G. Roger Denson

G. Roger Denson (born 1956) is an American journalist, cultural and art critic, theoretician, novelist, and curator. He was a regular contributor to The Huffington Post. His writings have also appeared in, and his subject artwork appeared on the cover of, Art in America, Parkett, Artscribe, Flash Art, Cultural Politics, Bijutsu Techo, Kunstlerhaus Bethanien, Artbyte, Arts Magazine, Tema'' Celeste, 'Trans>Arts, Culture, Media, Journal of Contemporary Art, Contemporanea and M/E/A/N/I/N/G.

Denson has written on the criticism of Thomas McEvilley in Capacity: History, the World, and the Self in Contemporary Art and Criticism. Denson's monographs and catalogues include Dennis Oppenheim, Hunter Reynolds: Memento Mori, Memoriter, Michael Young: Predella of Difference. And in the book by Robert Morris (artist), Continuous Project Altered Daily: The Writings of Robert Morris, Denson has contributed to the chapter, "Robert Morris Replies to Roger Denson (Or Is That a Mouse in My Paragon?)".

Early work

By the late 1980s and early 1990s, Denson established a reputation as a nomadic ideologist.

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, Yvonne Rainer, Laurie Anderson, Dara Birnbaum, Gary Hill, Hollis Frampton, Paul Sharits, Kathryn Bigelow, Marina Abramović, Lew Thomas, Gretchen Faust, Leon Golub, Francesco Clemente, Sandro Chia, Wolfgang Staehle, Jimmy De Sana, Claudia Hart, Mira Schor, Susan Bee, Lydia Dona, and Mimi Smith, 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, 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. All of which contributed to his serving on the Gallery Association of New York's Board of Directors. 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.

Recent work

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. A film montage of the performance made by Tony Oursler was installed at the Whitney Biennial 2006, Whitney Museum of Art in New York.

From 2005 to 2008, Denson developed and taught MFA courses in art criticism and writing at New York's School of Visual Arts.

In 2010, Denson personified nomadic diversity in his novel, Voice of Force (published with Oracle Press) not only in his characters, but by relinquishing the author's godlike perspective and voice and replacing it with narration by multiple voices loudly expressing contrasting points of view.

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".

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. He was a regular contributor to The Huffington Post, even as his writings continued to appear in, and on the covers of such premiere art magazines as Art In America, Journal of Contemporary Art, Parkett, Arts, Artscribe, Flash Art, Cultural Politics, Bijutsu Techo, Kunstlerhaus Bethanien, Artbyte, Arts Magazine, Tema Celeste, [[Trans>Arts, Culture, Media]], Journal of Contemporary Art, Contemporanea, M/E/A/N/I/N/G, and numerous other publications published in English in America and abroad.

Denson has numerous contributions filed in The Museum of Modern Art DATABASE, under the title, Political Art Documentation & Distribution Archive, collected by art critic, Lucy Lippard and accessible at the link: https ://library.nyarc.org/discovery/search?query=any,contains,G.%20Roger%20Denson&tab=search_scopes&sea rch_scope=MyInst_and_CI&vid=01NYA_INST:NYARC&offset=0

Denson has also collaborated with Adelina von Fürstenberg, the founder and international curator for ART FOR THE WORLD, the non-governmental organization for the arts supported by the United Nations Department of Public Information. https://www.huffpost.com/entry/adelina-von-furstenberg-a_b_12374744 .

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. https://bombmagazine.org/articles/2020/08/05/algorithms-antibodies-and-automato ns-lynn-hershman-leeson-interviewed/

Most noteworthy is Denson’s published criticism of ARTFORUM critic, Thomas McEvilley, in his book Capacity: History, the World, and the Self in Contemporary Art and Criticism.[1] Denson's successive monographs and catalogues include Dennis Oppenheim,[2] Hunter Reynolds: Memento Mori, Memoriter,[3] Michael Young: Predella of Difference. And in the book by Robert Morris (artist), Continuous Project Altered Daily: The Writings of Robert Morris, Denson has contributed to the chapter, "Robert Morris Replies to Roger Denson (Or Is That a Mouse in My Paragon?)”.[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].

Later Denson 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. All of which contributed to his serving on the Gallery Association of New York's Board of Directors. 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.[14] A film montage of the performance made by Tony Oursler was installed at the Whitney Biennial 2006, Whitney Museum of Art in New York.[16]

From 2005 to 2008, Denson developed and taught MFA courses in art criticism and writing at New York's School of Visual Arts.[17]. In 2010, Denson personified nomadic diversity in his novel, Voice of Force (published with Oracle Press) not only in his characters, but by relinquishing the author's godlike perspective and voice and replacing it with narration by multiple voices loudly expressing contrasting points of view. [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".[19]

References

1. ^ Capacity: History, the World, and the Self in Contemporary Art and Criticism . Thomas McEvilley, G. Roger Denson. Google Books. Retrieved October 21, 2011. Also Psychology Press. ISBN 978-90-5701-051-4.
 2. ^ Livres / Books / Livros : Exposition – Dennis Oppenheim – Porto, Fundação de Serralves, 1996 . TOBEART.com. Retrieved October 21, 2011. 
3. ^ Continuous Project Altered Daily . The MIT Press. Archived 2011-06-04 at the Wayback Machine. Retrieved October 21, 2011. 
 4. ^ Installation Video — 5/9/80, Hallwalls (September 9, 2011). Retrieved October 21, 2011
 5. ^ Yvonne Rainer – 21 April 1977, Hallwalls (September 9, 2011). Retrieved October 21, 2011.


6. ^ Performance Benefit – 11/12/78, Hallwalls (September 9, 2011). Retrieved October 21, 2011.
 7. ^ Kathy Bigelow and Ericka Beckman . December 12, 1978. Hallwalls. Retrieved October 21, 2011. 
 8. ^ Figures, Forms, and Expressions. November 20, 1981. Hallwalls. Retrieved October 21, 2011. 
 9. ^ "Mira Schor Reclaims Voice, Speech and Writing for Painting". HuffPost. April 3, 2012. 
 10. ^ "Contra Acte: Mimi Smith and Susan Bee Unleash the Comic Repressed”. HuffPost. May 30, 2014.

11. ^ A period memorialised by the exhibition, Consider the Alternatives, Twenty Years of Contemporary Art at Hallwalls, presented by The Burchfield Center, 1995, pg. 19 
 12. ^ Poetic injury: The Surrealist Legacy in Postmodern Photography. ISBN 0932075177. Published by The Alternative Museum, New York.
 13. ^ Thyssen-Bornemisza Art Contemporary. Archived 2011-07-28 at the Wayback Machine. Tba21.org (June 6, 
2005). Retrieved October 21, 2011. 
14. ^ Whitney Biennial 2006 :: Day for Night . Whitney Museum of Art. Retrieved October 21, 2011. 
 15. ^ "Media.schoolofvisualarts.edu" (PDF). Archived from the original (PDF). Archived from the original (PDF) on February 19, 2009. Retrieved March 13, 2010.

16. ^ Voice of Force (9781448661695): G. Roger Denson: Books . Amazon. Retrieved October 21, 2011. 
 17. ^ Denson, Roger (September 9, 2011). "Michael Arad's 9/11 Memoria Absence': More Than a Metaphor Or A 
Monument" . The Huffington Post. 
 18. ^ Meiffert, Isabelle (2017). Splendid Voids. The Immersive Works of Kurt Hentschläger. Berlin: Distanz Verlag GmbH. 
ISBN 978-3-95476-183-8. 


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