{"id":269682,"date":"2017-09-19T17:17:18","date_gmt":"2017-09-19T21:17:18","guid":{"rendered":"http:\/\/www.rochester.edu\/newscenter\/?p=269682"},"modified":"2017-09-25T10:32:39","modified_gmt":"2017-09-25T14:32:39","slug":"douglas-crimp-humanities-center-discuss-memory-writing-269682","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/newscenter\/douglas-crimp-humanities-center-discuss-memory-writing-269682\/","title":{"rendered":"Douglas Crimp to discuss memory and writing"},"content":{"rendered":"<p>Art and cultural critic Douglas Crimp, the Fanny Knapp Allen of Art History and a professor of visual and cultural studies, will deliver the first lecture of the <a href=\"http:\/\/www.sas.rochester.edu\/humanities\/events\/lectures-seminars.html\">Humanities Center\u2019s public lecture series<\/a> for the 2017\u201318 academic year.<\/p>\n<p>Crimp will give his talk\u2014\u201cRelying on Memory: From AIDS to Merce Cunningham\u201d\u2014on September 26 at 5 p.m. in Conference Room D at the Humanities Center in Rush Rhees Library.<\/p>\n<p>\u201cMemory and Forgetting\u201d is the theme of this year\u2019s lecture series, which will bring an array of speakers, including Nobel Prize\u00ad\u2013winning novelist Orhan Pamuk, contemporary artist Walid Ra&#8217;ad \u201996 (PhD), neuroscientist Daniela Schiller, and Pulitzer Prize\u2013winning historian Laurel Thatcher Ulrich, perhaps best known outside her field for penning the famous phrase \u201cWell-behaved women seldom make history.\u201d<\/p>\n<figure id=\"attachment_269912\" aria-describedby=\"caption-attachment-269912\" style=\"width: 457px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-269912\" src=\"https:\/\/www.rochester.edu\/newscenter\/wp-content\/uploads\/2017\/09\/Alice-OMalley-2016_FAVORITE_SMALL.jpg\" alt=\"Portrait of Douglas Crimp, sitting in front of a window, in a gray shirt,,\" width=\"457\" height=\"500\" \/><figcaption id=\"caption-attachment-269912\" class=\"wp-caption-text\">Douglas Crimp (photo by Alice O&#8217;Malley)<\/figcaption><\/figure>\n<p>Crimp will read from and reflect on several of his books, including his newest book, <em>Before Pictures<\/em>, (University of Chicago Press, 2016). In it, he turns inward to deliver a historical snapshot of New York City from the late 1960s through much of the \u201970s, based on his own memories of New York\u2019s art world and gay life in the period.<\/p>\n<p>Ambivalent about calling the book a memoir, Crimp says its true subject isn\u2019t his own story, but the era in which he lived: \u201cIts genesis is my AIDS writing and activism,\u201d he says. Accordingly, he terms the text a hybrid, a kind of history rooted in memory.<\/p>\n<p>Crimp\u2014whose other books include <em>\u201cOur Kind of Movie\u201d: The Films of Andy Warhol <\/em>(MIT Press, 2012) and <em>Melancholia and Moralism: Essays on AIDS and Queer Politics<\/em> (MIT Press, 2002)\u2014uses memory-based writing in other works, too. A recent essay on choreographer Merce Cunningham, for instance, uses recollections about his own experiences with Cunningham\u2019s art as its scaffolding. For that piece, memory is a \u201cway to begin, to set up the more analytical aspects of the essay I want to write,\u201d Crimp says.<\/p>\n<p>But <em>Before Pictures<\/em> is different. There, recollections\u2014both accurate and misremembered\u2014serve a more fundamental purpose. The personal stake of a writer in a subject is essential, he argues, and academic prose often obscures it. He insists on his own \u201csubjective position, my own partiality in both senses of the word. And I find that a useful corrective to the sort of performance of objectivity that\u2019s in most academic writing,\u201d he says.<\/p>\n<p>Crimp is quick to note that he works as a critic, not a historian, and so is freed from the methodological requirements particular to that discipline. \u201cBut at the same time, [in <em>Before Pictures<\/em>] I think I\u2019ve written a kind of history of New York City in a particular period that enriches our sense of what New York was, and not in spite of but because of the fact that it uses that partiality,\u201d he says.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The theme of this year&#8217;s Humanities Center lecture series is \u201cMemory and Forgetting,\u201d and in this first lecture, art and cultural critic Douglas Crimp will discuss \u201cRelying on Memory: From AIDS to Merce Cunningham.\u201d<\/p>\n","protected":false},"author":752,"featured_media":269932,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[13092],"tags":[],"class_list":["post-269682","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-arts"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Douglas Crimp to discuss memory and writing<\/title>\n<meta name=\"description\" content=\"In the first lecture in the Humanities Center series, art and cultural critic Douglass Crimp will discuss \u201cRelying on Memory: AIDS to Merce Cunningham.\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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