VERANSTALTUNGS-TIPP:


SAMSTAG, 13.12.03, 16 UHR

GALERIE DER STADT SINDELFINGEN, MARTPLATZ 1, SINDELFINGEN
(IN DER HAUPTSTELLE DER GALERIE - NICHT IM ALTEN RATHAUS MAICHINGEN)
VORTRAG / DIALOG-GESPRÄCH VON / MIT
MOLLY NESBIT: "SOMETHING IS MISSING"
ALS RAHMENPROGRAMM DER AUSSTELLUNG "UTOPIA STATION SINDELFINGEN"

Ich selbst werde auch anwesend sein!


mehr Infos zum Veranstalter und zum Hintergrund des Sindelfinger Projekts "UTOPIA STATION SINDELFINGEN"):
>> www.kunstundprojekte.de/utopia/ut_de.htm

mehr Infos zum Projekt "UTOPIA STATION" (erste Station war die Biennale 2003 in Venedig):
>> www.e-flux.com/projects/utopia/index.html

Besprechung der zweiten "UTOPIA STATION" in München 2003:
>> www.artechock.de/kunst/magazin/be/utopia.htm

mehr Infos zu Molly Nesbit:
>> http://art.vassar.edu/nesbit.html


++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

BIOGRAFISCHES ZU MOLLY NESBIT:


MOLLY NESBIT
900 West End Avenue, #2E
New York, New York 10025
tel. 212-864-5154; fax -864-0094
e-mail: monesbit@earthlink.net


EDUCATION:

Minerva Deland Senior High School, Fairport, New York: Regents' diploma, 1970
Vassar College: B. A. with Honors, 1974
Yale University: M. A., 1976; M. Phil., 1977; Ph. D., 1983

THESES:

"The Studio Paintings of William Merritt Chase," Senior thesis, Vassar College, 1973
"Atget's Book, L'Art dans le Vieux Paris," M.A. thesis, Yale University, 1976
Atget's Seven Albums, in practice, Ph. D. thesis, Yale University, 1983


AWARDS AND FELLOWSHIPS:

Gertrude Buttenweiser Prins Prize for Art History, Vassar College, 1974
Phi Beta Kappa, Vassar College, 1974
Yale University Fellowship, 1974-1977
Georges Lurcy Fellowship, l977-l978
American Association of University Women Fellowship for Dissertation Work, 1979-1980
Frances Blanshard Fellowship Prize for the Most Distinguished Dissertation in Art
History, Yale University, 1983
Faculty Travel Grant for Summer Research, Barnard College, summer 1984
Faculty Travel Grant for Summer Research, Barnard College, summer 1986
Fellow at the Shelby Cullom Davis Center of Historical Studies, Transmission of Culture Seminar, Princeton University, 1986-1987
Spencer Foundation Award, Teachers College, Columbia University, 1986-1987
Faculty Travel Grant for Summer Research, Barnard College, summer 1988
Getty Postdoctoral Fellowship, 1988-1989
Durning Lawrence Lecturer, University College, London, 1991
Faculty Travel Grant for Summer Research, Barnard College, summer 1989
John Simon Guggenheim Memorial Foundation Fellow, 1991-1992
Getty Scholar, The Getty Center for the History of Art and the Humanities, 1992-1993
Governors' Award, Yale University Press, for Atget's Seven Albums, 1993
Faculty Research Grant, Vassar College, 1994
Faculty Research Grant, Vassar College, 1995
Faculty Research Grant, Vassar College, 1996
Faculty Research Grant, Vassar College, 1997
Faculty Development Grant from the Luce Committee, Vassar College, 1998
Faculty Research Grant, Vassar College, 1999
Faculty Research Grant, Vassar College, 2000


EMPLOYMENT:

Yale University, 1976-1977: Teaching Assistant to Robert Herbert, Robert Lehman
Professor of the History of Art
Yale University, summer 1977: Research Assistant to the Société Anonyme Collection
University of California, Berkeley, 1981-1983: Visiting Lecturer, Department of the History of Art
The Johns Hopkins University, spring 1990: Isaac Rosen Visiting Assistant Professor, Department of the History of Art
Yale University, fall 1990: Visiting Assistant Professor, Department of the History of Art
University College, London, l990-1991: Durning-Lawrence Professor of the History Art.
Barnard College and Columbia University, 1983-1992: Assistant Professor, Department of Art History and Archaeology
New York University, spring 1997: Visiting Professor, Draper Program in Liberal Studies
University of Michigan, fall 1999: Adjunct Associate Professor, Department of the History of Art
Yale University, spring 2001: Visiting Professor, Department of the History of Art
Vassar College, 1993- : Professor, Department of Art

OTHER PROFESSIONAL POSITIONS:

Member of the College Art Association, 1981-
Member of the panel convened to study the current state of art history, chaired by Oleg Grabar, American Academy of Arts and Sciences, October 29, 1987
Member of the Editorial Advisory Board, The Yale Journal of Law and the Humanities, published by the Yale Law School, 1987-98
Member of the University Seminar on Modernism and Modernity, chaired by Andreas Huyssen and Rosalind Krauss, Columbia University, 1993-1997
Contributing Editor, Artforum, 1994-
Member of the Seminar on Visual Signification in Urban Culture, chaired by Linda Nochlin, Richard Sennett, and Marvin Trachtenberg, Institute of Fine Arts, New York University, 1995-1997
Member of the Awarding Commmittee for the Social Science Research Council and American Council of Learned Societies International Dissertation Field Research Fellowships, 1997-2000
Member of the Comité d'Honneur, Etants donnés, 1997-
Member of the Advisory Board, October, 2000-
Member of the Advisory Board, Institute of Visual Culture, Cambridge University,
Cambridge, England, 2001-
Member of the Advisory Committee for Conferences and Lectures, The Drawing
Center, New York, 2001-


TEACHING REPERTOIRE:

Lecture Courses:

The Avant-Gardes, 1889-1929
Modern Art and the Mass Media, 1929-1968
The Times, 1968 to the present
The City and the Country in French Painting, 1860-1890
Postmodernism

Undergraduate Seminars:

Photographs and Books [Theories of Photography in the Twentieth Century]
Duchamp's Work
Modernism and Sexuality: Matisse and Picasso
Modernism in Montparnasse
Consumption and Surrealism
Illusion
Identity
The Late Duchamp
The World Picture

Graduate Seminars:

The French Body, a cultural history
Avant-garde Practice in Paris, 1900-1914
The Publication of the Work of Art
The Compound Difference
The Late Duchamp
The World Picture

PUBLIC LECTURES:

"Reading Rooms: Atget's Album, Intérieurs parisiens," College Art Association Annual Meeting, Washington, D. C., January 1979
"Hopper's Pictures and Emptiness," University Extension Symposium, University of California, Berkeley, January 1982
"Atget's Documents as a Matter of Value," College Art Association Annual Meeting, New York, February 1982
"Looking at Atget's Photographs," San Francisco Art Institute, Summer Photography Lecture Series, June 1982
"Commencement Address," Department of Art, University of California, Berkeley, June 1982
"Atget's Nature," San Francisco Museum of Art, April 1983
"Atget's Nature," Porter College, University of California, Santa Cruz, May 1983
"Atget's Second Nature," Columbia University, December 1983
"Atget's Second Nature," Department of Art History, Princeton University, April 1984
"Atget's Trees," Amy M. Sacker Memorial Lecture, Mount Holyoke College, April 1984
Panel member, The Politics of Representation, with Leon Golub, John Bird, Benjamin Buchloh and Martha Wilson, Department of Art, Rutgers University, April 1984
Chairman of session, The Common Photograph , with papers given by Elizabeth Anne McCauley, David Freund, Sally Stein and Victor Burgin and responses by Martha Rosler,James Clifford and Abigail Solomon-Godeau, College Art Association Annual Meeting Los Angeles, February 1985
"La seconde nature d'Atget,"Colloque Atget, organized by the Ministère de la Culture, Collège de France,
Paris, June 1985
"Readymade Originals: the Duchamp Model," given as part of the symposium organized by Rosalind Krauss, Repetition as Originality: a Challenge to Art History?, College Art Association Annual Meeting, New York, February 1986
"What Was An Author?" Interpretations of History, Lecture Series, International Center for Photography, New York, March 25, l986
"Atget's Nature," Department of Art History, Washington Square, New York University, May 6, 1986
"The Language of Industry," presented to the Transmission of Culture Seminar, Shelby Cullom Davis Center for Historical Studies, Princeton University, February 13, 1987
"Atget's Commerce," University Day, University of Rochester, February 25, l987
"Atget's Commerce," Nova Scotia College of Art and Design, Halifax, September 30, l987
"The Body in the Line," presented at Marcel Duchamp: A Centennial Colloquium chaired by Thierry de Duve, sponsored by the Novia Scotia College of Art and Design and by the Collège International de Philosophie, Halifax, October 1-3, l987
Respondent to the panel organized by Rosalind Krauss, Surrealism's Construction of the Subject, College Art Association Annual Meeting, Houston, February 1988
"Atget's Commerce," Department of Art History, University of Chicago,
February 17, l988
"The Body in the Line," Department of Art History, Northwestern University,
February 18, l988
"The Body in the Line," The Culture and Politics Study Group of the Center for European Studies and the Fine Arts Student Association, Harvard University, March 4, l988
"The Body in the Line," La Maison Française, Columbia University, April 13, l988
"Chip and Veil," presented at the symposium organized by Leo Marx in conjunction with the exhibition Three on Technology: New Photographs by Robert Cumming, Lee Friedlander and Jan Groover, List Visual Arts Center, Massachusetts Institute of Technology, May 7, l988
"The Body in the Line," Courtauld Institute of Art, London, March 7, l989
"The Body in the Line," Parsons School of Art in Paris, March 14, l989
Chairman of session, Liberating Vision, with papers given by Hal Foster, Jonathan Crary and Jay Bochner and a response by Rosalind Krauss, Revolutions 1889-1989, International Colloquium for the Twentieth Century French Studies Annual Meeting, Columbia University, March 30, '89
"Everyday Conclusions," presented on the panel organized by Mason Klein, Rethinking Duchamp: Critical Approaches in the 1980s , School of Visual Arts, New York, November 9, 1989
"Un coup de vieux: le postmoderne présenté du point de vue de la photographie," A propos du 150e anniversaire de la photographie, Centre Georges Pompidou, Paris, January 8, 1990
"The Picture of Ignorance," Department of the History of Art, The Graduate Center, City University of New York, February 9, 1990
"In the Absence of the Parisienne..." presented at the conference, Sexuality and Space, School of Architecture, Princeton University, March 10-11, 1990
"La langue de l'industrie," presented at the conference organized by Benjami Buchloh, Langage et Modernité, l'Institut d'Art Contemporain de Lyon-Villeurbanne, June 22-23, 1990
"The Rat's Ass," presented on the panel organized by Rosalind Krauss and Annette Michelson, "High/Low": Art and Mass Culture, Dia Center for the Arts, November 3, 1990
Chair and respondent to the panel organized by Burton Peretti, French and American Culture in the 1910s and 1920s, American Studies Association Annual Meeting, New Orleans, November 4, 1990
The Durning Lawrence lectures, University College, London, May 1991
"Pablo Bovary," presented on the panel organized by Ulrich Keller, Photography in Print, XXVIIIth International Congress of the History of Art, Berlin, July 17, 1992
"Life Is Beautiful Now (the installation by Hilton Als and Darryl A. Turner at Simon Watson Gallery, April 1990)," Hôtel des Arts, Paris, October 26,1992 as part of the exhibition, Génériques
"Pablo Bovary," Institute of Fine Arts, New York University, March 12, 1993.
"In Advance of the Readymade," Henry Moore Trust Lecture series, University of Leeds, May 10, 1994
"His Common Sense," Architectural Association, London, May 31, 1994
"Work That Body," panel discussion organized by Kendall Thomas, American Center,
Paris, June 25, 1994
"Her Words," in conjunction with the exhibition Duchamp's Leg, Walker Art Center,
Minneapolis, November 8, 1994
"Her Words (New Notes by Marcel Duchamp and Walter Arensberg)," Columbia University Seminar on Modernism and Modernity, March 6, 1995
"Reality Workshop," with Jonathan Caplan and Cerith Evans, Architectural
Association, London, June 13, 1995
Respondent to the panel "Politics and the Object: Strategic Discourses and Interpretive Frames" in the symposium Critical Reflexivity and Visual Culture:
Method as Object organized by the art history graduate students at the CUNY
Graduate Center, April 26, 1996
"Art in the Wake of Words: Darryl Turner's video, Continent Incontinent, of
James Clifford's Claflin Lecture, 'Diasporas,'" The Modern Art Museum
of Fort Worth, October 1, 1996
"Duchamp at the Movies," Wexner Center for the Arts, Ohio State University, Columbus, Ohio November 20, 1996
"Duchamp at the Movies," in the symposium Marcel Duchamp and Rethinking the Creative Act, organized by William Camfield, Rice University Houston, March 22, 1997
"Duchamp at the Movies," MIT, History Theory, Criticism Program, School of Architecture, April 3, 1997
"First Sight," in the symposium Picasso, Cubism and Collage organized by Christine Poggi at the Philadelphia Museum, April 5, 1997
"Duchamp at the Movies," Deutsches Haus, Columbia University, April 10, 1997
"The Delay," in the conference Time and the Image, organized by University College London,
the Tate Gallery, and L'Institut Français, May 30, 1997
Moderator for the artists' panel organized by Donna De Salvo in conjunction with her exhibition Staging Surrealism, Wexner Center, October 30, 1997
"Duchamp's Last Words," in the seminar organized by Norman Bryson and Ewa Lajer-Burcharth at the Center for Literary and Cultural Studies, Harvard University, December 4, 1997
"Dernières Paroles (Rilke, Wittgenstein)(Duchamp), one of a series of lectures given on the work of Marcel Duchamp at the Musée des Beaux-Arts, Rouen, May 5, 1998
"Last Words (Rilke, Wittgenstein)(Duchamp)," Department of the History of Art, University of Michigan, October 30, 1998
"Outside Cubism," keynote address for the Philadelphia Symposium on the History of Art, sponsored by Bryn Mawr College and the Philadelphia Museum of Art, March 26, 1999
"The Immigrant," part of Self and History: a Symposium in Honor of Linda Nochlin, Institute of Fine Arts, New York University, April 17, 1999
"The Immigrant," Birbeck College, Department of Art History, University of London, June 9, 1999
"The Tempest: the Space of Gabriel Orozco," Kunsthistorisches Institut der Universität Zürich, January 18, 2000
"Their Common Sense: Art and Advertising in France in 1912," Seminar für Vergleichende Literaturwissenschaft der Universität Zürich, January 19, 2000
"Walkaround Time," in the symposium Marcel Duchamp/Jasper Johns, organized by Joachim Pissarro at the Yale University Art Gallery, February 26, 2000
"The Tempest," Goldsmiths' College, London, March 16, 2000
"Water Falls," The Phyllis Wattis Distinguished Lecture, San Francisco Museum of Modern Art, April 25, 2000
Workshop with Benjamin Buchloh on the History of Photography, organized by Michael Roth, Getty Research Institute, May 30, 2000
Panel discussion with Benjamin Buchloh and Gabriel Orozco on the occasion of Orozco's exhibition at the Museo Rufino Tamayo, Mexico City, October 4, 2000
"More," keynote address to the symposium, Surviving the Photograph, organized by Stuart Burrows and Daniel Novak, Departments of English, German and Art and Archaeology, Princeton University, October 20, 2000
Discussion with Gabriel Orozco on the occasion of his exhibition at the MARCO Monterrey, Mexico, February 24, 2001
"Composition for Strings: Orozco, Marker, Duchamp, Cage," for the symposium Photography in the Post-Medium Age, organized by Briony Fer and Margaret Iversen at the Tate Modern, June 29, 2001
"Orozco Between a Rock and the River," for the symposium Sculpture Between
Object and Image, organized by Howard Lay, Department of the History of
Art, University of Michigan, September 8, 2001
Respondant to the panel "Legacies," composed of presentations by Linda Nochlin,
Griselda Pollock, Lisa Tickner and Yvonne Rainer, in the symposium,
Women Artists at the Millenium, organized by Carol Armstrong at Princeton University, November 9, 2001
Seminar for Venice Utopia, organized by Hans-Ulrich Obrist and Stefano Boeri,
Facolta' di Design e Arti, University of Venice, December 11, 2001 and February 1, 2002
Panel discussion with Giancarlo de Carlo, Aldo Bonami, Hans Ulrich Obrist,
Carsten Höller, Sébastien Marot and Stefano Boeri on the occasion of USE Uncertain States of Europe, XX esposizione Internationale, La Triennale di Milano, February 2, 2002
Panel discussion with Peter Galison, Oladélé Bamgboyé, Natasha Sadr Haghighian,
Aaron Betsky, Alexander Horwarth on Museum Architecture and Discourse: a Transdisciplinary Museum? organized by Hans Ulrich Obrist for ARCO, Madrid, February 13, 2002
Discussion with Tamar Garb at the Tate Modern on the occasion of the Matisse and Picasso show there, curated by John Golding et al., June 18, 2002
Discussion with Martha Rosler and Hans Ulrich Obrist, 4. Internationale Sommerakademie, Künstlerhaus Mousonturm, Frankfurt, August 25, 2002

PUBLICATIONS:

Articles and Reviews:

"Roy Lichtenstein: Birth of a Style, l961-1963," in Richard Brown Baker Collects!,
Yale University Art Gallery (1975), pp. 62-71.
Catalogue entries for the paintings of Thomas Cole, in Nineteenth Century American Landscape Paintings in the Collection of the Wadsworth Athenaeum (1976).
"Atget's Intérieurs parisiens: the Point of Difference," catalogue essay for the exhibition, Atget. Intérieurs parisiens, Musée Carnavalet, Paris (1982). Reprinted in revised hardcover edition by Carré in 1992.
"Photographers' Books" [review essay], Art History, v. 8 (March 1985), pp. 132-138.
"The Use of History" [review essay on the Museum of Modern Art's Atget exhibitions], Art in America , v. 74 ( February 1986), pp. 72-83.
"La seconde nature d'Atget," in the proceedings of the Colloque Atget published as a special number of Photographies (mars l986), pp. 20-29.
"Ready-made Originals: the Duchamp Model," published with the other papers from the symposium organized by Rosalind Krauss, Repetition as Originality: a Challenge to Art History? , in October, no. 37 (fall 1986), pp. 53-64. Translated as "Les originaux des readymades: le modèle Duchamp," Les Cahiers du Musée National d'Art Moderne, no. 33 (automne 1990), pp. 55-65.
"Photography and Modernity: Avant-Garde Photography from 1910 to 1930," Chapter 6 of a collectively written Histoire de la photographie, edited by Jean-Claude Lemagny and André Rouillé ( Paris: Bordas, 1986).
"What Was An Author?" Yale French Studies, no. 73, edited by Alice Kaplan and Kristin Ross (fall 1987), pp. 229-257.
"The Language of Industry," The Definitively Unfinished Marcel Duchamp, edited by Thierry de Duve (Cambridge: MIT Press, 1991), pp. 351-384. In French as "La langue de l'industrie," Langage et modernité. Colloque organisé par le Nouveau Musée à Villeurbanne sous la direction de Benjamin Buchloh les 22 et 23 juin 1990 (Villeurbanne: le Nouveau Musée, 1991), pp. 53-81.
"The Rat's Ass," October, no. 56 (spring 1991), pp. 6-20.
"In the Absence of the Parisienne," in Sexuality & Space, edited by Beatriz Colomina (Princeton: Princeton Architectural Press, 1992), pp. 306-325.
"Apart Without A Face," Artforum, v. XXXI (summer 1993), pp. 92-95.
"Etant donnés," Artforum, v. XXXII (September 1993), pp. 158-159.
"His Lash," Artforum, v. XXXII (January 1994), p. 78.
"His Heart," in Patrick Ireland. Gestures Instead of an Autobiography (The Butler
Institute of American Art, April-June 1994), pp. 12-13.
"Le photographe et l'histoire - Eugène Atget," Nouvelle histoire de la photographie,
sous la direction de Michel Frizot (Paris: Bordas, 1994), pp. 398-409.
"His Common Sense," Artforum, v. XXXIII (October 1994), pp. 92-95, 124, 126.
Review of Francis Naumann, New York Dada, 1915-1923 (New York: Abrams, 1994), Artforum, v. XXXIII (November 1994), Bookforum section, p. 16.
Review of Marta Braun, Picturing Time: the Work of Etienne-Jules Marey, 1830-1904
(Chicago: University of Chicago, 1992) and François Dagognet, Etienne-Jules Marey: a Passion for the Trace (New York: Zone, 1992), in Art Bulletin, v. LXXVII (March 1995), pp. 148-149.
[with Naomi Sawelson-Gorse], "Concept of Nothing: New Notes by Marcel Duchamp and Walter Arensberg," in The Duchamp Effect, edited by Mignon Nixon and Martha Buskirk (Cambridge: MIT Press, 1996), pp. 130-175. In French as "Concept de Rien," Etant donné Marcel Duchamp, no. 1 (1999), pp. 48-86.
"Focus: Chris Marker," Artforum, v. XXXIV (April 1996), pp. 96-97, 126.
"History Without Object," in Art and Film Since 1945: Hall of Mirrors, edited by Russell Ferguson (Los Angeles: Museum of Contemporary Art and New York: Monicelli Press, 1996), pp. 280-296, 326-327.
Review of Thierry de Duve, Kant after Duchamp (Cambridge: MIT Press, 1996),
in Bookforum (summer 1996), pp. 3, 34, 36-38.
Review of Les Cases Conjugées: Hommage à Teeny Duchamp, Galerie Nationale du Jeu du Paume, Paris, in Artforum, v. XXXV (November 1996), pp. 107-108.
Review of Anne Wagner, Three Artists (Three Women) (Berkeley: University of
California Press, 1996), in Bookforum (winter 1996), pp. 9 and 32.
"Duchamp's Readymades," in Making Mischief: Dada Invades New York, edited by Francis Naumann with Beth Venn (New York: Whitney Museum of American Art, 1996), pp. 252-257.
"Utopia Photographs H. R.," essay for the catalogue, Inside the Box: a Photographic Portrait of Joseph Cornell by Harry Roseman, Davis & Langdale, New York, March 22 - April 26, 1997.
Respondant to Daniel Birnbaum, "Little d big x: Documenta X: the Artforum Questionnaire," v. XXXVI (September 1997), pp. 106-111, 152, 155, 161.
Review of Mary Kelly, Imaging Desire (Cambridge: MIT Press, 1996), in Bookforum (winter 1997)
"Touched" [on the paintings of Sue Williams], Parkett, nos. 50-51 (1997)
Review of Arturo Schwarz, The Complete Works of Marcel Duchamp, 2v. (3rd ed.;
New York: Delano Greenidge, 1997), in Artforum, v. XXXVI (April 1998)
"MoMA: the Problem," ANY, no. 22 (September 1998), pp. 16-18.
Review of Rem Koolhaas' Maison à Bordeaux, Artforum, v. XXXVII (November 1998), pp. 94-95, 137.
"Last Words (Rilke, Wittgenstein, Duchamp)," in About Michael Baxandall, edited by Adrian Rifkin (Oxford: Blackwell, 1999), pp. 84-102.
"Dark Glasses," essay for the catalogue, David Salle Glass and Mirror Paintings (New York: Lehmann Maupin Gallery, 1999).
"The Immigrant," in Looking Up: Rachel Whiteread's Water Tower, edited by Louise Neri (New York: The Public Art Fund, 1999), pp. 99-109. Also in Self and History: a Tribute to Linda Nochlin, edited by Aruna D'Souza (London: Thames & Hudson, 2001), pp. 164-173.
"Best of the 90s: Books," Artforum, v. XXXVIII (December 1999), p. 137.
"Limbo," essay for the catalogue David Salle: Paintings and Works on Paper, 1981- 1999, curated by Walter Hopps (Monterrey, Mexico: Museo de Arte Contemporáneo de Monterrey, 2000), pp. 27-44.
"The Tempest," essay for the catalogue Gabriel Orozco, curated by Alma Ruiz (Los Angeles: Museum of Contemporary Art, 2000), pp. 121-171.
"Location, Location, Location! by Gabriel Orozco," trans, v. 7 (2000), pp. 25-50.
Review of Marcel Duchamp, à l'infinitif, a typotranslation by Richard Hamilton and Ecke Bonk of Marcel Duchamp's White Box, tranlated from the French by Jackie Matisse, Richard Hamilton and Ecke Box (Northend: the typosophic society, 1999), in Bookforum (fall 2000), pp. 18 and 55.
"Casting Out," essay for the catalogue Rachel Whiteread: Transient Spaces,
curated by Lisa Dennison (Berlin: Deutsche Guggenheim, 2001), pp. 133-148.
"The Port of Calls," essay for the catalogue of Documenta 11 curated by Okwui
Enwezor, Documenta 11_Platform 5: Exhibition (Ostfildern-Ruit: Hatje Cantz, 2002), pp. 85-102.
[with Hans Ulrich Obrist], "Utopia: Interview with Leon Golub and Nancy Spero,"
The True Truth About the Nearly Real: 4th International Summer Academy, Ausdruck 7 (Frankfurt: Künstlerhaus Mousonturm, 2002), pp. 84-99.

Books:

Atget's Seven Albums (New Haven: Yale University Press, 1992).
Their Common Sense (London: Black Dog Publishing, 2000).


Project Pages:

"History of the Suburbs" [a project for Artforum with Hilton Als and Darryl Turner], Artforum, v. XXXI (May 1993), pp. 70-75.
"Thought is Physical: 1. The State of the Projection" [a project with Darryl Turner], Art & Design, v. 11 - Painting in the Age of Artificial Intelligence, edited by David Moos (May-June 1996), pp. 72-75.
[mesostic] for Art That Soars: Kites and Tails by Jackie Matisse (San Diego: Mingei International Museum, 2000), back page.

Videotapes:

[with Darryl Turner] Some Gesture Vehement and Lost (June 1994).


WORK IN PROGRESS:

The Tempest Essays, a book of essays collecting "What Was an Author?" and "Ready-made Originals" together with the essays from the past five years: "History Without Object," "Last Words," "Limbo," "The Immigrant, "The Tempest" and "The Port of Calls."

Utopia, a book, seminar and exhibition project to be curated with Hans-Ulrich Obrist and Rirkrit Tiravanija. Different exhibition projects will follow,
beginning with Utopia Station at the Venice Biennale 2003. The first book will be published by Thames & Hudson.

"Walking to Work," an essay on the work of Gabriel Orozco for a book published by Hatje Cantz in conjunction with the exhibition at the Galerie Chantal Crousel in Paris, fall 2002.

"Without Walls," an essay on the work of Sherrie Levine, Louise Lawler, David Salle and Cindy Sherman for the special number of Artforum dedicated to the 80s and scheduled for the spring of 2003.

"Done," for the Annlee project of Philippe Parreno and Pierre Huyghe, to be published in the spring of 2003.

Course videotape on the work of Marcel Duchamp for the Open University, London,
produced by the BBC.


REFERENCES:

Benjamin Buchloh, Professor of Art History and Archaeology, Barnard College and Columbia University
David Freedberg, Professor of Art History and Archaeology, Columbia University
Robert Herbert, Professor Emeritus, Department of Art, Mount Holyoke College
Linda Nochlin, Professor, Institute of Fine Arts, New York University
Nancy Troy, Professor of Art History, University of Southern California