Diverse Discourse Lecturers
LECTURE NO. 1
LEANNE AND GEORGE ROBERTS CURATOR OF EDUCATION AND PUBLIC PRACTICE, SAN FRANCISCO MUSEUM OF MODERN ART
Wednesday, November 30, 6:30 PM
CURATING AND THE CRISIS OF THE PUBLIC
Curating is the task of making art public. It may entail producing exhibitions, but also performances and collective actions, talks and discussions, screenings, classes and workshops, media content and books. But how is it possible to make art public in a time and a place when the very idea of the public is broken? Dominic Willsdon will address this question with reference to curatorial projects he has collaborated to produce — in Brazil, England, South Africa and the United States. He will draw on ideas collected in his book Public Servants: Art and the Crisis of the Common Good, co-edited with Johanna Burton and Shannon Jackson, which is published this month.
Dominic Willsdon is Leanne and George Roberts Curator of Education and Public Practice at SFMOMA, where he directs a curatorial department of pedagogical and cultural programming that comprises school initiatives, public dialogue, performance, and film.
Willsdon was Pedagogical Cloud Curator of the 9th Mercosul Biennial in Porto Alegre, Brazil (2013) and is a co-curator of the 9th Liverpool Biennial, UK (2016). He is a former co-editor of the Journal of Visual Culture, and co-editor of The Life and Death of Images: Ethics and Aesthetics (Cornell, 2008), Public Intimacy: Art and Other Ordinary Acts in South Africa (YBCA, 2016), Visual Activism (Sage, 2016), and Public Servants: Art and the Crisis of the Common Good (MIT, 2016). In 2010, he was the inaugural Kress Research Fellow in Museum Education at the Sterling and Francine Clark Art Institute. From 2000 to 2005, he was Curator of Public Events at Tate Modern where he organized discursive, film and music programs.
Willsdon has taught in graduate studies in curatorial practice since 1999, at the Royal College of Art, UK, and the California College of the Arts, and he organized the curatorial intensive Curating Beyond Exhibition-Making (2012) for Independent Curators International in New York. He holds a PhD in philosophy from the University of Essex, UK, a DEA (Diplôme d’études approfondis) in philosophy from the University of Paris, France, and an MA with honors in Fine Art from Edinburgh University, UK.
LECTURE NO. 2
CLAUDIA LA ROCCO
POET, CRITIC, PERFORMER, SAN FRANCISCO
Wednesday, April 12, 6:30 PM
CRITICISM IS DEAD. LONG LIVE CRITICISM.
“The demise of traditional criticism has long been rumored. But of course it continues, in various fits and starts, alongside platforms that (need it be said?) make everyone a critic. What now is the role of this tradition of public thinking out loud within current public discourse, which seems at once ever-more expansive and ever-more diminished (or at least fractured)? Here are a few attempts at answering this very big question (which is actually a series of questions), drawing on my years as a writer and editor. These attempts will likely be oblique. They might not work. The elucidation of ideas is, after all, a dicey business. ”
Claudia La Rocco is the author of The Best Most Useless Dress (Badlands Unlimited), selected poetry, performance texts, images and criticism, and the novel petit cadeau, published by The Chocolate Factory Theater as both a print edition of one and a four-day, interdisciplinary live edition. She edited I Donʼt Poem: An Anthology of Painters (Off the Park Press) and Dancers, Buildings and People in the Streets, the catalogue for Danspace Projectʼs PLATFORM 2015, which she curated. Her collaborators include the choreographer Michelle Ellsworth, the performance company Findlay//Sandsmark and the saxophonist/composer Phillip Greenlief, with whom she is animals & giraffes. A columnist for Artforum, a contributing editor to Emergency Index (Ugly Duckling Presse), and writer-in-residence at On the Boards theater, she is editor-in-chief of SFMOMA’s Open Space.