德夫林432号厅
Telephone: 617-552-2237
电子邮件: lotery@pronewport.com
现代艺术 & the Avant-Garde, 1900-1945
Postwar: Art After 1945
Introduction to 当代艺术, 1975-the Present
Artists' Design Exhibitions: Installation Art & Exhibition Making in Modern & 当代艺术
内存的工作
Interactions between art, science, and technology
Exhibition histories
Theories of utopia and creativeness
Jewish diaspora in art, film, literature, and criticism
Memory and mourning
凯文Lotery is an art historian specializing in modern and contemporary art in Europe and the Americas. His research has focused on interactions between art, 体系结构, and forms of technological and philosophical research. 他的第一本书, The Long Front of Culture: The Independent Group and Exhibition Design (MIT Press/10月 书, 2020), examines the collaborative exhibition design projects of the unruly cadre of artists, 架构师, 策展人, and 作家 known as the Independent Group or IG in 1950s Britain. The first book-length study of the IG’s exhibition designs, the book argues for exhibition design as a crucial cross-disciplinary and global mode of aesthetic production and image distribution at mid-century, one that resonates with much contemporary art today.
His current research explores the last works of artists, 作家, 特别是, filmmakers and film 作家 whose work stemmed, 至少在某种程度上, from the experience of the Holocaust and its generational transmission, such as Chantal Akerman, 米利暗汉森, 伊娃海塞, Siegfried Kracauer, 克罗德·兰兹曼, 和普里莫·列维.
Before coming to 太阳城网赌平台, Lotery was Lecturer in the Fine Art Department at the School of Arts and Cultures at Newcastle University, Newcastle upon Tyne, 英格兰. He was previously a Mellon Postdoctoral Fellow and Lecturer at Columbia University, and his research has been supported by grants from the Hauser & Wirth太阳城官网所, the Paul Mellon Centre for Studies in British Art, the Minda de Gunzburg Center for European Studies, and the Institute for Historical 太阳城官网, University of London.
书
The Long Front of Culture: The Independent Group and Exhibition Design. 剑桥,麻.: MIT Press/10月 书, 2020.
Articles and Book Chapters
“‘Great Historians Are Biological Freaks’: Siegfried Kracauer’s 哲学 of 历史,” 10月 185 (Summer 2023): 139-167.
“Introduction to Collective Reception,” co-author with Trevor Stark and Hyewon Yoon, 10月 185 (Summer 2023): 3-4.
“Dance Double: Alex Katz’s Scenography,” Alex Katz: Gathering (New York: Guggenheim Museum, 2022), 284-291.
“Left to His Own Devices: Richard Hamilton, Introspectre,” Bricks from the Kiln #5 (December 2021), 164-180.
“Folds in the Fabric: Robert Morris in the 1980s,” 10月 171 (Winter 2020): 77-114.
“The Hamilton Variations,” in Reaper: Richard Hamilton & Sigfried吉迪恩. JRP Ringier/ETH Zürich, 2017: 103-136.
“Rooms: Richard Hamilton and Postmodernism,” 10月 159 (Spring 2017): 55-85.
“‘What is happening’: Notes on the Scenographic Impulse in Modern and 当代艺术,” Routledge Companion to Scenography, ed. 阿诺德·阿伦森著. Routledge, 2017: 135-150.
“an Exhibit/an Aesthetic: Richard Hamilton and Postwar Exhibition Design,” 10月 150, special issue, Artists Design Exhibitions (Fall 2014): 87-112.
“Artists Design Exhibitions: Introduction” co-author with Claire Grace, in 10月 150, special issue, Artists Design Exhibitions (2014年秋季):3-8.
Ten extended catalogue entries in This Will Have Been: Art, Love, & Politics in the 1980s, ed. by Helen Molesworth (Chicago: Museum of 当代艺术; New Haven: Yale, 2012): “Jennifer Bolande,”“埃里克·菲舍尔,”“罗伯特·戈伯,” “Felix Gonzalez-Torres,“凯蒂·诺兰。,” “Gerhard Richter,大卫·罗宾斯,“詹姆斯·威林。,” “Krzysztof Wodiczko.”
Two catalogue entries in Guggenheim Museum Collection: A to Z, ed. by Nancy Spector (New York: Guggenheim, 2009): “Bill Viola” and “Rachel Whiteread”
编辑卷
Co-edited with Trevor Stark and Hyewon Yoon, Collective Reception: Essays in Honor of Benjamin H. D. Buchloh, special issue, 10月 185 (Summer 2023).
Co-edited with Claire Grace, “Artists Design Exhibitions,” special issue, 10月 150(2014年秋季).
Exhibition and Book Reviews
“Trevor Paglen: A Study of Invisible Images,” 飞地审查 16 (Winter/Spring 2018): 22-24.
“Tacita院长: Buon壁画,” 创新艺人经纪公司.评论, Artists’ 书 section (2 April 2018).
“Marilyn and the Museum with Walls: Rachel Harrison at Greene Naftali, New York,” 艺术文本 107 (Semptember 2017): 198-201.