Difference between revisions of "Douglas Crimp"

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* [https://www.academia.edu/5756617/ "Right On, Girlfriend!"], ''Social Text'' 33, 1992, pp 2-18.
* [https://www.academia.edu/5756617/ "Right On, Girlfriend!"], ''Social Text'' 33, 1992, pp 2-18.
* [[Media:Crimp_Douglas_1993_Appropriating_Appropriation.pdf|"Appropriating Appropriation"]], in Crimp, ''On the Museum's Ruins'', 1993, pp 126-137.
* [https://www.academia.edu/5756633/ "Getting the Warhol We Deserve"], ''Social Text'' 59, Summer 1999, pp 49-66.
* [https://www.academia.edu/5756633/ "Getting the Warhol We Deserve"], ''Social Text'' 59, Summer 1999, pp 49-66.

Revision as of 10:22, 31 October 2017

Douglas Crimp (1944) is an art critic and Fanny Knapp Allen Professor of Art History and Professor of Visual and Cultural Studies at the University of Rochester. He was the curator of the landmark Pictures exhibition at Artists Space, New York, in 1977 and, from 1977-1990 an editor of the quarterly journal October. With Lynne Cooke, he organized the exhibition Mixed Use, Manhattan: Photography and Related Practices 1970s to the Present for the Reina Sofía in Madrid in the summer of 2010, and he was a member of the curatorial team for the 2015 Greater New York exhibition at MoMA PS1.



  • with Adam Rolston, AIDS Demo Graphics, Seattle: Bay Press, 1990, 141 pp, OL.
  • On the Museum’s Ruins, MIT Press, 1993, xix+348 pp. With photographs by Louise Lawler.
    • Auf den Ruinen des Museums. Über Photographie, das Museum und die Postmoderne, trans. Rolf Braumeis, Dresden: Verlag der Kunst, 1996, 440 pp. (German)
    • Sobre as ruínas do museu, trans. Fernando Santos, São Paulo: Martins Fontes, 2005, 303 pp. (Brazilian Portuguese)
    • Na ruinakh muzeya, trans. Ivan Aksenov and Karen Sarkisov, Moscow: V-A-C Press, 2015, 431 pp. (Russian)
  • Melancholia and Moralism: Essays on AIDS and Queer Politics, MIT Press, 2002, 319 pp. Essays challenging the increasing denial of the AIDS crisis and the rise of conservative gay politics.
  • Imágenes, trans. Victor Manuel Rodriguez, Bogotá: Universidad Nacional de Colombia-Sede Bogotá, 2003, 188 pp. (Spanish)
  • Before Pictures, University of Chicago Press, 2016, 288 pp. tells the story of Crimp’s life as a young gay man and art critic in New York City during the late 1960s through the 1970s; part biography and part cultural history. [2]


Book chapters, papers, essays

  • "Pictures", in Pictures, ed. Douglas Crimp, New York: Committe for the Visual Arts, 1977, pp 3-29; repr. in X-tra 8:1 (Fall 2005), pp 17-30, HTML.
  • "Pictures", October 8, Spring 1979, MIT Press, pp 75-88, ARG. "The following essay takes its point of departure from the catalogue text for Pictures; but it focuses on different issues and addresses an aesthetic phenomenon implicitly extending to many more artists than the original exhibition included." [4]
  • "The Museum's Old/The Library's New Subject", in The Contest of Meaning: Critical Histories of Photography, ed. Richard Bolton, MIT Press, 1989.
  • "Face Value", in About Face: Andy Warhol's Portraits, ed. Nicholas Baume, Wadsworth Atheneum/Andy Warhol Museum, 1999, pp 110-125.
  • "Mario Montez, For Shame", in Regarding Sedgwick: Essays on Queer Culture and Critical Theory, eds. Stephen M. Barber and David L. Clark, Routledge, 2002, pp 57-70.
  • "Spacious", October 132, MIT Press, Spring 2010, pp 5-24.
  • "Tacet", in Tacita Dean: Seven Books Grey, Vienna: Museum Moderner Kunst Stiftung Ludwig Wien, and Göttingen: Steidl, 2011, pp 31-37. On Tacita Dean's Merce Cunningham films.
  • "Relocating Rosas", in Anne Teresa De Keersmaeker. Work/Travail/Arbeid, vol. 3, ed. Elena Filipovic, Brussels: Mercatorfonds, Wiels, 2015, pp 81-103.




See also