Saturday, April 11
9:00 am–3:00 pm
Presented in partnership with Washington University in St. Louis, this free, one-day symposium uses CAM’s current exhibitions on the work of Joe Goode and Jesse Howard as a point of departure. Joe Goode and Jesse Howard: Thy Kingdom Come offer unique views of the Midwest, providing a framework for scholars to present research on topics such as the lived Midwestern experience, materiality and the monochrome, and self-taught American aesthetics.
Folk Surrealism: Joseph Cornell at the Museum of Modern Art
Chelsea R. Behle Fralick
Artifactual Excess: Wallace Berman’s Aleph (1956–66) and Filmic Destruction
Box lunch available for purchase in the Cafe, $10
Landon Metz’s Horizontality
Robert Ryman: Painter
Suzanne Hudson received her PhD from Princeton University and is Assistant Professor of Modern and Contemporary Art at the University of Southern California. She writes on modern and contemporary art with an emphasis on abstraction, painting, process, creativity, pedagogy, and American philosophy as it intersects with aesthetics and institutional discourses. Hudson is co-founder of the Contemporary Art Think Tank and the Society of Contemporary Art Historians, an affiliate society of the College Art Association, for which she serves as president emerita and chair of the Executive Committee. Hudson’s work has appeared in such publications as Parkett, Flash Art, Art Journal, and October; a regular contributor to Artforum since 2004, she has also written numerous essays for international exhibition catalogs and artist monographs and lectured widely. She is the author of Robert Ryman: Used Paint (MIT Press, 2009; 2011) and Painting Now (Thames & Hudson, 2015) and the co-editor of Contemporary Art: 1989–Present (Wiley- Blackwell, 2013). Hudson is currently at work on a manuscript on Agnes Martin and a study of the therapeutic basis of American visual modernism.
Alex Bacon is a scholar, writer, and curator based in New York City. He is a regular contributor to The Brooklyn Rail and is currently completing his PhD in art history at Princeton with a dissertation on the first decade of Frank Stella’s career. He has taught at the School of Visual Arts and has served as a guest critic in the graduate painting department of the Rhode Island School of Design and AKV/St. Joost. Bacon has curated several exhibitions, including Correspondences: Ad Reinhardt at 100 (Ad Reinhardt Foundation, New York); Politics of Surface (Berthold Pott, Cologne); 173 E. 94th St./ Chaussée de Waterloo 550 (Paul Kasmin in collaboration with Middlemarch, Brussels); 24/7 (Monte Carlo, Miami Beach); and Lumination (Patricia Low Contemporary, Gstaad). He has been writer-in-residence at The Miami Rail and a judge for the Wynn Newhouse Awards. Bacon is co-editor, with Hal Foster, of a collection of essays on Richard Hamilton (MIT Press, 2009) as well as the author of texts in catalogs and edited volumes on artists such as Francis Alÿs, Richard Pousette-Dart, Gilbert & George, Robert Irwin, Zak Kitnick, and Ad Reinhardt.
Chelsea R. Behle Fralick is an art historian, adjunct professor, and freelance writer/editor based in San Diego, California. She currently serves as adjunct faculty at the University of San Diego and UC San Diego Extension, where she teaches California art history of the twentieth and twenty-first centuries, modern architecture, senior thesis writing, and a range of period courses in Western art history. Behle Fralick has researched and written on topics related to California Beat art and film—including her recent book chapter “Musical & Magical Counterpoint: Language, Sound and Vision in Wallace Berman’s Aleph, 1956–66” in the volume The Global Sixties in Sound and Vision (Palgrave MacMillan, 2014)—as well as on subjects from California performance and video art to modern and contemporary architecture and art of the public sphere. She received her BA in art history with an emphasis in public art and architecture from the University of San Diego and a master of science in architectural studies from the School of Architecture at the Massachusetts Institute of Technology.
Marci Kwon is a PhD candidate at the Institute of Fine Arts, New York University. She is currently working on a dissertation titled “Vernacular Modernism: Joseph Cornell and the Culture of Populism,” which has been supported by Getty Research Institute, the ACLS/Luce Dissertation Fellowship in American Art, the Modernist Studies Association, and the Mellon Foundation. Previously, she served as a Curatorial Research Assistant at the Metropolitan Museum of Art, where she worked on exhibitions of abstract expressionism, Matisse, and the Stein Collection. Kwon holds a Joan Tisch Teaching Fellowship at the Whitney Museum of American Art and will be a sponsored fellow at the Cornell School of Theory and Criticism this summer. Her writing has been published by the University of California, Irvine; Yale University Press; Modern Art Asia; and Whitewall Magazine.
Jeffrey Uslip is CAM’s chief curator. In 2014–15 Uslip curated numerous exhibitions at CAM, including a survey of Joe Goode; Jesse Howard: Thy Kingdom Come;Barnaby Furnas: The Last Flood; Mark Flood: Another Painting; Jon Rafman: The end of the end of the end; and Katharina Fritsch: Postcards. Upcoming at CAM, he will present an expansive series of exhibitions, including solo exhibitions with Mark Bradford, Laurie Simmons, Hurvin Anderson, Wyatt Kahn, Susan Philipsz, Arcangelo Sassolino, Liat Yossifor, and Michael Staniak. From 2010 to 2014, Uslip served as Curator-at-Large of the Santa Monica Museum of Art, where he organized exhibitions including Joyce Pensato: I KILLED KENNY, which traveled to CAM; Michael Queenland: Rudy’s Ramp of Remainders; and Agnes Denes: Body Prints, Philosophical Drawings, and Map Projections, 1969–1978, as well as projects with emerging artists, such as Keltie Ferris: Doomsday Boogie Woogie,Samira Yamin: We Will Not Fail and Kianja Strobert: Nothing To Do But Keep Going. Uslip is a PhD candidate at New York University’s Institute of Fine Arts (IFA), specializing in modern and contemporary art and the history of photography. He is currently finishing his dissertation titled “Mourning in America: Cady Noland and The Age of Reagan.” Uslip has organized exhibitions for PS1/MoMA; Artists Space; Columbia University’s Graduate School of Arts and Sciences; California State University, Los Angeles; and LA> <ART, Los Angeles and has recently lectured at the Yale University School of Art. At the IFA, Uslip organized the solo exhibitions with Lynda Benglis and Rachel Harrison. His group shows at Artists Space in New York City include Nina in Position and Log Cabin, which was awarded a “Best of 2005” by Artforum.
Ila Sheren is Assistant Professor of Art History and Archaeology at Washington University in St. Louis, specializing in contemporary art. From 2011 to 2012 she was an Andrew W. Mellon Postdoctoral Fellow at University of Toronto’s Jackman Humanities Institute. Sheren’s current work seeks to analyze the connections between art and social movements, as well as finding new ways to discuss the “efficacy problem” of activist art. She received her PhD in 2011 from the History, Theory, and Criticism program in the Department of Architecture at the Massachusetts Institute of Technology. Her dissertation and postdoctoral work focused on the U.S.-Mexico border region as a site for politically and socially-motivated artwork.