PDS Seminar: After 1989 (or, Art At The End Of The World)

*i'm not a coder, not good at codes :) expect typos, wrong links, and unavailable pdfs, etc.




*I wasn't unhappy, I wasn't scared.
I want you to know
I conducted a war for this,
a war to lose my life. I lost it,
I lost it. I reduced it to
A Death Canoe
And it still came out
as life.
-Maggie Nelson, Death Canoe, The Latest Winter



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week 1: Animating (Bad Images)

Jack Halberstam, "revolting animation, animating revolt," queer art of failure

Maria Hlavojova and Simon Sheikh “Editors Note: Formering The West,” Former West: Art and the Contemporary after 1989

Hito Steyerl, “Defense of the Poor Image”



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week 2: Broken World Thinking (temporary repairs, temporary balance)

Robin Adele Greeley, “The Logic of Disorder: The Sculptural Materialism of Abraham Cruzvillegas”

Steven Jackson, “Rethinking Repair”

Okwui Enwezor, “Place-Making or in the ‘wrong place’: Contemporary Art and the Postcolonial Condition”



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week 3: Object Oriented Ontology (soft grids, softwares, soft tools)v

Jane Bennet, “The Agency of Assemblages,” Vibrant Matter: A political Ecology of Things

Marisa Olson, “The Rhetoric of Soft Tools,” The Emergence of Video Processing Tools



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week 4: Wildness (Into the Woods/Into the Weeds)

Bruno Latour, selections from “We Have Never Been Modern” “Crisis” and “relativism” in We Have Never Modern

Bruno Latour, selections from “We Have Never Been Modern” “Crisis” and “relativism” in We Have Never Modern

Fred Moten, “Seeing Things” Stolen Life

Fred Moten, Erotics of Fugitivity Stolen Life

Fred Moten and Wu Tsang, “Sudden Rise at a Given Tune”



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week 5: Precarity and Public Performance (zombies and vulnerability)

Rebecca Schneider “it seems as if... I am dead: Zombie Capitalism and Theatrical Labor”

Judith Butler, “Bodily Vulnerability, coalitional politics” Notes toward a performative Theory of Assembly



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week 6: Zombie Formalism (what about color)

Jerry Saltz, “Zombies on the Walls: Why Does So Much New Abstraction Look the Same?”

“Before Dispossession, or Surviving It” by Angie Morrill, Eve Tuck, and the Super Futures Haunt Quollective

Maggie Nelson, “Bluets”



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week 7: feelings and difficulty

Sarah Ahmed, “Feel Your Way” “The Contingency of Pain”

Jennifer Doyle: Theater of Cruelty: Thomas Eakins, The Gross Clinic (1875) in Hold it Against Me, Difficulty and Emotion in Contemporary Art



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week 8: Radical Pedagogy and Other Ways of Thinkering

Eve Kosofsky Sedgwick, “Pedagogy of Buddhism,” page 1 Touching Feeling

Eve Kosofsky Sedgwick, “Paranoid Reading and Reparative Reading, or You’re so Paranoid, You Probably Think This Essay Is About You,” Elia Rita, don't look the other way



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week 9: Minimalism and After (patterning and repatterning)

Anna C. Chave, “Minimalism and the Rhetoric of Power””

Jennifer Doyle and David Getsy, "Queer Formalisms: In Conversation"

Michael Fried, "Art and Objecthood"



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week 10: An Impasse

Lauren Berlant, “Nearly Utopian, Nearly Normal”

Jan Verwoert, “Exhaustion and Exuberance

Raymond Williams, “Labour” and “Work,” in Keywords TK



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week 11: Slave Labor, Class Struggle

WEB DuBois, “The Black Worker” and “The White Worker” ?In Black Reconstruction in America

Huey Copeland, “Lorna Simpson’s Fugitive Transitions”





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week 12: Art as Socialist Production

Christina Kiaer, “Boris Arvatov’s Socialist Object”

“Manifesto of the Working Group of Constructivists”

John Elderfield, Constructivism and the objective world: an essay on production art and proletarian culture”