In asking why responses to Sugimoto’s photographs turn on a dime from awe to scorn, I suggest that these strange works of art manage to escape human desires. My hope is that by moving the conversation away from entrenched dichotomies such aesthetics or anti-aesthetics and toward an analysis of the nature of objects and feelings, I can suggest the ethical and practical consequences of inhuman art.
Bio:
Raskin has been a professor at the School of the Art Institute of Chicago since 2000. He has served as the Chair of the Art History, Theory, and Criticism department from 2010–13 and as the Chair of the Sculpture department from 2013–14. He teaches seminars on Minimalism, Pop, Postminimalism, Vito Acconci, Rosalind Krauss, Jackson Pollock, Michael Fried, Andy Warhol, and “feedback” in installation, performance, and video art. Raskin’s scholarly work and research has been acknowledged by many institutions, including fellowships awarded by the Smithsonian Institution, the National Endowment for the Humanities, the Wyeth Foundation for American Art, American Council of Learned Societies, and the Whitney Museum. In 2009, Raskin was honored with the SAIC Class of 2009 Faculty Member of The Year award for excellence in teaching.
Raskin’s book Donald Judd was published by Yale in 2010 and has been reviewed in more than a dozen publications. Raskin’s other writings are widely read and he has contributed essays to catalogs of exhibitions at the Tate Modern, London; Moderna Museet, Stockholm; Museum of Contemporary Art, Chicago; Ludwig Museum, Cologne; and the Stedelijk Museum, Amsterdam.
Venue: S08 ( Griffith Film School) Room 2.14, Queensland College of Art.
