Publications by Barbara Reisinger
Texte zur Kunst, 2023
Ein Merkmal der Review sollte sein, dass sie ihren Gegenstand angemessen beschreibt. Rezensent*in... more Ein Merkmal der Review sollte sein, dass sie ihren Gegenstand angemessen beschreibt. Rezensent*innen übersetzen damit nicht nur die jeweils eigene Erfahrung von Kunst für ein Publikum, das die Ausstellung mitunter nicht gesehen hat, sie bilden so auch die nachvollziehbare Grundlage für ihr eigenes Werturteil. In ihrer Rezension zu Jenni Tischers Ausstellung „Hard Facts (I See / You Mean)“, die Darstellungen reproduktiver Arbeit und ihrer Infrastrukturen zueinander ins Verhältnis setzt, stellt Barbara Reisinger diese Aspekte ihrer Review formal gegenüber: Absätze, die sich der Aus- stellung widmen, erscheinen linksbündig; Absätze, in denen die Kunsthistorikerin das Schreiben der Review kommentiert, sind rechtsbündig gesetzt.
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Texte zur Kunst, 2022
For Texte zur Kunst's fortnightly column “Current Attractions” Barbara Reisinger critically revie... more For Texte zur Kunst's fortnightly column “Current Attractions” Barbara Reisinger critically reviews Netflix’s Andy Warhol Diaries, which is based on the 1989 book of the same name by Warhol, who, throughout the series, seemingly narrates his own diary entries through the use of artificial intelligence. Despite this at times uncanny update, the series foregrounds a traditional quest for the supposedly authentic: Warhol, the private person, the romantic, the suffering genius. To this effect, Reisinger argues, the artist’s countless and deliberate strategies to achieve ambiguousness and opacity are treated simply as layers to peel away in order to assuage the show’s insatiable appetite for revelation and tragedy.
Read at: https://www.textezurkunst.de/de/articles/barbara-reisinger-book-of-revelations/
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Anamarija Batista (ed.), Notions of Temporalities in Artistic Practice, 2022
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Materials, Practices, and Politics of Shine in Modern Art and Popular Culture
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in: caa.reviews, April 25, 2018, DOI: 10.3202/caa.reviews.2018.138
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The entry focuses on the use of and references to wallpaper in European and US "high art".
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Sculpture on the Move: 1946–2006, 2016
Piero Manzoni, Corpo d’aria n. 44, 1959–1960
Andy Warhol, White Brillo Boxes, 1964
Claes Oldenbur... more Piero Manzoni, Corpo d’aria n. 44, 1959–1960
Andy Warhol, White Brillo Boxes, 1964
Claes Oldenburg Store objects, 1961/62
Paul Thek, Dwarf Parade Table, 1969
Carl Andre, 10 × 10 Altstadt Square, 1967
Mario Merz, Acqua scivola (Igloo di vetro), 1969
Michelangelo Pistoletto, Metrocubo d’infinito (Oggetti in meno 1965–1966), 1966
Robert Smithson, Spiral Jetty, 1970
Robert Gober, Playpen, 1986
Franz West, Passtücke, 1970s
Rirkrit Tiravanija, Ohne Titel (Bon voyage Monsieur Ackermann),
1995
Christoph Büchel, Tribunal, 2004–2007
Oskar Tuazon, Real Effects, 2015
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Matthias Schmidt (Hg.), RÜCKSENDUNGEN ZU JACQUES DERRIDAS »DIE POSTKARTE«. EIN ESSAYISTISCHES GLO... more Matthias Schmidt (Hg.), RÜCKSENDUNGEN ZU JACQUES DERRIDAS »DIE POSTKARTE«. EIN ESSAYISTISCHES GLOSSAR, Wien/Berlin: Turia + Kant 2015, 69–78.
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ALL OVER. Magazin für Kunst und Ästhetik, 2013
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Interviews by Barbara Reisinger
Jonathan Katz discusses his experiences as a queer art historian that are contextualized by the r... more Jonathan Katz discusses his experiences as a queer art historian that are contextualized by the recent history of the field in the United States and talks about his methods to account for the diversification of the identities not only of those who practice art history but also of the key subjects under consideration.
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all-over. Magazin für Kunst und Ästhetik
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Conference Papers by Barbara Reisinger
Paper at IAWIS International Conference, Lausanne (Switzerland) July 10-14, 2017.
Since Daniel Bu... more Paper at IAWIS International Conference, Lausanne (Switzerland) July 10-14, 2017.
Since Daniel Buren established 8,7 cm wide stripes as his ‘proposition’ he uses equally wide, alternatingly colored and white stripes “qui ne sont que des bandes verticales égales, alternées blanches et colorées de 8,7 cm de large". These today easily recognizable stripes derived from pre-striped fabric that Buren started to use in 1965, and were reproduced on paper for papiers collés, invitation cards and catalogue pages. The tautology of the stripes that are supposed to be nothing but stripes neutralized the motive in order to use it as a tool to end painting and to eclipse the medial specificities of both fabrics and papers. Buren has ever since been perpetuating a narrative of finding his end to painting that the critical reception of his work was largely happy to adopt. The stripes are de-mediatized and de-historicized through these claims of anonymity and neutrality.
My paper presents a reading of the printed papers against this dominant narrative.
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Conferences Convened by Barbara Reisinger
This international symposium aims to address the latent dialogues and outright tensions that come... more This international symposium aims to address the latent dialogues and outright tensions that come to light when the respective artistic and socio-political contexts of Vienna and New York in the 1960s and 70s are critically juxtaposed. We aim to develop historiographic approaches that take into account asynchronous and even conflicting developments within the so-called “Western” history of art.
An understanding of the use of “untimely media” and the cultivation of “domestic techniques” requires, we posit, the retrospect of what is now over fifty years, and the benefit of new interdisciplinary methodologies that attend to histories of craft and fiber art, cultures of display, embodiment and sexuality, and affect from a perspective informed by feminist and queer theory. Taking Vienna-New York as an unlikely art historical axis from which to initiate discussion, “Untimely Media / Domestic Techniques” sets out to advance interdisciplinary research devoted to two tumultuous decades in which art criticism and contemporary art were in a constant and still reverberating dialogue. The artistic projects at the heart of this investigation, though untimely, unassuming, and often spoken-over, are perhaps for that reason no less provocative and significant.
Department of Art History, University of Vienna
May 2019
Organizers: Caroline Lillian Schopp & Barbara Reisinger
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Papers by Barbara Reisinger
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Uploads
Publications by Barbara Reisinger
Read at: https://www.textezurkunst.de/de/articles/barbara-reisinger-book-of-revelations/
Andy Warhol, White Brillo Boxes, 1964
Claes Oldenburg Store objects, 1961/62
Paul Thek, Dwarf Parade Table, 1969
Carl Andre, 10 × 10 Altstadt Square, 1967
Mario Merz, Acqua scivola (Igloo di vetro), 1969
Michelangelo Pistoletto, Metrocubo d’infinito (Oggetti in meno 1965–1966), 1966
Robert Smithson, Spiral Jetty, 1970
Robert Gober, Playpen, 1986
Franz West, Passtücke, 1970s
Rirkrit Tiravanija, Ohne Titel (Bon voyage Monsieur Ackermann),
1995
Christoph Büchel, Tribunal, 2004–2007
Oskar Tuazon, Real Effects, 2015
Interviews by Barbara Reisinger
Conference Papers by Barbara Reisinger
Since Daniel Buren established 8,7 cm wide stripes as his ‘proposition’ he uses equally wide, alternatingly colored and white stripes “qui ne sont que des bandes verticales égales, alternées blanches et colorées de 8,7 cm de large". These today easily recognizable stripes derived from pre-striped fabric that Buren started to use in 1965, and were reproduced on paper for papiers collés, invitation cards and catalogue pages. The tautology of the stripes that are supposed to be nothing but stripes neutralized the motive in order to use it as a tool to end painting and to eclipse the medial specificities of both fabrics and papers. Buren has ever since been perpetuating a narrative of finding his end to painting that the critical reception of his work was largely happy to adopt. The stripes are de-mediatized and de-historicized through these claims of anonymity and neutrality.
My paper presents a reading of the printed papers against this dominant narrative.
Conferences Convened by Barbara Reisinger
An understanding of the use of “untimely media” and the cultivation of “domestic techniques” requires, we posit, the retrospect of what is now over fifty years, and the benefit of new interdisciplinary methodologies that attend to histories of craft and fiber art, cultures of display, embodiment and sexuality, and affect from a perspective informed by feminist and queer theory. Taking Vienna-New York as an unlikely art historical axis from which to initiate discussion, “Untimely Media / Domestic Techniques” sets out to advance interdisciplinary research devoted to two tumultuous decades in which art criticism and contemporary art were in a constant and still reverberating dialogue. The artistic projects at the heart of this investigation, though untimely, unassuming, and often spoken-over, are perhaps for that reason no less provocative and significant.
Department of Art History, University of Vienna
May 2019
Organizers: Caroline Lillian Schopp & Barbara Reisinger
Papers by Barbara Reisinger
Read at: https://www.textezurkunst.de/de/articles/barbara-reisinger-book-of-revelations/
Andy Warhol, White Brillo Boxes, 1964
Claes Oldenburg Store objects, 1961/62
Paul Thek, Dwarf Parade Table, 1969
Carl Andre, 10 × 10 Altstadt Square, 1967
Mario Merz, Acqua scivola (Igloo di vetro), 1969
Michelangelo Pistoletto, Metrocubo d’infinito (Oggetti in meno 1965–1966), 1966
Robert Smithson, Spiral Jetty, 1970
Robert Gober, Playpen, 1986
Franz West, Passtücke, 1970s
Rirkrit Tiravanija, Ohne Titel (Bon voyage Monsieur Ackermann),
1995
Christoph Büchel, Tribunal, 2004–2007
Oskar Tuazon, Real Effects, 2015
Since Daniel Buren established 8,7 cm wide stripes as his ‘proposition’ he uses equally wide, alternatingly colored and white stripes “qui ne sont que des bandes verticales égales, alternées blanches et colorées de 8,7 cm de large". These today easily recognizable stripes derived from pre-striped fabric that Buren started to use in 1965, and were reproduced on paper for papiers collés, invitation cards and catalogue pages. The tautology of the stripes that are supposed to be nothing but stripes neutralized the motive in order to use it as a tool to end painting and to eclipse the medial specificities of both fabrics and papers. Buren has ever since been perpetuating a narrative of finding his end to painting that the critical reception of his work was largely happy to adopt. The stripes are de-mediatized and de-historicized through these claims of anonymity and neutrality.
My paper presents a reading of the printed papers against this dominant narrative.
An understanding of the use of “untimely media” and the cultivation of “domestic techniques” requires, we posit, the retrospect of what is now over fifty years, and the benefit of new interdisciplinary methodologies that attend to histories of craft and fiber art, cultures of display, embodiment and sexuality, and affect from a perspective informed by feminist and queer theory. Taking Vienna-New York as an unlikely art historical axis from which to initiate discussion, “Untimely Media / Domestic Techniques” sets out to advance interdisciplinary research devoted to two tumultuous decades in which art criticism and contemporary art were in a constant and still reverberating dialogue. The artistic projects at the heart of this investigation, though untimely, unassuming, and often spoken-over, are perhaps for that reason no less provocative and significant.
Department of Art History, University of Vienna
May 2019
Organizers: Caroline Lillian Schopp & Barbara Reisinger