>> Events <<

          Berlin (23–30 May 2016)

Scott DeGregoris
Donna Stonecipher
Manfred Uhlitz
Shane Anderson
Ulf Stolterfoht
Christian Hawkey
Uljana Wolf
Florian Werner
Josepha Conrad
Dorothee Haffner
Susanne Reumschüssel

          Paris (30 May–1 June 2016)

Linda Watten
Hélène Aji

… More

American Comparative
Literature Association

Harvard University
17–20 March 2016
(after On Kawara)

Johannes Göransson
Jonathan Stalling
Brian Reed
Anastasiya Lyubas
Liansu Meng
Anthony Abiragi
Anna Horakova
Hongjian Wang
Omaar Hena
Michal Wenderski
… More

The Louisville Conference
on Literature and Culture since 1900
University of Louisville
18–20 February 2016
(after On Kawara)

Alan Golding
Aaron Jaffe
Rodrigo Toscano
Lisa Gitelman
Mat Johnson
Johanna Drucker
Lauri Ramey
C.S. Giscombe
Aldon Nielsen
Tyrone Williams
… More

Event 56: Poets Theater

From Amiri Baraka, Home on the Range

From Amiri Baraka, Home on the Range

Festival of Poets Theater
Sector 2337, Chicago
2–5 December 2015
(After On Kawara)

Heidi Bean
Patrick Durgin
Carla Harryman
Devin King
John Beer
Daniel Borzutzky
John Tipton
Jennifer Karmin
Jennifer Rupert
Chris Glomski
Peter O’Leary
Laura Goldstein
Dan Godston
Analeah Rosen … More

Transvaluations of Value: Poetics and Political Economy
Session P28, 8:30–10:00 A.M., Friday, 20 November 2015
Modernist Studies Association

Herman Rapaport, “Transvaluations of Value: Fredric Jameson, Jackson Mac Low”
Barrett Watten, “The Poet/Critic: Transvaluations of Value After Modernism”
Tyrone Williams, “‘The Changing Same’: Value in Marx and Amiri Baraka”

This panel takes up debates between poetics and political economy after the recent turn to Marxist political economy as a materialist interpretive strategy for poetry and poetics. In a contrary move, a return to the aesthetic as a construction of value, sited in a more classical reading of modernist form by Charles Altieri, appropriates the concept of “value” for self-reflexive poetic forms. The three presenters will develop approaches to the concept of value that are irreducible either to economism, especially the commodity form, or to the aesthetic, e.g. modernism, and will seek to articulate more inclusive accounts of value that extend political economy to other value-producing registers in the horizons of art, history, ethics, and politics. [See next post.]

Modernist Studies Association
Boston, Massachusetts
19–22 November 2015
(after On Kawara)

Herman Rapaport
Tyrone Williams
Carla Billiterri
Ben Friedlander
Alisa Allkins
Alan Golding
Aaron Nyerges
Sarah Posman
Dorothy Wang
Rachel Galvin
Kaplan Harris
… More

Event 53: I Met (ASAP)

Association for the Study
of the Arts of the Present
Greenville, South Carolina
24–27 September 2015
(after On Kawara)

Jonathan Eburne
Nico Israel
Lytle Shaw
Sarah Brouillette
Mark Goble
Gloria Fisk
Brian McHale
Esther Gottlieb
Jennifer Ashton
Walter Benn Michaels
… More

OLYMPUS DIGITAL CAMERA

Bavarian-American Academy
Amerikahaus, Munich

University of Regensburg
10–23 May 2015
(after On Kawara)

Heike Paul
Volker Depkat
Marga Schweiger-Wilhelm
Markus Heide
Silvia Spitta
Florian Tatschner
John Landreville
Mary Catherine Lawler
Jessi Lee Jackson
Barry Shank
… More

Event 51: I Met (ACLA)

American Comparative Literature Association
Seattle, 26–29 March 2015
(after On Kawara)

renee hoogland
Anjuli Raza Kolb
Marjorie Levinson
Jonathan Stalling
Nick Admussen
Jinyi Chu
Jacob Edmond
Paul Manfredi
Florian Wagner
Yang Zi
… More

Tracking the Chinese Avant-Gardes: Literary and Visual
Organizers: Barrett Watten, Wayne State University
Jonathan Stalling, University of Oklahoma
Jacob Edmond, University of Otago

American Comparative Literature Association
Seattle, 26–29 March 2015; stream B (10:30–12:10)
Dashpoint, Seattle Sheraton

The past thirty-five years has witnessed the phenomenal growth of numerous avant-garde art and poetry movements in China, from the 1979 Stars exhibition and Misty School of poetry to the present. This seminar will survey the formal innovations, historical development, and cultural logics of the Chinese avant-gardes, working across genres and disciplines in doing so. It will present examples of formally innovative and culturally provocative art, from its period of emergence after the Cultural Revolution in the 80s to the traumatic break that occurred with the events of the June 4/Tiananmen Square movement to periods of growth and dispersion in the 90s and global recognition in the 00s. How have Chinese avant-gardes developed, dispersed, changed, been absorbed—what are their influences, accomplishments, contradictions, historical mission? How are the Chinese avant-gardes global; how do they respond to or resist globalization; how do they reflect, affirm, or critique China’s role in the global order? How are the Chinese avant-gardes a moment of cultural translation or hybridity between Chinese and Western/avant-garde aesthetics, philosophy, and/or politics (including gender)? How were emergent forms of transnational art, such as Conceptual Art or Concrete Poetry, interpreted in China? How do the Chinese avant-gardes negotiate the visual/verbal interface between pinyin and roman characters as a part of its task? And finally, what does the emergence of the Chinese avant-gardes, in their specific historical and cultural conditions, mean for the theory of the avant-garde, given its Eurocentric historical basis?

… More