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UID:news570@kunstgeschichte.philhist.unibas.ch
DTSTAMP;TZID=Europe/Zurich:20260826T142945
DTSTART;TZID=Europe/Zurich:20260910T180000
SUMMARY:Keynote lecture: The Gesturally Expanded Field of (Proto-Feminist) 
 Conceptual Art: The Artistic Practices of Blythe Bohnen and Rosemarie Cast
 oro with Sabeth Buchmann
DESCRIPTION:Contrary to the assumption that nothing could be further remove
 d from Conceptual Art than the brushstroke\, the planned lecture examines 
 the painterly practices of two artists who belong to the "expanded field" 
 of an artistic movement that sought to break the dominance of the visual
 —previously the defining paradigm of the visual arts. The artists in que
 stion are Blythe Bohnen (1940–2022) and Rosemarie Castoro (1939–2015).
  Despite their programmatic affinity with US Minimal and Conceptual Art\, 
 they persisted in using painterly expression—a mode of representation of
 ten disparaged for its fixation on the retinal and the individual. The cen
 tral thesis is that the practice of the brushstroke—considered obsolete 
 at the time—enabled them to (re-)define optical perception as a socially
  coded embodiment of language\, consciousness\, and memory. The lecture wi
 ll therefore focus on the ways in which these two artists transformed the 
 linguistic\, serial\, and cybernetic procedures characteristic of canonica
 l Conceptual Art works into gender-reflexive iterations of gestural abstra
 ction. Furthermore\, it will be demonstrated how the works of Bohnen and C
 astoro—situated at the intersection of Expressionist painting\, Minimal 
 dance\, and Conceptual Art—integrated the infrastructures of everyday la
 bor into artistic (re)production and realized the principles of (proto-)fe
 minist self-organization\, such as through the New York-based A.I.R. Galle
 ry\, at the level of formal aesthetics.
X-ALT-DESC:Contrary to the assumption that nothing could be further removed
  from Conceptual Art than the brushstroke\, the planned lecture examines t
 he painterly practices of two artists who belong to the "expanded field" o
 f an artistic movement that sought to break the dominance of the visual—
 previously the defining paradigm of the visual arts. The artists in questi
 on are Blythe Bohnen (1940–2022) and Rosemarie Castoro (1939–2015). De
 spite their programmatic affinity with US Minimal and Conceptual Art\, the
 y persisted in using painterly expression—a mode of representation often
  disparaged for its fixation on the retinal and the individual. The centra
 l thesis is that the practice of the brushstroke—considered obsolete at 
 the time—enabled them to (re-)define optical perception as a socially co
 ded embodiment of language\, consciousness\, and memory. The lecture will 
 therefore focus on the ways in which these two artists transformed the lin
 guistic\, serial\, and cybernetic procedures characteristic of canonical C
 onceptual Art works into gender-reflexive iterations of gestural abstracti
 on. Furthermore\, it will be demonstrated how the works of Bohnen and Cast
 oro—situated at the intersection of Expressionist painting\, Minimal dan
 ce\, and Conceptual Art—integrated the infrastructures of everyday labor
  into artistic (re)production and realized the principles of (proto-)femin
 ist self-organization\, such as through the New York-based A.I.R. Gallery\
 , at the level of formal aesthetics.
DTEND;TZID=Europe/Zurich:20260910T200000
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