The new exhibition Painting 2.0: Expression in the Information Age is the subject of a panel discussion on Saturday June 4, 2016, at 6 pm. A theoretical and critical debate will address the key issues raised by the 230 works in this exhibition.
The moderator is David Joselit, distinguished professor in the graduate program in art history at New York City University, co-editor of the journal October, and co-curator of the mumok exhibition.
With Caroline Busta, editor-in-chief of Texte zur Kunst, Lynne Cooke, chief curator for special projects in modern art at the National Gallery of Art in Washington, DC, and Sebastian Egenhofer, professor for contemporary art history at the University of Vienna, the panel includes key voices commenting on the developments in painting in the information age.
Caroline Busta has been editor-in-chief of Texte zur Kunst since 2014. She was previously associate editor of Artforum magazine, and from 2006 to 2008 co-director of the Miguel Abreu Gallery in New York. She has lectured and published numerous catalogue essays on the work of artists such as Merlin Carpenter, Bernadette Corporation, and Bjarne Melgaard. Her current writing and research focuses on art’s relationship to pop culture and ideations of the body.
Lynne Cooke is senior curator for special projects in modern art at the National Gallery of Art, Washington DC. Prior to her position as chief curator and deputy director at the Museo Nacional Centro de Arte Reina Sofía in Madrid from 2008 to 2012, she was curator at Dia Art Foundation from 1991 to 2008. She has published widely on modern and contemporary artists, including Richard Serra, James Coleman, and Zoe Leonard. Among her current curatorial projects are Luc Tuymans: Intolerance, Qatar Museum, Doha, and Diana Thater: The Sympathetic Imagination, Los Angeles County Museum of Art.
Sebastian Egenhofer became professor of modern and contemporary art at the Institute for Art History at the University of Vienna in 1916. Prior to this he was professor at the universities of Zurich and Basel.
His research focuses on American art in the postwar period and in the 1960s, the history of institutional critique in art since Marcel Duchamp, and the relations between art and politics in modernism and in contemporary art. He is the author of numerous publications on modern and contemporary art, including Abstraktion – Kapitalismus – Subjektivitat: Die Wahrheitsfunktion des Werks in der Moderne (Abstraction – Capitalism – Subjectivity: The Truth Function of the Work in Modernity, Wilhelm Fink Verlag, 2008) and Produktionsasthetik (Production Aesthetics, diaphanes, 2010).
David Joselit is distinguished professor in the PhD program in art history at the City University of New York Graduate Center. He has taught at the University of California, Irvine, and Yale University, where he was chair of the art history department from 2006 to 2009. Joselit is the author of Infinite Regress: Marcel Duchamp 1910–1941 (MIT Press, 1998), American Art Since 1945 (Thames and Hudson, 2003), Feedback: Television Against Democracy (MIT Press, 2007), and After Art (Princeton University Press, 2012). He is co-editor of the journal October and writes regularly on contemporary art and culture.