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Contributors

Contributors Contributors George Baker is Assistant Professor of modern and contemporary art history and theory at UCLA, and an editor of October Magazine and October Books. His recent essays include “The Cinema Model” in Robert Smithson: The Spiral Jetty (University of California, 2005) and “Keep Smiling” in The Dada Seminars (DAP, 2005). He has just completed a text on contemporary sculpture for the exhibition Tom Burr: Extrospective, 1994–2006 (Musée Cantonal des Beaux-Arts de Lausanne) and is currently at work on a new interpretation of Picasso’s Demoiselles d’Avignon. His book, The Artwork Caught by the Tail: Francis Picabia and Dada in Paris, is forthcoming from MIT Press. Eric de Bruyn teaches contemporary art and media theory at Groningen University. Recent publications include “Land Art in the Mediascape” in Ready to Shoot: Fernsehgalerie Gerry Schum (2004) and “The Expanded Field of Cinema, or Exercise on the Perimeter of the Square” in X-Screen (2004). He is currently writing a book Media Topologies on filmic practices in post-minimalism. Branden W. Joseph is Associate Professor of modern and contemporary art at Columbia University. He is the author of Random Order: Robert Rauschenberg and the Neo-Avant-Garde (MIT Press, 2003) and, more recently, Anthony McCall: The Solid Light Films and Related Works (ed. Christopher Eamon, Northwestern University Press, 2005). His work has also appeared in Artforum, October, Critical Inquiry, Texte zur Kunst, and Les Cahiers du Musée national d’art moderne, among other venues. T’ai Smith is Assistant Professor of modern and contemporary art at Maryland Institute College of Art and is Managing Editor of Grey Room. She recently completed her dissertation, “Weaving Work at the Bauhaus: The Gender and Engendering of a Medium, 1919–1937,” for the Program in Visual and Cultural Studies, University of Rochester. McKenzie Wark is the author of A Hacker Manifesto (Harvard University Press), among other things. He teaches at The New School for Social Research and Eugene Lang College, in New York City. http://www.ludiccrew.org. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Grey Room MIT Press

Contributors

Grey Room , Volume Fall 2006 (25) – Oct 1, 2006

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Publisher
MIT Press
Copyright
© 2006 by Grey Room, Inc. and the Massachusetts Institute of Technology.
ISSN
1526-3819
eISSN
1536-0105
DOI
10.1162/grey.2006.1.25.4
Publisher site
See Article on Publisher Site

Abstract

Contributors George Baker is Assistant Professor of modern and contemporary art history and theory at UCLA, and an editor of October Magazine and October Books. His recent essays include “The Cinema Model” in Robert Smithson: The Spiral Jetty (University of California, 2005) and “Keep Smiling” in The Dada Seminars (DAP, 2005). He has just completed a text on contemporary sculpture for the exhibition Tom Burr: Extrospective, 1994–2006 (Musée Cantonal des Beaux-Arts de Lausanne) and is currently at work on a new interpretation of Picasso’s Demoiselles d’Avignon. His book, The Artwork Caught by the Tail: Francis Picabia and Dada in Paris, is forthcoming from MIT Press. Eric de Bruyn teaches contemporary art and media theory at Groningen University. Recent publications include “Land Art in the Mediascape” in Ready to Shoot: Fernsehgalerie Gerry Schum (2004) and “The Expanded Field of Cinema, or Exercise on the Perimeter of the Square” in X-Screen (2004). He is currently writing a book Media Topologies on filmic practices in post-minimalism. Branden W. Joseph is Associate Professor of modern and contemporary art at Columbia University. He is the author of Random Order: Robert Rauschenberg and the Neo-Avant-Garde (MIT Press, 2003) and, more recently, Anthony McCall: The Solid Light Films and Related Works (ed. Christopher Eamon, Northwestern University Press, 2005). His work has also appeared in Artforum, October, Critical Inquiry, Texte zur Kunst, and Les Cahiers du Musée national d’art moderne, among other venues. T’ai Smith is Assistant Professor of modern and contemporary art at Maryland Institute College of Art and is Managing Editor of Grey Room. She recently completed her dissertation, “Weaving Work at the Bauhaus: The Gender and Engendering of a Medium, 1919–1937,” for the Program in Visual and Cultural Studies, University of Rochester. McKenzie Wark is the author of A Hacker Manifesto (Harvard University Press), among other things. He teaches at The New School for Social Research and Eugene Lang College, in New York City. http://www.ludiccrew.org.

Journal

Grey RoomMIT Press

Published: Oct 1, 2006

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