Kevin Lotery

BA, Columbia University. MA, PhD, Harvard University. Research located at the nexus between cross-cultural and cross-disciplinary forms of modern and contemporary aesthetic production; in particular, dialogues between art, architecture, technology, and forms of scientific research. Specific focus on cross-disciplinary and intermedia spatial practices such as exhibition-making and installation art; special interest in interactions between art and historical trauma. Co-editor of a special issue of October magazine, Artists Design Exhibitions (2014). Forthcoming and published texts in Octobercaa.reviewsTexte zur Kunst, Enclave Review, as well as Routledge Companion to Scenography and Reaper: Sigfried Giedion and Richard Hamilton. At work on a book project, The Long Front of Culture: The Independent Group and Exhibition Design. Former curatorial assistant at the Guggenheim Museum. SLC, 2017–​

Undergraduate Courses 2017-2018

Art History

Exhibition as Form

Sophomore and above , Seminar—Spring

This seminar examines the history of exhibition making as an artistic technique from the interwar avant-gardes to the present. We track this most cross-disciplinary medium as it evolves from the space of public debate, propaganda spectacle, and scientific demonstration to a technology of display and curation. Special attention will be paid to instances in which artists mobilized the exhibition form to construct new experiences of space by constructing utopian environments, staging spaces of debate and agitation, or imagining new forms of communication between and among objects, images, and viewers. The following figures will be among those we examine in detail: El Lissitzky, Marcel Duchamp, Frederick Kiesler, Charles and Ray Eames, Richard Hamilton, Marcel Broodthaers, Louise Lawler, Group Material, Fred Wilson, Mike Kelley, Fia Backström, and Camille Henrot. Major questions include the following: On what formal grounds can we conceptualize exhibition design as an aesthetic medium? What are the relationships between exhibition designs and other artistic techniques, such as photomontage, film, performance, installation, and Web-based art? What forms of sociality and types of subjectivity are staged in exhibition spaces? And finally, what is the relationship between curating and the design of exhibitions? We will couple discussion with visits to exhibitions.

Related Disciplines

The Long Front of Culture: Pop Art, Architecture, Design, and Film

Sophomore and above , Seminar—Fall

This seminar aims at recovering the cross-disciplinary history of Pop aesthetics. Like the early Pop thinkers in 1950s Britain, we will operate under the assumption that all forms of making—from painting and printmaking to exhibition, technological research, and film—represent equal partners in the “long front” of the Pop project. In the process, we will pursue an international history of Pop aesthetic production in parallel with the canonical, New York-centric narrative. The seminar is structured by three broad themes: 1) Pop art’s relationship to the various nations in which it arose (in Europe, East Asia, and North and South America); 2) key concepts and technologies central to the Pop experiment; and 3) the afterlife of Pop in art from the 1970s to the present. Major questions include the following: What strategies have Pop practitioners mobilized to represent, integrate, or intervene in technologies of image production and mass cultural distribution? In what ways has Pop forwarded alternative models of culture, consumption, and subjectivity? And the perennial question: To what extent is Pop a critical or affirmative project? Exhibition visits will supplement in-class discussion.


Modern and Contemporary Art: 1865 to the Present

Open , Lecture—Year

This two-part, introductory lecture course tracks the history of modernism in art from roughly 1865 to the present, focusing on European and American contexts. The first half of the course moves from Impressionism and Post-Impressionism to the advent of abstraction and the interwar avant-gardes (Dada, Surrealism, Constructivism). The second half begins with artistic responses to the traumas of World War II and ends with examinations of the postmodernist “critique of representation” and contemporary artistic practices. Examining key works in detail will help us unpack some of this history’s guiding concepts, including the following: 1) notions of the avant-garde; 2) concepts of artistic subjectivity; 3) interactions among art, forms of scientific research, and methods of technological production; 4) artistic responses to war and historical trauma; and 5) interactions among art, popular culture, and mass production. As we move forward, we will also reflect on the methods and theories of art history, meditating on the ways in which art historians structure the procedure of looking at and historicizing images, objects, and exhibitions.