Robert C. Morgan (born 1943) is an American art critic, art historian, curator, poet, and artist.
Robert C. Morgan (born 1943) is an American art critic, art historian, curator, poet, and artist.
Robert C. Morgan received his M.F.A. in sculpture from the University of Massachusetts, Amherst in 1975 and his Ph.D. in art education from New York University in 1978. Professor Morgan has had an extensive academic career. He has taught at New York University, Wichita State University, the University of Rochester, the School of Visual Arts, Barnard College, and Columbia University. From 1981- 2001, he was Professor of the History and Theory of Art at the Rochester Institute of Technology. He is currently an adjunct professor of Fine Arts in the Graduate School of Fine Arts at Pratt Institute in Brooklyn, New York.
Morgan has worked extensively as an independent curator. He has organized museum retrospectives of Allan Kaprow (1979) and Komar and Melamid (1980), both at the Ulrich Museum of Art in Kansas. In 1990, he curated Concept -- Decoratif in conjunction with the Holly Solomon Gallery in New York. From 1989 to 1990, he directed a gallery in SoHo (New York) where he curated a dozen exhibitions of both emerging and established artists, including Carolee Schneemann, Nancy Grossman, Hung Liu, Hong-Wen Lin, Robert Barry, Douglas Huebler, Mel Bochner, Antoni Muntadas, and Max Ernst. In 1994, he co-organized the exhibition Logo Non Logo with French critic Pierre Restany at the Thread Waxing Space in New York, which later traveled to the Art Museum of the University of South Florida in Tampa, Florida.
Morgan has authored numerous books, catalogs and monographs on contemporary artists in various countries. His book on the American conceptualist Robert Barry was published by Karl Kerber Press in Bielefeld, Germany (1986). Haim Steinbach was published by the Musee d’Art Contemporain, Bordeaux (1988). Duchamp, Androgyny, Etc., (on Marcel Duchamp) was published by Editions Antoine Candau in Paris (1990). A Hans Bellmer Miscellany was published by Baum/Malmburg in Malmö, Sweden in 1993. His Turkish Bath installation at Artists Space in 1976 has been recognized an early example of post-conceptual art.
Morgan frequently writes art criticism for the Brooklyn Rail. His books and collected critical essays published include commentaries on conceptual art, post-conceptual art and the new media arts (Umbrella Associates, 1992). He has published the following books in the United States: After the Deluge: Essays on the Art of the Nineties, (Red Bass Publications, 1993), Conceptual Art: An American Perspective (McFarland, 1994); Art into Ideas: Essays on Conceptual Art (Cambridge University Press, 1996), Between Modernism and Conceptual Art (McFarland, 1997): and The End of the Art World (Allworth Press, 1998).
His critical anthologies on Gary Hill (2000) and Bruce Nauman (2002) were published by Johns Hopkins University Press. An edited volume of the late writings by the critic Clement Greenberg was published by the University of Minnesota Press in 2003. In 1995, he traveled to Korea on a Fulbright Fellowship. [1]
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Modernism is a philosophical, religious, and arts movement that arose from broad transformations in Western society during the late 19th and early 20th centuries. The movement reflected a desire for the creation of new forms of art, philosophy, and social organization which reflected the newly emerging industrial world, including features such as urbanization, architecture, new technologies, and war. Artists attempted to depart from traditional forms of art, which they considered outdated or obsolete. The poet Ezra Pound's 1934 injunction to "Make it New" was the touchstone of the movement's approach.
Conceptual art, also referred to as conceptualism, is art in which the concept(s) or idea(s) involved in the work are prioritized equally to or more than traditional aesthetic, technical, and material concerns. Some works of conceptual art may be constructed by anyone simply by following a set of written instructions. This method was fundamental to American artist Sol LeWitt's definition of conceptual art, one of the first to appear in print:
In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.
Postmodern art is a body of art movements that sought to contradict some aspects of modernism or some aspects that emerged or developed in its aftermath. In general, movements such as intermedia, installation art, conceptual art and multimedia, particularly involving video are described as postmodern.
Hans Bellmer was a German artist, best known for the life-sized pubescent female dolls he produced in the mid-1930s. Historians of art and photography also consider him a Surrealist photographer.
Michael Martin Fried is a modernist art critic and art historian. He studied at Princeton University and Harvard University and was a Rhodes Scholar at Merton College, Oxford. He is the J.R. Herbert Boone Professor Emeritus of Humanities and Art History at the Johns Hopkins University, Baltimore, Maryland, United States.
Richard Cory Kostelanetz is an American artist, author, and critic.
Kiki Smith is a German-born American artist whose work has addressed the themes of sex, birth and regeneration. Her figurative work of the late 1980s and early 1990s confronted subjects such as AIDS, feminism, and gender, while recent works have depicted the human condition in relationship to nature. Smith lives and works in the Lower East Side, New York City, and the Hudson Valley, New York State.
Mel Bochner is an American conceptual artist. Bochner received his BFA in 1962 and honorary Doctor of Fine Arts in 2005 from the School of Art at Carnegie Mellon University. He lives in New York City.
Joseph Nechvatal is an American post-conceptual digital artist and art theoretician who creates computer-assisted paintings and computer animations, often using custom-created computer viruses.
Raghubir Singh (1942–1999) was an Indian photographer, most known for his landscapes and documentary-style photographs of the people of India. He was a self-taught photographer who worked in India and lived in Paris, London and New York. During his career he worked with National Geographic Magazine, The New York Times, The New Yorker and Time. In the early 1970s, he was one of the first photographers to reinvent the use of color at a time when color photography was still a marginal art form.
Lucy Rowland Lippard is an American writer, art critic, activist, and curator. Lippard was among the first writers to argue for the "dematerialization" at work in conceptual art and was an early champion of feminist art. She is the author of 21 books on contemporary art and has received numerous awards and accolades from literary critics and art associations.
William Roger Welch is an American conceptual artist, installation artist and video artist.
Johanna Drucker is an American author, book artist, visual theorist, and cultural critic. Her scholarly writing documents and critiques visual language: letterforms, typography, visual poetry, art, and lately, digital art aesthetics. She is currently the Martin and Bernard Breslauer Professor in the Department of Information Studies at the Graduate School of Education and Information Studies at UCLA. In 2023, she was elected to the American Philosophical Society.
In the visual arts, late modernism encompasses the overall production of most recent art made between the aftermath of World War II and the early years of the 21st century. The terminology often points to similarities between late modernism and post-modernism although there are differences. The predominant term for art produced since the 1950s is contemporary art. Not all art labelled as contemporary art is modernist or post-modern, and the broader term encompasses both artists who continue to work in modern and late modernist traditions, as well as artists who reject modernism for post-modernism or other reasons. Arthur Danto argues explicitly in After the End of Art that contemporaneity was the broader term, and that postmodern objects represent a subsector of the contemporary movement which replaced modernity and modernism, while other notable critics: Hilton Kramer, Robert C. Morgan, Kirk Varnedoe, Jean-François Lyotard and others have argued that postmodern objects are at best relative to modernist works.
Charles Townsend Harrison, BA Hons (Cantab), MA (Cantab), PhD (London) was a UK art historian who taught Art History for many years and was Emeritus Professor of History and Theory of Art at the Open University. Although he denied being an artist himself, he was a full participant and catalyst in the Art and Language group.
Bill Beckley is an American narrative and conceptual artist.
Robert Rooney (1937–2017) was an artist and art critic from Melbourne, Australia, and a leading figure in Australian Conceptual art.
Post-conceptual, postconceptual, post-conceptualism or postconceptualism is an art theory that builds upon the legacy of conceptual art in contemporary art, where the concept(s) or idea(s) involved in the work takes some precedence over traditional aesthetic and material concerns. The term first came into art school parlance through the influence of John Baldessari at the California Institute of the Arts in the early 1970s. The writer Eldritch Priest, specifically ties John Baldessari's piece Throwing four balls in the air to get a square from 1973 as an early example of post-conceptual art. It is now often connected to generative art and digital art production.
The Real Estate Show was a squatted exhibition by New York artists' group Colab, on the subject of landlord speculation in real estate held on New Year's Day in a vacant city-owned building at 123 Delancey Street in the Lower East Side of Manhattan, New York City.
Kent Fine Art is an art gallery in New York City founded in 1985 by Douglas Walla.
