G. Roger Denson (born 1956) is an American journalist, cultural and art critic, theoretician, novelist, and curator.
[1] Denson's monographs and catalogues include Dennis Oppenheim,[2] Hunter Reynolds: Memento Mori, Memoriter, Michael Young: Predella of Difference.
[4] This is also when he curated exhibitions, screenings, performance art, and talks with such artists as Suzanne Lacy, Joan Jonas, Steve Paxton and Dancers, Trisha Brown and Dancers, Eric Fischl, Shigeko Kubota,[5] Yvonne Rainer,[6] Laurie Anderson,[7] Dara Birnbaum, Gary Hill,[5] Hollis Frampton, Paul Sharits, Kathryn Bigelow,[8] Marina Abramović, Lew Thomas, Gretchen Faust, Leon Golub, Francesco Clemente, Sandro Chia,[9] Wolfgang Staehle, Jimmy De Sana, Claudia Hart, Mira Schor, Susan Bee, Lydia Dona, and Mimi Smith,[10][11] Scott B and Beth B, Polly Apfelbaum, Kathe Burkhart, Chrysanne Stathacos, among numerous others.
Denson curated primarily at Hallwalls, Buffalo, New York, with fellow artist-curators Robert Longo, Cindy Sherman and Charles Clough, [12] but later was a guest curator with the Albright-Knox Art Gallery; A-Space, Toronto; The New Museum of Contemporary Art; The Alternative Museum; Abington Art Center, Philadelphia; and various New York commercial galleries.
Perhaps the exhibition for which he is best known as a curator is Poetic Injury: The Surrealist Legacy in Postmodern Photography, held at The Alternative Museum, with a catalogue and essays by Denson and Suzaan Boettger, and a preface by Rosalind Krauss.
[13] In 2004, Denson co-wrote and edited the performance script for Don’t Trust Anyone Over Thirty: Entertainment by Dan Graham and Tony Oursler, performed at Art Basel Miami Beach; Thyssen-Bornemisza Museum, Vienna; and The Walker Art Center, Minneapolis, 2004–05.
[17] After the terrorist attack of September 11, 2001, Denson reviewed for HuffPost the opening of architect Michael Arad's elaborate 9/11 Memorial, "'Reflecting Absence': More Than a Metaphor Or A Monument".
[18] In 2017, just before Denson retired from teaching and dedicated himself strictly to writing, he contributed to the monograph Splendid Voids, The Immersive Works of Kurt Hentschläger, an essay titled "The Splendid Phenomenology of Hentschlägerian Voids".
Please note that despite its representation of numerous cultural and political issues, this Wikipedia entry is concerned primarily with the importance to contemporary artists, curators and critics from the 1960s to the present of assimilating art, culture and politics together as the chief modus operandi of Postmodern Art.
In short, to our contemporary artists and critics, media, expression, lifestyles, morality, invention, and the progression of civilization were and are as much becoming defined and conjoined by art as art had once been defined and conjoined by civilization.
G. Roger Denson (born 1956) is one such American artist, journalist, curator, cultural and art critic, theoretician, novelist, and moralist.
Most recently, Bomb Magazine Online published Denson’s interview, “Amplified, Lynn Hershman Leeson: Working On The Cutting-Edge Of Science And Technology”, which was republished in the book, Frankenstein Reanimated: Creation & Technology in the 21st Century, by Torque Editions in collaboration with Furtherfield & NeMe.
[1] Denson's successive monographs and catalogues include Dennis Oppenheim,[2] Hunter Reynolds: Memento Mori, Memoriter,[3] Michael Young: Predella of Difference.
[4] Earlywork [edit] By the late 1980s and early 1990s, Denson established a reputation as a nomadic ideologist.
[5] This is also when he curated exhibitions, screenings, performance art, and talks with such artists as Suzanne Lacy, Joan Jonas, Steve Paxton and Dancers, Trisha Brown and Dancers, Eric Fischl, Shigeko Kubota,[6] Yvonne Rainer,[7] Laurie Anderson,[8] Dara Birnbaum, Gary Hill,[9] Hollis Frampton, Paul Sharits, Kathryn Bigelow,[10] Marina Abramović, Lew Thomas, Gretchen Faust, Leon Golub, Francesco Clemente, Sandro Chia,[11] Wolfgang Staehle, Mira Schor, Susan Bee, and Mimi Smith,[12][13] Scott B and Beth B, Polly Apfelbaum, Chrysanne Stathacos, among numerous others.
Denson curated primarily at Hallwalls, Buffalo, New York, with fellow artist-curators Robert Longo, Cindy Sherman and Charles Clough, [14].
Perhaps the exhibition for which he is best known as a curator is Poetic Injury: The Surrealist Legacy in Postmodern Photography, held at The Alternative Museum, with a catalogue and essays by Denson and Suzaan Boettger, and a preface by Rosalind Krauss.
[15] Recentwork [edit] In 2004, Denson co-wrote and edited the performance script for Don’t Trust Anyone Over Thirty: Entertainment by Dan Graham and Tony Oursler, performed at Art Basel Miami Beach; Thyssen-Bornemisza Museum, Vienna; and The Walker Art Center, Minneapolis, 2004–05.
[18] After the terrorist attack of September 11, 2001, Denson reviewed for HuffPost the opening of architect Michael Arad's elaborate 9/11 Memorial, "'Reflecting Absence': More Than a Metaphor Or A Monument".
[18] And in 2017, just before Denson retired from teaching and dedicated himself strictly to writing, he contributed to the monograph Splendid Voids, The Immersive Works of Kurt Hentschläger, an essay titled "The Splendid Phenomenology of Hentschlägerian Voids".
^ Livres / Books / Livros : Exposition – Dennis Oppenheim – Porto, Fundação de Serralves, 1996 .
^ "Contra Acte: Mimi Smith and Susan Bee Unleash the Comic Repressed”.
^ A period memorialised by the exhibition, Consider the Alternatives, Twenty Years of Contemporary Art at Hallwalls, presented by The Burchfield Center, 1995, pg.