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Month: January 2022
Introduction / Issue 33: After Douglas Crimp
Click here for the Table of Contents by Peter Murphy Featured images: T.L. Litt, Douglas Crimp, New York, 1990. (L) and Douglas Crimp, New York, 1990. (R). Images courtesy of the artist. When it was time to decide the topic for Issue 33 of InVisible Cu…
Table of Contents / Issue 33: After Douglas Crimp
Peter Murphy, “Introduction: After Douglas Crimp” Articles Matthew Bowman, “The Haunting of Modernism Conceived Differently” Theo Gordon, “Re-reading ‘Mourning and Militancy’ and its Sources in 2022” Lutz…
After Douglas Crimp Questionnaire Response: Ann Reynolds
SHARING TIME IN THE ARCHIVES WITH DOUGLAS Douglas and I spent some time together in the archives, but not nearly enough time, as it turned out. Losing someone brings the constant sharing of things and experiences to an end, or at least, renders it one-…
After Douglas Crimp Questionnaire Response: Shota T. Ogawa
Share an anecdote or memory you have of Douglas. Or, if you had the opportunity to share anything with Douglas now, what would it be? As an outsider to contemporary art, I can only write about Douglas in Rochester: not the New York City art critic, but…
After Douglas Crimp Questionnaire Response: T’ai Smith
Motherly Lessons I attached a longer, unedited version of the following text to an email I sent to Douglas on December 12, 2018, while he was undergoing radiation treatment. He was not well, and I hoped it would convey the extent of my love and gratitu…
After Douglas Crimp Questionnaire Response: Kelly Long
Answer Louise Lawler’s question in October: “What would Douglas Crimp say?” Or, to follow the title of Lawler’s exhibition: Why Pictures Now? Pictures, for me, always—pictures, and poems (which hold on to ambiguity in the same way that pictures do). Pi…
After Douglas Crimp Questionnaire Response: Janet Wolff
VCS in the 90s It’s now thirty years since I arrived in Rochester, taking over as VCS director from Mieke Bal in the program’s second year. I think I am right in recalling that Douglas came the following year – 1992. Michael Holly as Chair …
After Douglas Crimp Questionnaire Response: Tiffany E. Barber
HOMAGE, a score for Douglas* Stand tall, feet together, feet apartSmile slightlyWalk in a circle around yourselfContinuing walking, marking a square perimeter around the circle you just madeStop whenever you feel like stopping Stand tall, feet together…
After Douglas Crimp Questionnaire Response: Rachel Haidu
Mourning and Proximity in a Bad Time The last time I spoke to Douglas it was the week of my birthday. I had a lot to tell him: not only about the birthday party I’d thrown for myself but the trip I was about to take, with a former student of his who’d …
After Douglas Crimp Questionnaire Response: Peter Christensen
Share an anecdote or memory you have of Douglas. Or, if you had the opportunity to share anything with Douglas now, what would it be? In late August 2015 Douglas sent me a text message asking if I was back in Rochester from our summer recess. Douglas h…
After Douglas Crimp Questionnaire Response: Nicholas Baume
Douglas Douglas’s loving friendship over the past 25 years has helped to shape the person I am today. In 1994 I was a junior curator at the newly established Museum of Contemporary Art, Sydney. We’d decided to program around the annual Sydney Gay &…
After Douglas Crimp Questionnaire Response: Gaëtan Thomas
Answer Louise Lawler’s question in October: “What would Douglas Crimp say?” “I love Louise!” Imagine an alternative space to museums. Describe what this space might look like. As I translated Douglas’ essays into French, I tried to imagine the alternat…
After Douglas Crimp Questionnaire Response: Marc Siegel
Answer Louise Lawler’s question in October: “What would Douglas Crimp say?” Or, to follow the title of Lawler’s exhibition: Why Pictures Now? We could call it, “Why No Pictures Now.” Louise Lawler’s contribution to the section commemorating Douglas Cri…
After Douglas Crimp Questionnaire Response: Amanda Jane Graham
Imagine an alternative space to museums. Describe what this space might look like. A city (for us, probably New York City) A stage A dinner party Share an anecdote or memory you have of Douglas. Or, if you had the opportunity to share anything with Dou…
After Douglas Crimp Questionnaire Response: Zheng Bo
Zheng Bo grows weedy gardens, living slogans, eco-queer films, and wanwu workshops to cultivate ecological wisdom beyond the Anthropocene extinction. Click here to return to the other questionnaire responses.
After Douglas Crimp Questionnaire Response: Juliane Rebentisch
His voice Douglas Crimp (1944-2019) One of the last conversations I had with Douglas touched on the question of one’s own voice in a public text. It was not about one’s own voice in the sense that is audible from any writing—even there…
Reading Douglas
by Xiao (Amanda) Ju I think of reading as one way to be in dialogue with Douglas, and, for me, he is such an important interlocutor. Reading Douglas has always been a bit difficult for me—part of it has to do with the fact that there is a whole set of …
Manhattan-Hanover Transfer
by Lutz Hieber and Gisela Theising We got to know Douglas Crimp, maven of New York AIDS activist art, in the summer of 1990. He seemed to us to be the living embodiment of an intellectual. Jean Paul Sartre describes intellectuals as being concerned wit…
The Haunting of a Modernism Conceived Differently
by Matthew Bowman Another Modernism Douglas Crimp’s exceptional reputation as an art critic is, of course, in many respects intertwined with his early theorization of postmodernism within the context of fine art. Especially important in this context wa…
Learning from Douglas: A Course Schedule
by Peter Murphy Art and the City: New York in the 1970s (Fall 2015)Monday 2-4:40PM, Morey 524Professor Douglas Crimp When I walked into the seminar room and saw the word “Cruising” projected onto the vinyl screen, I thought, with a budding sense of sat…
After Douglas Crimp Questionnaire Response: Catherine Zuromskis
How to do Intimacy Douglas was a great teacher. He was my favorite teacher. He was also my mentor, dissertation advisor, role model, dear friend, sometime parent, and generally, among the best people I have ever had the pleasure to know.…
Re-reading “Mourning and Militancy” and its Sources in 2022
by Theo Gordon In the opening paragraph of the chapter on disco in Before Pictures, Douglas Crimp writes of a folder of miscellaneous project papers he has kept from the 1970s, which includes an old, unpursued book proposal on the topic of contemp…
Mourning, Militancy, and Mania in Patrick Staff’s The Foundation
Featured image: Patrick Staff, video still from The Foundation, 2015. Courtesy of Commonwealth and Council, Los Angeles. by Christian Whitworth He was a damned good-looking guy, all right—and in that outfit he looked rugged, too. I reckon he was a…
Thirty-six Copies of the Mona Lisa
by Cindy Hwang and Hua Xi Thirty-six Copies of the Mona Lisa is a digital poem about oil painting reproductions, Chinese national identity, and Western colonialism. When my friend Hua Xi approached me in December 2018 with an opportunity to collaborate…