Douglas Crimp
From The Art and Popular Culture Encyclopedia
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| + | "In 1977 Crimp curated the influential exhibition ''Pictures'' at [[Artists Space]], presenting the early work of [[Sherrie Levine]], [[Jack Goldstein]], [[Phillip Smith (artist)|Philip Smith]], [[Troy Brauntuch]], and [[Robert Longo]]." -- Sholem Stein | ||
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| - | As a kind of response to [[Clement Greenberg]]'s ''[[Avant-Garde and Kitsch]]'' in [[1990]] [[Kirk Varnedoe]] and [[Adam Gopnik]] curated ''High and Low: Modern Art and Popular Culture'', at New York's [[Museum of Modern Art]]. The exhibition attempted to elucidate the extent that artists and [[high culture]] drew on and from [[popular culture]]. Although universally panned at the time as the only event that could bring [[Douglas Crimp]] and [[Hilton Kramer]] together in a chorus of scorn. The exhibition is remembered today as a benchmark of the conflict between late modernism and postmodernism. | + | '''Douglas Crimp''' (August 19, 1944 - July 5, 2019) was an [[American writer]], [[curator]], and [[History of art|art historian]]. He was professor in art history at the [[University of Rochester]]. |
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| + | == Early life and education == | ||
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| + | Born in [[Coeur d'Alene, Idaho|Coeur d'Alene]], [[Idaho]], Crimp went to [[Tulane University]] in [[New Orleans]] on a scholarship to study art history. His career started after moving to New York in 1967, where he worked as a curatorial assistant at the Guggenheim Museum and as an art critic, writing for Art News and Art International. In 1967 Crimp worked briefly for the couturier Charles James, helping him organize his papers to write his memoir. | ||
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| + | Between 1971 and 1976 Crimp taught at [[The School of Visual Arts]] before enrolling graduate school at the Graduate Center at [[City University of New York|CUNY]] where he studied contemporary art and theory with [[Rosalind Krauss]]. In 1977 he became the managing editor of the journal ''[[October (journal)|October]]'', which had been founded by [[Rosalind Krauss]], [[Annette Michelson]], and [[Jeremy Gilbert-Rolfe]] in 1976. He was quickly appointed to be a co-editor, and he was a central figure in the journal until he left in 1990. | ||
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| + | Shortly after he left ''[[October (journal)|October]]'', Crimp taught gay studies at Sarah Lawrence College. In 1992 he began teaching in the Visual and Cultural Studies Program at the University of Rochester, where he was the Fanny Knapp Allen Professor of Art History. | ||
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| + | == Work == | ||
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| + | Crimp was an important critic in the development of [[postmodern art]] theory. In 1977 he curated the influential exhibition ''Pictures'' at [[Artists Space]], presenting the early work of [[Sherrie Levine]], [[Jack Goldstein]], [[Phillip Smith (artist)|Philip Smith]], [[Troy Brauntuch]], and [[Robert Longo]]. Two years later he elaborated the discussion of postmodern artistic strategies in an essay with the same title in ''October'', including [[Cindy Sherman]] in what came to be known as the "Pictures Generation." In his 1980 ''October'' essay ''On the Museum's Ruins'' he applied the ideas of [[Michel Foucault|Foucault]] to an analysis of museums, describing them as an "institution of confinement" comparable to the asylums and prisons that are the subjects of Foucault's investigations. His essays on postmodernist art and institutional critique were published in the 1993 book ''On the Museum’s Ruins''. | ||
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| + | In 1985, Crimp was one of numerous art critics, curators, and artists who spoke at a General Services Administration hearing in defense of [[Richard Serra]]'s controversial public sculpture [[Tilted Arc]], which had been commissioned as a site-specific piece for Federal Plaza in New York and was ultimately removed in 1989. | ||
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| + | In 1987 Crimp edited a special [[AIDS]]-issue of ''October'', entitled ''AIDS: Cultural Analysis/Cultural Activism''. In his introduction to the edition Crimp argued for "cultural practices actively participating in the struggle against AIDS and its cultural consequences." During this time he was an active member of the AIDS-activist group [[AIDS Coalition to Unleash Power|ACT UP]] in New York. ''Mourning and Militancy'' (1989) discusses the connections between the artistic representations of mourning and the politic interventions of militancy. Crimp argues that these two opposing positions should be allowed to co-exist. In 1990 he published a book entitled ''AIDS Demo Graphics'' on the activist esthetics of ACT UP together with Adam Rolston. Crimp’s work on AIDS has been seen as an important contribution to the development of [[queer theory]] in the US. In 2002, Crimp published all his previous work on AIDS in the book ''Melancholia and Moralism – Essays on AIDS and Queer Politics.'' Feminist scholar Diana Fuss and cultural critic [[Phillip Brian Harper]] urged Crimp to publish his notes, "over dinner one summer evening." | ||
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| + | In 2016, Crimp published his memoir, ''Before Pictures'', on the relationship between the art world and the gay world in New York in the 1960s and 1970s. The book begins in his hometown in Idaho, where he escapes to New York to write criticism for ''[[ARTnews|ArtNews]]'' while working at the [[Solomon R. Guggenheim Museum|Guggenheim]]. Working as a curatorial assistant at the Guggenheim, Crimp notes that he was one of the few to see [[Daniel Buren]]’s ''Peinture-Sculpture'' before it was removed from the museum. Crimp details his days working at the [[Hotel Chelsea|Chelsea Hotel]] for designer [[Charles James (designer)|Charles James]], spending his evenings watching film and ballet, and co-founding the art journal ''October.'' Crimp also describes New York nightlife in the 1960s and 1970s during the rise of garage, house, and disco music, recreational drugs, and late nights alongside the [[Andy Warhol|Warhol]] crowd at the [[Max's Kansas City|Max’s Kansas City]]. Later, Crimp describes how he began to focus his attention to activism dedicated to rethinking AIDS. | ||
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| + | == Bibliography == | ||
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| + | === Books === | ||
| + | *{{cite book|editor=Crimp, Douglas|authorlink=|editormask=|title=AIDS : Cultural Analysis/Cultural Activism|last=|first=|location=Cambridge, Massachusetts|pages=|publisher=MIT Press|year=1988|isbn=}} | ||
| + | *''AIDS Demo Graphics''. Seattle: Bay Press, 1990 (with Adam Rolston) {{ISBN|978-0941920162}} | ||
| + | *''On the Museum's Ruins''. Cambridge, Massachusetts: MIT Press, 1993 {{ISBN|9780262032094}} | ||
| + | *''Melancholia and Moralism - Essays on AIDS and Queer Politics''. Cambridge, Massachusetts: MIT Press, 2002 {{ISBN|9780262032957}} | ||
| + | * ''"Our Kind of Movie": The Films of Andy Warhol''. Cambridge, Massachusetts: MIT Press, 2012 {{ISBN|9780262017299}} | ||
| + | * ''Before Pictures''. Chicago, IL: University of Chicago Press, 2016 {{ISBN|9780226423456}} | ||
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| + | === Essays === | ||
| + | *"The Photographic Activity of Postmodernism," ''October'', vol. 15 (Winter 1980), pp. 91-101. | ||
| + | *"Fassbinder, Franz, Fox, Elvira, Erwin, Armin, and All the Others," ''October'', vol. 21 (Summer 1982), pp. 62-81. | ||
| + | *"AIDS: Cultural Analysis/Cultural Activism," ''October'', vol. 43 (Winter 1987), pp. 3-16. | ||
| + | *"Mourning and Militancy," ''October'', vol. 51 (Winter 1989), pp. 3-18. | ||
| + | *"Getting the Warhol We Deserve," ''Social Text'', vol. 17, no. 2 (Summer 1999), pp. 49-66. | ||
| + | *"Yvonne Rainer, Muciz Lover," ''Grey Room'', vol. 22 (Winter 2006), pp. 49-67. | ||
| + | *"[https://www.artforum.com/print/200808/merce-cunningham-dancers-artworks-and-people-in-the-galleries-21141 Merce Cunningham: Dancers, Artworks, and People in the Galleries,"] ''Artforum International'', vol. 47, no. 2 (October 2008), pp. 347-355, 407, 410. | ||
| + | *[https://www.artforum.com/print/201101/you-can-still-see-her-the-art-of-trisha-brown-27046 "You Can Still See Her: The Art of Trisha Brown,"] ''Artforum International'', vol. 49, no. 5 (January 2011), pp. 154-159, 242. | ||
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| + | === Interviews === | ||
| + | * Cathy Caruth and Thomas Keenan: "The AIDS Crisis Is Not Over": A Conversation With Gregg Bordowitz, Douglas Crimp, and Laura Pinsky. ''American Imago'', vol. 48, no. 4 (Winter 1991), pp. 539-556. | ||
| + | *Tina Takemoto: [http://findarticles.com/p/articles/mi_m0425/is_4_62/ai_111655803 The Melancholia of AIDS: Interview with Douglas Crimp] ''Art Journal'', 2003. | ||
| + | *Mathias Danbolt: [http://trikster.net/2/crimp/1.html Front Room Back Room: An Interview with Douglas Crimp] in ''Trikster - Nordic Queer Journal'' #2, 2008. | ||
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| + | ===Critical studies and reviews=== | ||
| + | *{{cite journal |author=Wilson, Jake |authorlink= |authormask= |date=April 2013 |title=Elbows on his knees |department= |journal=[[Australian Book Review]] |volume=350 |issue= |pages=44 |url= |accessdate=}} Review of ''"Our kind of movie"''. | ||
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Current revision
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"In 1977 Crimp curated the influential exhibition Pictures at Artists Space, presenting the early work of Sherrie Levine, Jack Goldstein, Philip Smith, Troy Brauntuch, and Robert Longo." -- Sholem Stein |
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Douglas Crimp (August 19, 1944 - July 5, 2019) was an American writer, curator, and art historian. He was professor in art history at the University of Rochester.
Contents |
Early life and education
Born in Coeur d'Alene, Idaho, Crimp went to Tulane University in New Orleans on a scholarship to study art history. His career started after moving to New York in 1967, where he worked as a curatorial assistant at the Guggenheim Museum and as an art critic, writing for Art News and Art International. In 1967 Crimp worked briefly for the couturier Charles James, helping him organize his papers to write his memoir.
Between 1971 and 1976 Crimp taught at The School of Visual Arts before enrolling graduate school at the Graduate Center at CUNY where he studied contemporary art and theory with Rosalind Krauss. In 1977 he became the managing editor of the journal October, which had been founded by Rosalind Krauss, Annette Michelson, and Jeremy Gilbert-Rolfe in 1976. He was quickly appointed to be a co-editor, and he was a central figure in the journal until he left in 1990.
Shortly after he left October, Crimp taught gay studies at Sarah Lawrence College. In 1992 he began teaching in the Visual and Cultural Studies Program at the University of Rochester, where he was the Fanny Knapp Allen Professor of Art History.
Work
Crimp was an important critic in the development of postmodern art theory. In 1977 he curated the influential exhibition Pictures at Artists Space, presenting the early work of Sherrie Levine, Jack Goldstein, Philip Smith, Troy Brauntuch, and Robert Longo. Two years later he elaborated the discussion of postmodern artistic strategies in an essay with the same title in October, including Cindy Sherman in what came to be known as the "Pictures Generation." In his 1980 October essay On the Museum's Ruins he applied the ideas of Foucault to an analysis of museums, describing them as an "institution of confinement" comparable to the asylums and prisons that are the subjects of Foucault's investigations. His essays on postmodernist art and institutional critique were published in the 1993 book On the Museum’s Ruins.
In 1985, Crimp was one of numerous art critics, curators, and artists who spoke at a General Services Administration hearing in defense of Richard Serra's controversial public sculpture Tilted Arc, which had been commissioned as a site-specific piece for Federal Plaza in New York and was ultimately removed in 1989.
In 1987 Crimp edited a special AIDS-issue of October, entitled AIDS: Cultural Analysis/Cultural Activism. In his introduction to the edition Crimp argued for "cultural practices actively participating in the struggle against AIDS and its cultural consequences." During this time he was an active member of the AIDS-activist group ACT UP in New York. Mourning and Militancy (1989) discusses the connections between the artistic representations of mourning and the politic interventions of militancy. Crimp argues that these two opposing positions should be allowed to co-exist. In 1990 he published a book entitled AIDS Demo Graphics on the activist esthetics of ACT UP together with Adam Rolston. Crimp’s work on AIDS has been seen as an important contribution to the development of queer theory in the US. In 2002, Crimp published all his previous work on AIDS in the book Melancholia and Moralism – Essays on AIDS and Queer Politics. Feminist scholar Diana Fuss and cultural critic Phillip Brian Harper urged Crimp to publish his notes, "over dinner one summer evening."
In 2016, Crimp published his memoir, Before Pictures, on the relationship between the art world and the gay world in New York in the 1960s and 1970s. The book begins in his hometown in Idaho, where he escapes to New York to write criticism for ArtNews while working at the Guggenheim. Working as a curatorial assistant at the Guggenheim, Crimp notes that he was one of the few to see Daniel Buren’s Peinture-Sculpture before it was removed from the museum. Crimp details his days working at the Chelsea Hotel for designer Charles James, spending his evenings watching film and ballet, and co-founding the art journal October. Crimp also describes New York nightlife in the 1960s and 1970s during the rise of garage, house, and disco music, recreational drugs, and late nights alongside the Warhol crowd at the Max’s Kansas City. Later, Crimp describes how he began to focus his attention to activism dedicated to rethinking AIDS.
Bibliography
Books
- Template:Cite book
- AIDS Demo Graphics. Seattle: Bay Press, 1990 (with Adam Rolston) Template:ISBN
- On the Museum's Ruins. Cambridge, Massachusetts: MIT Press, 1993 Template:ISBN
- Melancholia and Moralism - Essays on AIDS and Queer Politics. Cambridge, Massachusetts: MIT Press, 2002 Template:ISBN
- "Our Kind of Movie": The Films of Andy Warhol. Cambridge, Massachusetts: MIT Press, 2012 Template:ISBN
- Before Pictures. Chicago, IL: University of Chicago Press, 2016 Template:ISBN
Essays
- "The Photographic Activity of Postmodernism," October, vol. 15 (Winter 1980), pp. 91-101.
- "Fassbinder, Franz, Fox, Elvira, Erwin, Armin, and All the Others," October, vol. 21 (Summer 1982), pp. 62-81.
- "AIDS: Cultural Analysis/Cultural Activism," October, vol. 43 (Winter 1987), pp. 3-16.
- "Mourning and Militancy," October, vol. 51 (Winter 1989), pp. 3-18.
- "Getting the Warhol We Deserve," Social Text, vol. 17, no. 2 (Summer 1999), pp. 49-66.
- "Yvonne Rainer, Muciz Lover," Grey Room, vol. 22 (Winter 2006), pp. 49-67.
- "Merce Cunningham: Dancers, Artworks, and People in the Galleries," Artforum International, vol. 47, no. 2 (October 2008), pp. 347-355, 407, 410.
- "You Can Still See Her: The Art of Trisha Brown," Artforum International, vol. 49, no. 5 (January 2011), pp. 154-159, 242.
Interviews
- Cathy Caruth and Thomas Keenan: "The AIDS Crisis Is Not Over": A Conversation With Gregg Bordowitz, Douglas Crimp, and Laura Pinsky. American Imago, vol. 48, no. 4 (Winter 1991), pp. 539-556.
- Tina Takemoto: The Melancholia of AIDS: Interview with Douglas Crimp Art Journal, 2003.
- Mathias Danbolt: Front Room Back Room: An Interview with Douglas Crimp in Trikster - Nordic Queer Journal #2, 2008.
Critical studies and reviews
- Template:Cite journal Review of "Our kind of movie".
