Kathryn Floyd | Auburn University (original) (raw)

Publications by Kathryn Floyd

Special Issue of Dada/Surrealism on "Exhibiting Dada and Surrealism"

http://ir.uiowa.edu/dadasur/vol21/iss1/

“‘d’ is for documenta: institutional identity for a periodic exhibition”

In: On Curating (special issue on documenta, ed. Nanne Buurman and Dorothee Richter) 33 (June 201... more In: On Curating (special issue on documenta, ed. Nanne Buurman and Dorothee Richter) 33 (June 2017): 9-19.
http://www.on-curating.org/issue-33.html#.WY24Nf_yu8V

“The Museum Exhibited: documenta and the Fridericianum.”

In: Images of the Art Museum: Connecting Gaze and Discourse in the History of Museology, eds. M. ... more In: Images of the Art Museum: Connecting Gaze and Discourse in the History of Museology, eds. M. Savino and E. Troelenberg, 65-90. Berlin: De Gruyter, 2017.
https://www.degruyter.com/view/product/212685

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“Moving Statues: Arthur Grimm, the “Entartete Kunst” Exhibition, and Installation Photography as Standfotografie.”

Future Objects / Object Futures: Object Oriented Ontology at dOCUMENTA(13) and Beyond

The Nazi Perpetrator: Postwar German Art and the Politics of the Right by Paul B. Jaskot

German Studies Review, 2014

Salon to Biennial—Exhibitions That Made Art History, Volume I: 1863–1959 (review

Modernism/modernity, 2010

... Reviewed by. Kathryn M. Floyd Auburn University. Salon to BiennialExhibitions That Made Art ... more ... Reviewed by. Kathryn M. Floyd Auburn University. Salon to BiennialExhibitions That Made Art History, Volume I: 18631959. ... avant-garde events, salons, expositions, and Old Master shows by authors like Lawrence Alloway, Ian Dunlop, Elizabeth Gilmore Holt, Patricia ...

Papers by Kathryn Floyd

Dada Studies as Countercultural Practice: Intervening in the Art Historical Institution

Bernard Karpel (323) Today, art museum audiences are no longer surprised by an inclusive approach... more Bernard Karpel (323) Today, art museum audiences are no longer surprised by an inclusive approach to Dada's history, one that brings its books, periodicals, documentary materials, posters, and other ephemera, items traditionally collected by libraries and archives, together with Dada paintings, sculpture, collages, and photographs, works traditionally at home in the art museum. Blockbuster shows like the 2006 Dada (Paris, Washington DC, and New York) or smaller displays like Dada Futures (University of Iowa Stanley Museum of Art, 2018) materialize the Dadas' interdisciplinary and performative practices by integrating examples of their interest in text and image, including experiments in graphic design, typography, and mass media appropriation, with their work in the visual arts, poetry, prose, performance, music, and theater. Such exhibitions also manifest the dadaists' attempts to define, document, and disseminate themselves and foreground their critical interrogations of the institutions that construct culture, including the museum itself. In short, these displays convey a more "historically accurate" concept of Dada's fundamental sense of itself as interdisciplinary and intermedial. They also simultaneously replicate and reassert the Dadas' own "multimedia" exhibition practices, as seen, for example, at the 1920 International Dada Fair in Berlin where Dada posters, periodicals, and other publications comingled with paintings, collages, photomontages, and three-dimensional assemblages. 1 An approach that in a sense welcomes the library and archive into the museum was not standard practice at the earliest exhibitions of the history of Dada, which

On the occasion of documenta's 14th edition, this special issue scrutinizes the ways in which... more On the occasion of documenta's 14th edition, this special issue scrutinizes the ways in which the Kassel-based periodic exhibition has been contributing to curating the history of the present since its inception in 1955. From diverse perspectives, the authors engage with questions of how documenta's iterations played a significant role not only in the making of a history of contemporary art but also in the canon of the relatively young field of curatorial and exhibition studies. Focusing on documenta's engagement with artistic and broader cultural developments, as well as its implication in shifting socioeconomic and geopolitical contexts, the texts assembled in this issue touch upon documenta's continuous dedication to instituting and reconfiguring the contemporary throughout its history. Its characteristic dedication to contemporaneity and institutional temporariness have continuously challenged researchers to reflect and revise their methodologies and epistemologi...

Dada/Surrealism, 2017

Temporary art exhibitions materialize and dematerialize within the narratives of Dada and surreal... more Temporary art exhibitions materialize and dematerialize within the narratives of Dada and surrealism's many pasts. The displays at the Galerie Dada in Zurich, Cologne's Dada-Vorfrühling event, the International Dada Fair in Berlin, and the Paris Exposition Internationale du Surréalisme, are but a few examples of significant exhibitionary moments enacted by these radical groups. The broader critical strategies the Dadas and surrealists harnessed through their self-produced events and environments, from performance and provocation to appropriation, assemblage, intervention, and immersive experience, also make up some of the richest themes explored by scholars of the "historical avant-garde." In this sense, the Dada and surrealists' approaches to the display of images and objects might simply be another version of their typical tactics. Their self-produced temporary arrangements are integral to their overall goals and practices and thus at first seem obvious in meaning. And yet, in the same way that Leah Dickerman once described the overall state of Dada scholarship as "paradoxically underwritten and overwritten" ("Dada Gambits" 4), the topic of the Dada or surrealist exhibition, despite its inherent relationships to the well-studied strategies of these (distinct but intermingled) groups, has remained surprisingly invisible as a circumscribed, focused framework of analysis. Have considerations of these movements' vanguard displays of art (and anti-art) simply been subsumed into more fruitful topics of discourse? What might it mean to view their histories through a narrowed focus on their engagements with exhibitionary forms and practices? Does the contemporary concept of exhibiting (as a consciously pursued medium or process) align with their histories? Are Dada and surrealist exhibitions truly connected to one another, in the same way that the two "movements" have often been understood as tethered? Or, are they altogether different practices and thus another argument for delinking one from the other? Why have the relationships between surrealism and its art exhibitions garnered more concentrated scholarly attention than those produced by the Dadas? Could, or should, there be a history of Dada and surrealist exhibitions? This special issue of Dada/Surrealism offers a place to consider these and other questions. It is not intended as a definitive statement, but as a springboard for

The Museum Exhibited: documenta and the Museum Fridericianum1

Images of the Art Museum, 2017

9. Moving Statues: Arthur Grimm, the Entartete Kunst Exhibition, and Installation Photography as Standfotografie

Exhibiting the German Past, 2015

Revista de História da Arte, 2019

palavras-chave imagens de instalação vistas de exposição fotografia de exposição histórias das ex... more palavras-chave imagens de instalação vistas de exposição fotografia de exposição histórias das exposições

Dada Unshelved

Dada/Surrealism

Symposia by Kathryn Floyd