This text is a theoretical study of contemporary graffiti. Rethinking the history of this illegal activity through the lenses of poststructuralism and continental philosophy, I examine how the ideological shifts to Postmodernism and Globalism that appear in the visual arts starting in the 1950s motivated graffiti artists. Comparing these desires to challenge the supremacy of Modernism within both graffiti and fine art, Anti-Establishings creates a series of parallels between the two based on their deconstruction of the artwork, the artist, and the exhibition space. I conclude that contemporary graffiti is a pluralistic aesthetic that denies a singular agenda. It continually promotes its eradication from public space and seeks to create an awareness of this absence.
When the pioneering sonic artist Michael Brewster passed away in 2016, he left behind almost five decades of work. Known for developing the idea of an “acoustic sculpture,” Brewster blurred the boundaries between the ocular and the auditory while redefining ideas about installation art.
Since January of 2017, I have been leading a small team of archivists as we compile Brewster’s catalogue raisonné. Over the next several years, I will be working with the art critic David Pagel and others to curate several posthumous shows of Brewster’s work. I plan to author a monograph during this time as well.
A survey of modern art focusing on the development of its major trends and movements.
A survey of Western art and non-Western art from the Prehistoric era to the late Gothic era.