Forum will feature a series of short presentations by Afterall Editor Ana Bilbao, ARTnews Editor-in-Chief Sarah Douglas, freelance critic Kevin McGarry and artnet news critic Kenny Schachter, followed by a roundtable discussion.

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The Art Critics Forum, open to all accredited press and EXPO CHICAGO guests, will take place Thursday, September 14, from 5:00 - 6:00 p.m. on the /Dialogues stage, presented in partnership with the School of the Art Institute of Chicago. 

Friday, August 25 | 8:30pm

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The USF Contemporary Art Museum invites you to join us for an After Party following the art lecture and celebration for David Claerbout.

Honoring visiting art critic Christian Viveros-Fauné

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Light dinner buffet at the home of

Margaret Miller

7806 East 113th Avenue

Temple Terrace

813.985.1082

RSVP by August 18: acordero@usf.edu or 813.974.4164

August 8 through October 11

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Curated by Christian Viveros Fauné

Museo de Arte Contemporáneo de Lima, Perú

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August 2, 2017

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Group show curated by Christian Viveros-Fauné

James English Leary, Angel Otero, Kysa Johnson, Patrick Hamilton, Martin Kippenberger, Rhys Coren, G. T. Pellizzi, Dexter Dalwood, Anna Bjerger, Marita Fraser

Through September 8
Galería Leyendecker 

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As one art scene insider proclaims, the contemporary art world can be summed up as “rich people trying to prove how rich they are,” but is that all there is to this billion dollar industry? Well-researched and expertly constructed, Barry Avrich’s eye-opening documentary peels back the layers of the art world economy- from production to circulation, and delineates every integral player in the game of art-making, including curators, gallerists, collectors, donors, auction houses, and … artists. In the process, he unpacks the complex and surprising ecosystem that supports the art world superstars and million-dollar deals that make front-page news. Featuring extraordinary access to industry players and candid statements from prominent artists like Damien Hirst, Julian Schnabel, Taryn Simon, and Marina Abramovic, Blurred Lines collides the two narratives of the art world as both above and beholden to market forces.

—Shayna Weingast

Christian Viveros-Faune, art writer for the Village Voice and ArtNet, returns to The Conversation to talk about: the triumph of the new Whitney Museum building; the Museum of Modern Art’s struggles (including curator Klaus Biesenbach’s star-fucking, and why the Forever Now show sucked); the situation with censored Cuban artist Tania Bruguera, and why no of consequence will defend her; and money and the art world, particularly in the form of collectors-built museums (the Rubells, the Mugrabis).

May 5, 2017

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Why is Latin American art still considered new? The artistic output of this rich and varied region has flourished for centuries engendering sophisticated collecting showcased in remarkable institutions. Diego Rivera, Wifredo Lam, and Lygia Pape have been represented in museums and private collections for decades. Today, Latin American art sparks popular interest, inspires major exhibitions in the US and abroad, and breaks records at auction. Yet art from the “margins” remains an innovation. This panel of specialists discusses the category of “art from the Americas” as a specialty, its breadth and diversity, and its changing status in the art world.

March 27, 2017

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Re-Sited presents the first in the series of informal discussions that examine both the psychology of the “exhibition site” and the “conceptual space.” This conversation is dedicated to questioning: “What is the Site of Art?” and how does “space become a site?” 

A discussion bringing together Melissa Bianca Amore and William Stover, co-founders of Re-Sited with Eric Shiner, Sotheby’s Senior Vice President of Contemporary Art, the art critic Christian Viveros-Fauné and artist and filmmaker Natasha Johns-Messenger.

Exploring the site—the site as medium; the medium as site; the subject as site; the site as subject; the site as object—the object of site. 

In our current “meta—disciplinary age,” where artists are blurring the boundaries between visual arts, performance, science, technology and architecture, the site of art has become the subject, the object and the medium, whereby shifting the traditional “viewing process” to an experience of space or rather a “situation” placed in space. The emphasis towards “interactivity” and “inter-disciplinary aesthetics” has challenged the expectation and reception with a work of art.

Tuesday, November 29, 2016 | 7 - 8.30 pm

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In a free, public event Christian Viveros-Fauné, an art and culture critic with artnet news, discusses the role of art criticism today.

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The Intradisciplinary Seminar, sponsored by the The Cooper Union School of Art, presents a series of free, public lectures reflecting a broad range of contemporary art issues. Speakers include artists, writers, and thinkers currently engaged in a variety of practices. The emphasis is on interdisciplinary approaches, presenting new voices, international perspectives and scholarship across multiple fields. The series constitutes a lively forum for the exchange of ideas between practitioners, students, faculty and the public.

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The Fall 2016 Intradisciplinary Seminar is part of the Robert Lehman Visiting Artist Program at The Cooper Union. We are grateful for major funding support from the Robert Lehman Foundation.

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Located in The Frederick P. Rose Auditorium, at 41 Cooper Square (on Third Avenue between 6th and 7th Streets)

Nato Thompson talked about his book Culture as Weapon: The Art of Influence in Everyday Life, in which examines how business and government use art to influence. He spoke with art critic Christian Viveros-Faune.

November 20, 2016

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Is it possible to work and continue to live in NYC? Must creative types continue to be marginalized by the real estate industry? Can new relations be established with sources of wealth to keep culture from fleeing? What are the solutions?

These and other questions concerning the “G-word”—gentrification—and its many meanings will be considered by panelists Caroline Woolard, Danielle Jackson, Felix Salmon and Ben Davis. Moderated by Christian Viveros-Fauné.

Art critic and curator Christian Viveros-Faune talks about the Cuban performance artist Tania Bruguera, who was arrested for disturbing the public order prior to staging a performance about free speech in Havana’s Revolution Square in December. Her case is an obstacle in the normalization of relations between Cuba and the United States, and has been condemned by the U.S. State department and by many in the art world.