Dr. Larne Abse Gogarty
(From 25th Oct 2016) Tuesday, 12pm-1pm or by appointment.
Larne Abse Gogarty is the Terra Foundation for American Art Postdoctoral Teaching Fellow at the Humboldt University. Her postdoctoral project addresses how sculpture, theatre and performance during the 1950s-1970s in the United States mediated the formation of new and politicised social groups, focusing on art that has been situated as a ground through which to explore social and psychic conflicts, as well as works that attempt to prefigure utopian forms of life. This project emerges from her doctoral thesis, undertaken at University College London, which presents a comparative history of socially engaged art during the 1990s, and cultural work produced within the proletarian avant-garde during the 1930s in the United States. Her primary research interests lie in modern and contemporary art with an emphasis on American performance and social practice, Marxism, feminism and critical race theory.
Larne has previously held positions at University College London (2015-2016), and has taught at Goldsmiths College and Chelsea College of Art. She completed an MA in History of Art at University College London (2009-2010) and a BA in History of Art at the School of Oriental and African Studies and University College London (2005-2008).
In 2016 she co-organised ‘Reality Check: a symposium on art, psycho-politics and the limits of community’ (University College London) and in 2011, co-organised the conference ‘Performance and Labour’ (UCL and Centre for Research in Modern European Philosophy, Kingston) She is in the editorial collective for Cesura//Acceso, a journal for music, politics and poetics. Larne frequently writes criticism for Art Monthly and elsewhere.
Some publications are available here: https://hu-berlin.academia.edu/LarneAbseGogarty
“State violence, mirrors and the perspective on infinity.” in edited volume on Allan Sekula’s Waiting for Tear Gas. London: Tate Publishing (Forthcoming 2016)
‘Capitalist Life: Collaboration and feminist aesthetics today’ with E. C. Feiss, Re-materialising Feminism, Arcadia Missa: London. 2014.
Articles and reviews
“Social Practice/Social Reproduction” for special issue of Third Text on social reproduction, Forthcoming 2017.
“Faith Ringgold’s Who’s Afraid of Aunt Jemima?” (1983) Forthcoming in Kunst und Politik Jahrbuch der Guernica-Gesellschaft.
“Commitment and desire in Sharon Hayes’ Richerche: three.” Tate Papers, No. 25 Spring 2016.
“Capitalism, reproduction and ‘lifelike art’: responding to Alana Jelinek’s This Is Not Art”, The Journal of Visual Art Practice, Vol 13: 3, 2014, pp. 192-202.
“Rehearsals for Revolution: Communities and Collective Movement” in Object: Graduate Research Reviews in the History of Art and Visual Culture, Vol. 15, 2014, pp. 88-109.
Antigoni Memou’s “Photography and Social Movements”, Manchester University Press 2013, in Philosophy of Photography Journal, Vo. 5: 1, Spring 2015, pp. 77-81.
David Mabb exhibition ‘Announcer’ at Focal Point Gallery, Southend, Art in the Public Sphere, Volume 3:1, Summer 2015, pp. 86-89
Review of Steve Edwards, “Martha Rosler: The Bowery in Two Inadequate Descriptive Systems” in Historical Materialism, Vol 22: 3-4, 2014, pp. 520-528.
Review of Suzanne Lacy, “Leaving Art: Writing on Performance, Politics and Publics 1974-2007” in Object: Graduate Research Reviews in the History of Art and Visual Culture, Vol. 14, 2012, pp. 117-120.
Essay on Karen Mirza and Brad Butler, Artes Mundi Prize, 2014.
On non-Participation, catalogue for Karen Mirza and Brad Butler The Museum of non-Participation, solo show at the Walker Art Center, Minneapolis, 2013
Conference papers and public talks:
06/2016 Workshop on collective writing at the Royal Danish Academy of Fine Arts, Copenhagen.
06/2016. Commitment and desire in Sharon Hayes’ Ricerche three (2013) at the Institute of Advanced Studies, University College London.
05/2016. Road Trip: Fairy tales and the Freeway in Senga Nengudi and Suzanne Lacy at Penetrable/Traversable/Habitable: Exploring spatial environments by women artists in the 1960s and 1970s, Centro de Arte Moderna – Fundação Calouste Gulbenkian, Lisbon, Portugal.
05/2016. Script and stage-set in Edward Kienholz Mayor Sam Edsel and Five Car Stud at Extracurricular Activity Conference, University College London.
01/2016. Collaboration and authorship talk at Guest Projects, London
12/2015. Now You Can Go: On Social Reproduction panel discussion at ICA, London.
07/2015. Conversation with David Mabb, William Morris Gallery, London.
04/2015. ‘Best practice’ with E. C. Feiss at ‘We (not) I’, Raven Row gallery, London.
02/2015. ‘Social Reproduction, Social Practice and Arte Útil’ at College Art Association, New York.
11/2014. ‘Social Practice, Social Reproduction’, at Historical Materialism, London.
09/2014. ‘Aesthetics’ at Keywords: A Polemical Vocabulary of Contemporary Art, at the Fruitmarket Gallery, Edinburgh.
07/2014. ‘Labour, Reproduction and Social Practice’ at Performance and Labour workshop, Universität der Künste Berlin.
06/2014. ‘Collaboration and feminist aesthetics today’ with E. C. Feiss at Re-materialising Feminism, ICA, London.
06/2014. ‘Martha Rosler’s If you Lived Here: Housing, Crisis and Expanded Documentary’ at Radical Americas Conference, UCL, London.
04/2014. ‘On ‘value’ in social practice: Nominal shifts and political divergences’, Association of Art Historians Conference, Royal College of the Arts, London.
12/2013. ‘Community and Reproduction: Edith Segal’s dance work and Suzanne Lacy’s Expectations’, Marxism in Culture seminar, Institute of Historical Research, London.
11/2013. ‘Proletarian dance, reproduction and communist consciousness’, Historical Materialism, London.
06/2013. ‘Women’s Work and Radical Dance’, Radical Americas Conference, UCL, London.
05/2013. ‘The Aesthetics of Immaterial Labour’, Auto Italia Gallery, London.
03/2013. ‘Communist dance groups’ at The Rest is Noise Festival, Southbank Centre, London.
06/2012. ‘Rehearsals for Revolution: Communities and Collective Movement’, UCL History of Art Postgraduate Seminar.
11/2011. ‘Performance as a Rehearsal for Revolution: Suzanne Lacy’s Oakland Projects through the lens of the Paterson Strike Pageant’, Historical Materialism, London.