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This Thing We Call Art Season One & Two Essays

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This Is the End of High Entertainment: Tiny Furniture and This Is the End

Screening the Art World

Temenuga Trifonova (ed.)

Unlike most studies of the relationship between cinema and art, which privilege questions of medium or institutional specificity and intermediality, Screening the Art World explores the ways in which artists and the art world more generally have been represented in cinema. Contributors address a rarely explored subject -art in cinema, rather than the art of cinema - by considering films across genres, historical periods and national cinemas in order to reflect on cinema’s fluctuating imaginary of ‘art’ and ‘the art world’. The book examines the intersection of art history with history in cinema, cinema’s simultaneous affirmation and denigration of the idea of art as ‘truth’ and what this means for cinema’s understanding of itself, the dominant, often contradictory ways in which artists have been represented on screen, and cinematic representations of the art world’s tenuous position between commercial good and cultural capital.

Amsterdam University Press, 2022

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John Latham's Library

Photographer: Athanasios Velios © Flat Time House

This publication is a result of a residency undertaken at Flat Time House in the Spring/Summer of 2021 focusing on John Latham’s collection of books. Latham’s library, which includes books intended for the making of artwork as well as for research purposes, has never been catalogued or the subject of sustained investigation. Lloyd has explored the library with particular interest in Latham's personal books vs. books for work, marginalia and other physical interventions. This book contains a speculative library, and reflections on conversations with Flat Time House Director/Curator Gareth Bell-Jones, Noa Latham, son of John Latham and Barbara Steveni and Associate Professor of Philosophy at the University of Calgary, and Lisa Stone, Curator of the Roger Brown Study Collection from 1996–2020.

The Just Business Agency Press, 2022

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HAIR CLUB: A Case Study for Socially Engaged Art History

Suzanne Gold, Kelly Lloyd, Michal Lynn Shumate (HAIR CLUB)

Socially Engaged Art History and Beyond: Alternative Approaches to the Theory and Practice of Art History

Ed. Cindy Persinger and Azar Rejaie

What is socially engaged art history? Art history is typically understood as a discipline in which academics produce scholarship for consumption by other academics. Today however, an increasing number of art historians are seeking to broaden their understanding of art historical praxis and look beyond the academy and towards socially engaged art history. This is the first book-length study to focus on these growing and significant trends. It presents various arguments for the social, pedagogical, and scholarly benefits of alternative, community-engaged, public-facing, applied, and socially engaged art history. The international line up of contributors includes academics, museum and gallery curators as well as arts workers. The first two sections of the book look at socially engaged art history from theoretical, pedagogical, and contextual perspectives. The concluding part offers a range of provocative case studies that highlight the varied and rigorous work that is being done in this area and provide a variety of inspiring models. Taken together the chapters in this book provide much-needed disciplinary recognition to socially engaged art history, while also serving as a springboard to further theoretical and practical work.

Palgrave Macmillan, 2021

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"Living Within the Play"

Kelly Kaczynski, Kelly Lloyd, Mark Jeffery, Shannon Stratton

PUBLIC JOURNAL ISSUE 62: Currencies of Hospitality, 2021

Ed. SYLVIE FORTIN.

Hospitality is usually considered a philosophical concept, an ethical concern with juridical implications, a sociopolitical practice … or an industry. This publication shifts the focus to speculate on many of its other (often stealth) manifestations. It mobilizes hospitality—as concept, metaphor, performance, and dissidence—to render its pluripotent agency. Its presence can be detected in practices of walking, gathering, swinging, eating, drinking, playing, partying, and loving. This issue of PUBLIC is also a critical curatorial endeavour that weaves together artists’ projects, fiction, scholarly research, and other indefinable forms to explore some of the unexpected valences of hospitality in modern and contemporary art, cinema, animation, and exhibition making; in architecture, infrastructure, land use, and practices of cohabitation; in kinship and care; and in justice, pedagogy, and reparation.

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Fleeting Monuments for the Wall of Respect

Ed. Romi Crawford

The Wall of Respect, a work of public art created in 1967 at the corner of Forty-third Street and Langley Avenue on Chicago’s South Side, depicted Black leaders in music, literature, politics, theater, and sports. The Wall sparked a nationwide mural movement, provided a platform for community engagement, and was a foundational work of the Black Arts Movement. There is no longer any physical indication of its existence, but it still needs to be remembered. Romi Crawford proposes the concept of “fleeting monuments,” asking a range of artists and writers to realize antiheroic, non static, and impermanent strategies for commemoration.

The University of Minnesota Press/Green Lantern Press, 2021

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"Katie Sokoler- Your Construction Paper Tears Can't Hide Your Yayoi Kusama Neurotic Underbelly"

The Retro-Futurism of Cuteness

Ed. Jen Boyle, Wan-Chuan Kao

Is it possible to conceive of a Hello Kitty Middle Ages or a Tickle Me Elmo Renaissance? The Oxford English Dictionary dates the first reference to “cute” in the sense of “attractive, pretty, charming” to 1834. More recently, Sianne Ngai has offered a critical overview of the cuteness of the twentieth-century avant-garde within the context of consumer culture. But if cuteness can get under the skin, what kinds of surfaces does it best infiltrate, particularly in the framework of historical forms, events, and objects that traditionally have been read as emergences around “big” aesthetics of formal symmetries, high affects, and resemblances?

The Retrofuturism of Cuteness seeks to undo the temporal strictures surrounding aesthetic and affective categories, to displace a strict focus on commodification and cuteness, and to interrogate how cuteness as a minor aesthetics can refocus our perceptions and readings of both premodern and modern media, literature, and culture. Taking seriously the retro and the futuristic temporalities of cuteness, this volume puts in conversation projects that have unearthed remnants of a “cult of cute”—positioned historically and critically in between transitions into secularization, capitalist frameworks of commodification, and the enchantment of objects—and those that have investigated the uncanny haunting of earlier aesthetics in future-oriented modes of cuteness.

The Latin acutus, the etymological root of cute, embraces the sharpened, the pointed, the nimble, the discriminating, and the piercing. But as Michael O’Rourke notes, cuteness evokes a proximity that is at once potentially invasive and contaminating and yet softening and transfiguring. Deploying cuteness as a mode of inquiry across time, this volume opens up unexpected lines of inquiry and unusual critical and creative aporias, from Christian asceticism, medieval cycle drama, and Shakespeare to manga, Bollywood, and Second Life. The projects collected here point to a spectrum of aesthetic-affective assemblages related to racial, ethnic, gender, sexual, and class dimensions that exceed or trouble our contemporary perceptions of such registers within object-subject and subject-object entanglements.

punctum books, 2017

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