[bioundgrd] Fwd: The 2011 Max Wasserman Forum on Contemporary Art

Mon Sep 26 09:49:20 EDT 2011

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>Subject: The 2011 Max Wasserman Forum on Contemporary Art
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>M I T   L I S T   V I S U A L   A R T S   C E N T E R
>
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>The MIT List Visual Arts Center is pleased to present
>
>The Max Wasserman Forum on Contemporary Art
>
>Present Past: Contemporary Art and the Uses of History
>
>
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>77 Massachusetts Avenue // Building 10, Room 250
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>Sunday, October 9, 2011 @ 3:00PM 
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>
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>Panelists: Matthew Buckingham, Jaleh Mansoor, Dieter Roelstraete, Danh Vo
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>Moderator: Tim Griffin
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>
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>This Forum is free and open to the public.
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>
>
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>Danh Vo, 02.02.1861, 2009, Last letter of Saint 
>Théophane Vénard to his father before he was 
>decapitated, copied by Phung Vo, ink on paper, 
>29.6 x 21 cm. Title and edition number remains 
>undefined until the death of Phung Vo. Photo by 
>Danh Vo
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>
>
>
>The MIT List Visual Arts Center is pleased to 
>present the annual Max Wasserman Forum on 
>Contemporary Art on Sunday, October 9 at 3PM. 
>This year's Forum, Present Past: Contemporary 
>Art and the Uses of History, concerns how 
>artists working with historical subject matter 
>engage theories and methods of historical 
>research.
>
>
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>"To be historical," wrote philosopher Paul 
>Ricoeur, "an event must be more than a singular 
>occurrence, a unique happening. It receives its 
>definition from its contribution to the 
>development of a plot." If narrative is central 
>to written history, what might Ricoeur's 
>statement mean for artistic practices that 
>operate with historical materials, such as 
>archives or found objects, or for artistic 
>practices that use historical theories 
>themselves as subject matter? What of the 
>connection between historical and fictional 
>narratives? In what ways can artistic practices 
>open a space to question the status of whose 
>narrative is being articulated? More generally, 
>what are the articulations of the relationship 
>between contemporary art and an interest in 
>historical phenomena? Can current artistic 
>practices prompt a new sense of historical time, 
>one reflected in a relationship to the 
>contemporary as a category of the present that 
>is, in itself already, historical?
>
>
>
>These and related questions will be discussed by 
>artist Matthew Buckingham, art historian Jaleh 
>Mansoor, curator and writer Dieter Roelstraete, 
>and artist Danh Vo, with curator and writer Tim 
>Griffin moderating the panel.
>
>
>
>The Max Wasserman Forum on Contemporary Art was 
>established in memory of Max Wasserman (MIT 
>Class of 1935), a founding member of the Council 
>for the Arts at MIT. This public forum was 
>endowed through the generosity of the late 
>Jeanne Wasserman and addresses critical issues 
>in contemporary art and culture through the 
>participation of renowned scholars, artists, and 
>arts professionals. The Forum is organized and 
>presented by the MIT List Visual Arts Center.
>
>
>
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>here for more information on this year's Max 
>Wasserman Forum on Contemporary Art, or call 
>617.452.3586.
>
>Directions to Building 10, Rm. 250
>10-250 is accessible through the MIT entrance at 77 Massachusetts Avenue.
>
>
>
>By T, take the Red Line to the Kendall/MIT stop. 
>Proceed one and a half blocks west away from 
>Boston and the Longfellow Bridge to Ames Street, 
>turn left, and continue to Building 66, 25 Ames 
>Street. Enter Building 66 (the building has a 
>triangular footprint) and follow the "Infinite 
>Corridor" to Building 10. Signage will be in 
>place to guide visitors to Building 10, Rm. 250.
>
>
>
>By car, coming across the Longfellow Bridge or 
>from Memorial Drive, follow signs for Kendall 
>Square. Limited metered parking is available on 
>Ames Street. A parking garage is located at the 
>7 Cambridge Center complex (entrance on Ames 
>Street between Main and Broadway). Paid public 
>parking is also available at the Marriott Hotel 
>on Broadway
>
>
>   All programs are free and open to the general public.   
>
>    
>
>
>
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