A panel discussion organized by the Platypus Affiliated Society, held on March 19, 2011, at Left Forum, Pace University.
Panel Abstract: It may seem untimely to reconsider Georg Lukacs, after the demise of the "Bolshevik experiment" with which he was associated. Who was Lukacs? Critic of reification, founder of Hegelian Marxism, Critical Theory, Western Marxism? Or: philosopher of Bolshevism, apologist for Leninism, romantic socialist, voluntarist idealist, terrorist revolutionary? Lukacs is usually read as an interpreter rather than a dedicated follower of Marxism, leaving Lukacs's particular contribution obscure. Lukacs was most original--and influential--when he accepted the presuppositions of Marxism, the political practice and theory of revolution, in earnest, from 1919-25, in History and Class Consciousness and associated works--however Lukacs himself may have disavowed them subsequently. What can we make of Lukacs's legacy today, his investigation and elaboration of the problematic of Marxism, and what are the essential issues potentially raised for our time?
Chris Cutrone - School of the Art Institute of Chicago
Jeremy Cohan - New York University
Marco Torres - University of Chicago
Neil Larsen - University of California at Davis
Timothy Bewes - Brown University
Timothy Hall - University of East London, U.K.
A panel discussion organized by the Platypus Affiliated Society, held on March 19, 2011 at Left Forum, Pace University.
Panel Abstract: What was distinctive about Vladimir Lenin's Marxism? What was its relationship to the other forms of Marxism and Marxists of his era? Was Lenin orthodox or heterodox? Was there a "unity" to Lenin's political thought, as Georg Lukacs argued, or do his major works -- What is to Be Done? (1902), Imperialism, the Highest Stage of Capitalism (1916), The State and Revolution (1917), "Left-Wing Communism": An Infantile Disorder? (1920) -- express distinctive and even contradictory phases in Lenin's political development? How did Lenin's Marxism overcome -- or not -- other competing forms of Marxism? How should we understand Lenin's historical contribution to Marxism, today?
An all day symposium, "What is Critique?" was held on Nov. 20th, 2010 at the New School in New York City. The first video is from the afternoon panel, entitled The Art Critique: Its History, Theories, and Practices. This panel consisted of Tom Butter, Simone Douglas, and James Elkins; it was moderated by Laurie Rojas. The second video is documentation of the evening panel, entitled The Relevance of Critical Theory to Art Today. The panel consisted of J.M. Bernstein, Chris Cutrone, Lydia Goehr, and Gregg Horowitz; it was moderated by Chris Mansour.
Abstract: What is Critique? is an all day symposium that consists of panel discussions with artists, critics, teachers, and students city-wide that investigates the role that art critiques and criticism play in art production. The first half of the day will focus on the nature and function of art critiques as a form criticism and pedagogy. The latter part of the day will be a panel discussion addressing the relationship between critical theory, art production and art reception.
The Art Critique: Its History, Theories, and Practices
The Relevance of Critical Theory to Art Today
James Elkins grew up in Ithaca, New York, separated from Cornell University by a quarter-mile of woods once owned by the naturalist Laurence Palmer.
He stayed on in Ithaca long enough to get the BA degree (in English and Art History), with summer hitchhiking trips to Alaska, Mexico, Guatemala, the Caribbean, and Columbia. For the last twenty-five years he has lived in Chicago; he got a graduate degree in painting, and then switched to Art History, got another graduate degree, and went on to do the PhD in Art History, which he finished in 1989. (All from the University of Chicago.) Since then he has been teaching at the School of the Art Institute of Chicago. He is currently E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism.
His writing focuses on the history and theory of images in art, science, and nature. Some of his books are exclusively on fine art (What Painting Is, Why Are Our Pictures Puzzles?). Others include scientific and non-art images, writing systems, and archaeology (The Domain of Images, On Pictures and the Words That Fail Them), and some are about natural history (How to Use Your Eyes).
Current projects include a series called the Stone Summer Theory Institutes, a book called The Project of Painting: 1900-2000, a series calledTheories of Modernism and Postmodernism in the Visual Art, and a book written against Camera Lucida.
He married Margaret MacNamidhe in 1994 on Inishmore, one of the Aran Islands, off the West coast of Ireland. Margaret is also an art historian, with a specialty in Delacroix. Jim’s interests include microscopy (with a Zeiss Nomarski differential interference microscope and Anoptral phase contrast), optics (he owns an ophthalmologist’s slit-lamp microscope), stereo photography (with a Realist camera), playing piano, and (whenever possible) winter ocean diving.
Tom Butter has been exhibiting sculpture, drawings and prints in NYC and internationally since 1980. His work is included in several museum collections in the United States, and has been reviewed in many art publications. Recipient of 3 NEA Grants and 2 New York Foundation for the Arts Grants, Butter has taught in many east coast fine art programs, including those at RISD, Tyler, Yale University, Harvard, University of the Arts, School of the Museum of Fine Arts, MICA. A member of the faculty at Parsons the New School for Design in the Fine Arts Department since 1986, he was recently Director of the MFA Program ’06-’07. Currently adjunct faculty at Parsons and Brooklyn College (CUNY), staff writer Whitehot Magazine, website:www.tombutter.com
Simone Douglas is the director of the MFA in Fine Arts at Parsons. She works across photography, video and installation, and has curated numerous exhibitions. Her works have been exhibited internationally at, and are held in, collections including the Victoria & Albert Museum, London; the Art Gallery of NSW, Sydney; and the National Gallery of Victoria, Melbourne. Additional exhibitions include at the Photographers Gallery, London; the Museum of Contemporary Art, Sydney; and the Australian Centre for Photography, Sydney. She was project director and curator for Picture Sydney: landmarks of a new generation at the Australian Museum, a Getty Conservation Institute Initiative. She has been a guest scholar at Koln International School of Design, and initiated the international art and design collective Conjecture and served on the Board of Directors at First Draft Gallery, Sydney. Most recently, Simone is running an international visual research project, The Exquisite Corpse. Before joining the faculty at Parsons, Simone held faculty posts at the College of Fine Arts, University of NSW; National Art School, Sydney; and Sydney College of the Arts, University of Sydney (tenured) where she is currently an honorary faculty member. She holds an M.F.A. and a Grad. Dip. Prof. Art Studies from the College of Fine Arts, University of NSW and a B.A. in Visual Arts from Sydney College of the Arts, University of Sydney
Gregg M. Horowitz is Chair of Social Science and Cultural Studies at Pratt Institute and Associate Professor of Philosophy at Vanderbilt University. He works on the philosophy of art and art history, political philosophy, and psychoanalysis. He has special research interests in the relation of aesthetics, cultural theory and art criticism to critical social theory.
Horowitz is the author of SUSTAINING LOSS: ART AND MOURNFUL LIFE (Stanford University Press, 2001), and, with A. Danto and T. Huhn, THE WAKE OF ART: CRITICISM, PHILOSOPHY, AND THE ENDS OF TASTE (Gordon and Breech, 1998). More recently, he has authored “The Residue of History: Dark Play in Schiller and Hegel” in GERMAN IDEALISM – AN INTERNATIONAL YEARBOOK (Walter de Gruyter, 2007), pp.179-98 and essays on Andreas Gursky, Tony Oursler, and Wallace Stevens.
Lydia Goehr is Professor of Philosophy at Columbia University. She is one of the 2009-2010 recipients of the Lenfest Distinguished Columbia Faculty Award for exceptional teaching in Arts & Sciences. In 2005, she received a Columbia University Presidential Award for Outstanding Teaching and in 2007-8 was recipient The Graduate Student Advisory Council (GSAC)’s Faculty Mentoring Award (FMA). She has also been a recipient of Mellon, Getty, and Guggenheim Fellowships, and in 1997 was the Visiting Ernest Bloch Professor in the Music Department at U. California, Berkeley, where she gave a series of lectures on Richard Wagner. She has been a Trustee of the American Society for Aesthetics. In 2002-3, she was the visiting Aby Warburg Professor in Hamburg and a fellow at the Wissenschaftskolleg zu Berlin. In 2005-6, she delivered the Royal Holloway-British Library Lectures in Musicology in London and the Wort Lectures at Cambridge University. In 2008, she was a Visiting Professor at the Freie Universität, Berlin (Cluster: “The Language of Emotions”) and in 2009, a visiting professor in the FU-Berlin SFB Theater und Fest. She is the author of The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (1992; second edition with a new essay, 2007); The Quest for Voice: Music, Politics, and the Limits of Philosophy [essays on Richard Wagner] (1998); Elective Affinities: Musical Essays on the History of Aesthetic Theory [essays on Adorno and Danto] (2008), and co-editor with Daniel Herwitz of The Don Giovanni Moment. Essays on the legacy of an Opera (2006). She has written many articles, most recently on the work of Theodor W. Adorno, Maurice Merleau-Ponty, and Arthur Danto. She offers courses in the history of aesthetic theory, the contemporary philosophy of the arts, critical theory, and the philosophy of history. Her research interests are in German aesthetic theory and in particular in the relationship between philosophy, politics, history, and music. With Gregg Horowitz, she is series editor of Columbia Themes in Philosophy, Social Criticism, and the Arts, Columbia University Press. She is presently writing a book on the contest of the arts.
Jay Bernstein is Chair and University Distinguished Professor in Philosophy at The New School for Social Research. He received his BA in 1970 from Trinity College in Religion and his PhD in 1975 from the University of Edinburgh. He is the author of numerous books and articles on philosophy; his recent books on art include The Fate of Art and Against Voluptuous Bodies: Late Modernism and the Meaning of Painting.
Chris Cutrone teaches at the School of the Art Institute of Chicago and the University of Chicago, where he is completing his dissertation on Adorno’s Marxism. He is the original lead organizer of Platypus.
A talk given by Platypus member Chris Cutrone at Loyola University, on April 21st, 2010.
The German Marxist critical theorist Theodor W. Adorno (1903-69) is known, along with his friend and mentor Walter Benjamin, for the critique of mid-20th century art and culture. What is less well understood is the specific character of Adorno's Marxism, how his political perspective related to his philosophical concerns. This workshop will address several aspects of Adorno's Marxism that relate to his critique of Leftist politics, in both periods of his early and late life, in the Old Left (1920s-40s) and New Left (1960s), and how Adorno remains relevant to issues and problems of Leftist politics today.
Recommended background readings:
Max Horkheimer, "The Little Man and the Philosophy of Freedom" (1926)
Adorno, "Imaginative Excesses" (1944)
Adorno, "Marginalia to Theory and Praxis" (1969)
Adorno, "Resignation" (1969)
Adorno and Herbert Marcuse, correspondence on the German New Left (1969)
Cosponsored by Pi Sigma Tau, STAND, and SAF.
Platypus panel at the Left Forum 2010 in New York City, Pace University, March 20, 2010.
Rather than asking what the Left thinks of Iran, this panel will pose the question, what does Iran reveal about the Left, its limitations and failures? This panel will address the crisis of the Islamic Republic and the historical task of the Left to clarify its role regarding the current Green Movement today. The 1979 Islamic Revolution continues to weigh on the political imagination of the Left. Perspectives on the Left either focus on Green Movement’s electoral and civil rights struggle, ignoring its Islamist leadership by Mousavi and others, or, in some cases, tout Ahmadinejad as a progressive “anti-imperialist,” denying the discontents expressed in the Green Movement. The 1979 Islamic Revolution continues to haunt the present, in the form of an impoverished imagination of what is possible. We will look more deeply at the political question of Islamism and how the Left can best understand Iran’s revolutionary past. What deeper failure on the Left allowed Iran to develop as it has? Whatever claim the current movement has to being secular in form -- that is, popular in discontent, and pluralist in that it possesses no elaborate program -- the legacy of the Islamic Revolution in the current crisis represents the unresolved failure of the Left to achieve greater freedom that cannot be reached through religious or populist means.
Laura Lee Schmidt (Chair) – Platypus Affiliated Society; History, Theory, and Criticism of Art and Architecture, MIT
Siyaves Azeri – Worker-Communist Party of Iran
Hamid Dabashi – Columbia University
Christopher Cutrone – Platypus Affiliated Society; University of Chicago