John C. Welchman – författare

The condition of borders has been crucial in exhibitions, conferences and publications. This text aims to offer a frame for the discussion of border discourses. It develops important contexts in art and architectural theory, contemporary film-making, criticism and cultural politics, for the proliferation of "border theories" and "border practices" that have marked a new stage in the debates over postmodernism, cultural studies and postcolonialism.

Beginning with the first comprehensive account of the discourse of appropriation that dominated the art world in the late 1970s and 1980s, Art After Appropriation suggests a matrix of inflections and refusals around the culture of taking or citation, each chapter loosely correlated with one year of the decade between 1989 and 1999. The opening chapters show how the Second World culture of the USSR gave rise to a new visibility for photography during the dissolution of the Soviet Union around 1989. Welchman examines how genres of ethnography, documentary and travel are crossed with fictive performance and social improvisation in the videos of Steve Fagin. He discusses how hybrid forms of subjectivity are delivered by a new critical narcissism, and how the Korean-American artist, Cody Choi converts diffident gestures of appropriation from the logic of material or stylistic annexation into continuous incorporated events. Art After Appropriation also examines the creation of public art from covert actions and social feedback, and how bodies participate in their own appropriation. Art After Appropriation concludes with the advent of the rainbow net, an imaginary icon that governs the spaces of interactivity, proliferation and media piracy at the end of the millennium.John Welchman is Professor of Modern Art History, Theory and Criticism at the University of California, San Diego. He is the author of Modernism Relocated (1995) and Invisible Colors (1997); and editor of Rethinking Borders (1996), and a forthcoming three-volume anthology of the writings of LA artist MIke Kelley. Welchman has contributed to numerous journals, magazines, museum catalogues and newspapers, including Artforum; New York Times; Los Angeles Times; International Herald Tribune; Los Angeles County Museum of Art; Tate Gallery; Museum of Contemporary Art, Los Angeles; Reina Sofia, Madrid; Haus der Kunst, Munich

Vitrines and glass cabinets are familiar apparatuses that have in large part defined modern modes of display and visibility, both within and beyond the museum. They separate objects from their contexts, group them with other objects, both similar and dissimilar, and often serve to reinforce their intrinsic or aesthetic values. The vitrine has much in common with the picture frame, the plinth and the gallery, but it has not yet received the kind of detailed art historical and theoretical discussion that has been brought to these other modes of formal display. The twelve contributions to this volume examine some of the points of origin of the vitrine and the various relations it brokers with sculpture, first in the Wunderkammer and cabinet of curiosities and then in dialog with the development of glazed architecture beginning with Paxton's Crystal Palace (1851). The collection offers close discussions of the role of the vitrine and shop window in the rise of commodity culture and their apposition with Constructivist design in the work of Frederick Kiesler; as well as original readings of the use of vitrines in Surrealism and Fluxus, and in work by Joseph Beuys, Paul Thek, Claes Oldenburg and his collaborators, Jeff Koons, Mike Kelley, Dan Graham, Vito Acconci, Damien Hirst and Josephine Meckseper, among others. Sculpture and the Vitrine also raises key questions about the nature and implications of vitrinous space, including its fronts onto desire and the spectacle; transparency and legibility; and onto ideas and practices associated with the archive: collecting, preserving and ordering.

It develops important contexts in art and architectural theory, contemporary film-making, criticism and cultural politics, for the proliferation of 'border theories' and 'border practices' that have marked a new stage in the debates over postmodernism, cultural studies and postcolonialism.

Vitrines and glass cabinets are familiar apparatuses that have in large part defined modern modes of display and visibility, both within and beyond the museum. They separate objects from their contexts, group them with other objects, both similar and dissimilar, and often serve to reinforce their intrinsic or aesthetic values. The vitrine has much in common with the picture frame, the plinth and the gallery, but it has not yet received the kind of detailed art historical and theoretical discussion that has been brought to these other modes of formal display. The twelve contributions to this volume examine some of the points of origin of the vitrine and the various relations it brokers with sculpture, first in the Wunderkammer and cabinet of curiosities and then in dialog with the development of glazed architecture beginning with Paxton's Crystal Palace (1851). The collection offers close discussions of the role of the vitrine and shop window in the rise of commodity culture and their apposition with Constructivist design in the work of Frederick Kiesler; as well as original readings of the use of vitrines in Surrealism and Fluxus, and in work by Joseph Beuys, Paul Thek, Claes Oldenburg and his collaborators, Jeff Koons, Mike Kelley, Dan Graham, Vito Acconci, Damien Hirst and Josephine Meckseper, among others. Sculpture and the Vitrine also raises key questions about the nature and implications of vitrinous space, including its fronts onto desire and the spectacle; transparency and legibility; and onto ideas and practices associated with the archive: collecting, preserving and ordering.

Stopgap Measures presents an exciting selection of essays, interviews and shorter pieces written over more than three decades by noted art historian and cultural critic John C. Welchman. It includes reflections on specific works including Kelley’s early performances Confusion (1981-84) and Monkey Island (1982-83); Liquid Diet (1989/2006), the artist’s only extended reflection on the “Troubles” in Northern Ireland; Fresh Acconci (1995, with Paul McCarthy); Petting Zoo created for Skulptur Projekte Münster, 2007; the landmark installation Day Is Done (2005); and Kelley’s final work Mobile Homestead. The volume features a signature series of pathbreaking essays on Kelley’s innovations in photography, writing, physical comedy and verbal humor; memory, popular culture, dress-up and Americana; the uncanny, imaginative projection and dark fantasy; appropriation and giving; authorship and self-construction; and the artist’s little-remarked negotiation with histories of and ideas about Asia. The book concludes with a new essay connecting the refrain disappearances that punctuate Kelley’s career with specters of social catastrophe and nuclear annihilation.

This extensive appraisal of Richard Jackson's œuvre is a key resource on one of America's major contemporary artists, combining critical analysis of Jackson's work with wit and wisdom from the artist himself.This massive appraisal of Jackson’s art, authored by art historian John C. Welchman and featuring an in-depth illustrated chronology by Dagny Corcoran, layers analysis of Jackson's work with reflections by the artist himself, drawn from extensive interviews and placed alongside new materials from Jackson's archive. Welchman’s text is the primary resource on the career of one of America's major contemporary artists.Corcoran’s chronology―pulling from extensive new research and interviews with figures such as Paul McCarthy, Bruce Nauman and Rosamund Felsen―traces the important events in Jackson’s life.