芝加哥当代艺术馆讲座与研讨会系列由安杰 B. 和约翰 J. 杰林克特约赞助
2009 9 12 周六, 2 pm
如何像奥拉夫.埃利亚森（Olafur Eliasson）那样创造身临其境的艺术作品？如何运用如梦似幻的光景技术巧妙表现事物运作规律并玩转我们的注意力于股掌之间？本周六下午由全球知名的三位艺术人发起的研讨讲座将就艺术与科技的微妙关系史展开的关于消费文化、光学、心理学、哲学以及科学技术等广泛内容进行研讨。此次活动由MCA普利兹克艺术总监及“享受你的时间——奥拉夫.埃利亚森”的策展人玛德琳.基因斯坦（Madeleine Grynsztejn）特别策划。
麦考尔McCall以其“固体光”的装置艺术闻名于世，这是一个他从1973年便开始探索的实验项目：线描绘锥（Line Describing a Cone）, 一个由投射灯及体积测量设备相配套创造出的三维空间. 因其介于雕塑、摄影与绘画之间的突破性艺术形式，他的艺术作品具有高度的历史性重要意义。其中广为人知的展览包括：在惠特尼美国艺术博物馆展出的“融入灯光——在美国艺术中的投影图像（Into the Light: the Projected Image in American Art 2001-2）”；在维也纳摩德纳.肯斯特（Moderner Kunst）艺术馆展出的“拓展的屏幕：六十、七十年代的行为与装置” （The Expanded Screen: Actions and Installations of the Sixties and Seventies 2003-4)；在柏林汉堡.巴霍夫（Hamburger Bahnhof）展出的“逾越镜头：投射的艺术”（Beyond Cinema: the Art of Projection at, Berlin 2006-7); 在华盛顿特区西斯豪恩博物馆举行的“镜头效应: 幻觉, 真实与投影图像” (Cinema Effect: Illusion, Reality and project image, 2008); 以及在纽约现代艺术馆展出的“20年代或70年代移动的几何学”（The Geometry of Motion 1920s/1970s 2008).
Micro-Symposium: Art / Science / Spectacle
The Antje B. and John J. Jelinek Endowed Lecture and Symposium on Contemporary Art is made possible through a generous gift to the Chicago Contemporary Campaign.
Saturday, September 12, 2009, 2 pm
Anthony McCall, keynote
Using as a starting point his own early experiments with fire and sculptural film and light installations, this presentation addresses the shifts and relationships between phenomenological work produced in the 1970s and works produced by a newer generation of artists, including Olafur Eliasson. He contextualizes these shifts within the massive changes that have taken place since the 1990s in the production, consumption, and presentation of culture.
McCall is known for his ‘solid-light’ installations, a series that he began in 1973 with his seminal Line Describing a Cone, in which a volumetric form composed of projected light slowly evolves in three-dimensional space. Existing in a zone between sculpture, cinema, and drawing, his work’s historical importance has been internationally recognized in such exhibitions as Into the Light: the Projected Image in American Art 1964-77 at the Whitney Museum of American Art (2001-2); The Expanded Screen: Actions and Installations of the Sixties and Seventies at Museum Moderner Kunst, Vienna (2003-4); Beyond Cinema: the Art of Projection at Hamburger Bahnhof, Berlin (2006-7); The Cinema Effect: Illusion, Reality and the Projected Image at Hirshhorn Museum, Washington DC (2008); and The Geometry of Motion 1920s/1970s, Museum of Modern Art, New York (2008).
Solo exhibitions of McCall’s work have taken place at Centre Pompidou/La Maison Rouge, Paris, 2004; Tate Britain, London, 2004; Institut d’Art Contemporain, Villeurbanne, France, 2006; Musée de Rochechouart, France, 2007; Serpentine Gallery, London, 2007-8; Hangar Bicocca, Milan, 2009.
This talk explores the fascination with science and its objects from the Renaissance through the Enlightenment. It examines luxurious scientific artifacts, eclectic naturalistic collections and sensuous experimental demonstrations. With a focus on the places where science, nature and art conjured together to amuse and educate, it highlights the passions and the cultures that made science spectacular.
Paola Bertucci is Assistant Professor of History of Science and Medicine at YaleUniversity. Her work focuses on various aspects of science and medicine in the age of Enlightenment: the involvement of the human body in electrical experiments, the history of natural disasters, the material culture of science. She is currently writing a book on science, secrecy, and spectacle in 18th-century France. She has organized several museum exhibitions, including two new permanent installations from the 18th-century collections of the new GalileoMuseum(formerly Museum of the History of Science) in Florence, Italy: The Spectacle of Science and Science in the Household. She received her D.Phil. in History of Science from theUniversity ofOxford.
Barry Ptolemy’s new film, Transcendent Man, chronicles the future of technological innovation. At one point, its protagonist Ray Kurzweil states “part of being a futurist is looking back.” The same could be said of Olafur Eliasson’s singular artifacts featured in the exhibition, Take your time. These smart optical devices — referencing the ingenious imaging “machines” created during the Baroque era -re-engineer the past for our age of artificial intelligence, nanodevices, interactive avatars, and mirror systems. Her talk reflects on the magic and metaphysics of this venerable interactive entertainment and educational technology.
Barbara Maria Stafford is the William B. Ogden Distinguished Service Professor, Emerita, at the Universityof Chicago. Her work has consistently explored the intersections between the visual arts and the physical and biological sciences from the early modern to the contemporary era. An avowed imagist, her writing focuses on the history and theory of imaging and visualization modalities from the early modern to the digital era. Her books, in various ways, reveal the deep intersections connecting the arts, sciences, and optical technologies to one another. She also writes historically-grounded manifestos on the vital significance of the visual and sensory arts to general education as well as to society at large, and has curated influential exhibitions, such as the monumental Devices of Wonder: From the World in a Box to Images on a Screen Show held at the Getty Museum (2001/2002).
Her current research charts the revolutionary ways the neurosciences are changing our views of the human and animal sensorium, shaping our fundamental assumptions about perception, sensation, emotion, mental imagery, and subjectivity. Stafford’s most recent book is Echo Objects: The Cognitive Work of Images, University of Chicago Press, 2007. These interests inform several major programmatic and educational projects. These include efforts to establish a laboratory/studio-based PhD at SUNY/ Buffalo tying together the neurosciences with humanities/social sciences-based imaging. Yet another project involves the completion of a collaborative book, A Field Guide to a New Metafield: Bridging the Humanities-Neurosciences Divide [forthcoming from theUniversity ofChicago Press].
She received her BA from Northwestern University majoring in Continental Philosophy and Comparative Literature. She also spent a year at the Sorbonne in Paris and returned to the Chicago area to complete an MA in Art History from Northwestern and a Ph.D from the University of Chicago.