IVAN GASKELL

 

Bard Graduate Center

 

 

 

 

PUBLICATIONS

 

Books

 

The Thyssen-Bornemisza Collection: Seventeenth-century Dutch and Flemish Painting, London: Sotheby’s Publications/Philip Wilson Ltd., 1990

 

The Language of Art History (Cambridge Studies in Philosophy and the Arts 1), Cambridge and New York: Cambridge University Press (editor, with Salim Kemal), 1991

 

Landscape, Natural Beauty and the Arts (Cambridge Studies in Philosophy and the Arts 2), Cambridge and New York: Cambridge University Press (editor, with Salim Kemal), 1993

 

Explanation and Value in the Arts (Cambridge Studies in Philosophy and the Arts 3), Cambridge and New York: Cambridge University Press (editor, with Salim Kemal), 1993

 

Canopy/ David Ward/ A Work for Voice and Light in Harvard Yard: with a poem by Seamus Heaney and texts by Parveen Adams and Ivan Gaskell, Cambridge, Mass.: Harvard University Arts Museums & The Office for the Arts, (editor and contributor) 1997

 

Nietzsche, Philosophy and the Arts (Cambridge Studies in Philosophy and the Arts 8) Cambridge and New York: Cambridge University Press (editor, with Salim Kemal and Daniel W. Conway), 1998

 

Vermeer Studies (Studies in the History of Art 55), Washington D.C.: National Gallery of Art, and New Haven and London: Yale University Press (editor, with Michiel Jonker, and author of the introduction, “Valuing Vermeer,” and “Vermeer and the Limits of Interpretation”), 1998

 

Sketches in Clay for Projects by Gian Lorenzo Bernini: Theoretical, Technical, and Case Studies, Cambridge, Mass.: Harvard University Art Museums (editor, with Henry Lie, and author of “An Economy of Seventeenth-Century Clay Sculptors’ Models,” and “Conclusion”), 1999

 

Performance and Authenticity in the Arts (Cambridge Studies in Philosophy and the Arts 9), Cambridge and New York: Cambridge University Press (editor, with Salim Kemal), 1999

 

Politics and Aesthetics in the Arts (Cambridge Studies in Philosophy and the Arts 10), Cambridge and New York: Cambridge University Press (editor, with Salim Kemal), 2000

 

Vermeer’s Wager: Speculations on Art History, Theory, and Art Museums, London: Reaktion Books, 2000

 

 

 

Contributions to books

 

“Tobacco, social deviance and seventeenth-century Dutch art,” Holländische Genremalerei in 17.Jahrhundert, ed. Henning Bock and Thomas W. Gaehtgens (Jahrbuch preussischer Kulturbesitz, Sonderband 4), Berlin: Gebr. Mann, 1987, pp. 117-137. Republished as “Tobacco, social deviance, and Dutch art in the seventeenth century” in Looking at Seventeenth-Century Dutch Art: Realism Reconsidered, ed. Wayne Franits, Cambridge: Cambridge University Press, 1997, pp. 68-77

 

“Spain and The Netherlands in the seventeenth century,” Art of the Western World, ed. Denise Hooker, London: Boxtree, 1989, pp. 244-269  (French edition: Histoire de l’art en occident, trans. Stan Barets, Paris: Flammarion, 1990, pp. 244-269)

 

“Pieter Jansz. Saenredam and the Great Church of ’s-Hertogenbosch,” Bilder und Bildersturm im Spätmittelalter und in der frühen Neuzeit, ed. Bob Scribner and Martin Warnke (Wolfenbütteler Forschungen 46), Wiesbaden: O. Harrassowitz, 1990, pp.  249-261

 

“History of images,” New Perspectives on Historical Writing, ed. Peter Burke, Oxford: Polity Press, 1991, pp. 168-192. Second, revised, edition as “Visual History,” 2001, pp. 187-217

 

“A Seascape by Jacob van Ruisdael and its Nineteenth-Century Owners,” Shop Talk: Festschrift in Honor of Seymour Slive, ed. Cynthia Schneider, et al., Cambridge, Mass: Harvard University Art Museums, 1995, pp. 78-83

 

“The Curator’s Role: A View from the Department of Paintings and Sculpture,” James Cuno, et al., Harvard’s Art Museums: 100 Years of Collecting, Cambridge, Mass: Harvard University Art Museums; New York: Abrams, 1996, pp.156-161

 

“Historia, Historia del Arte y Museos. ¿Una Conversación a Tres Bandas?,” En la Encrucijada de la Cienzia Histórica Hoy el Auge de la Historia Cultural, ed. V. Vázquez de Prada, et al., Pamplona: Ediciones Universidad de Navarra, 1998, pp. 99-109 [Link to English version]

 

“The Image of Vanitas: Efflorescence and Evanescence,” Kristen Lippencott, with Umberto Eco, E.H. Gombrich, et al., The Story of Time, London: Merrell Holberton, 1999, pp. 186-189

 

Entries in A Decade of Collecting: Recent Acquisitions by the Harvard University Art Museums, Cambridge, Mass: Harvard University Art Museums, 2000, pp. 46-50, 52

 

“A Variety of Objects, from Tools to Art: A Template for Collectors,” The International Fine Art Fair, The Seventh Regiment Armory, Park Avenue at 67th Street, New York City, London: International Fine Art Fair Ltd., 2000, pp. 12-21

 

“Les musées des beaux-arts et le beau,” L’avenir des musées: Actes du colloque organisé au musée du Louvre,  ed. Jean Galard, Paris: Réunion des Musées Nationaux, 2001, pp. 503-519 [Link to English version]

 

“Some Responsibilities of Art Museum Scholars,” Artists/Intellectuals/Institutions, University of California at Berkeley, 2002: http://www.bampfa.berkeley.edu/bca/conference.html

 

“Magnanimity and Paranoia in the Big Bad Art World,” The Two Art Histories: The Museum and the University, ed. Charles W. Haxthausen, Williamstown, Mass: Clark Art Institute, and New Haven and London: Yale University Press, 2002, pp. 14-24

 

“Recollections of Rembrandt’s Jeremiah,” Art History, Aesthetics, Visual Studies, ed. Michael Ann Holly and Keith Moxey, Williamstown, Mass: Clark Art Institute, and New Haven and London: Yale University Press, 2002, pp. 175-186

 

“Rembrandt van Rijn and Gerrit Dou: An Evolving Relationship?” Rethinking Rembrandt,  ed. Alan Chong and Michael Zell, (Fenway Court 30), Boston and Zwolle: Isabella Stewart Gardner Museum and Waanders, 2002, pp. 107-119

 

“Tradesmen as Scholars: Interdependencies in the Study and Exchange of Art,” Art History and its Institutions: Foundations of a Discipline, ed. Elizabeth Mansfield, London and New York: Routledge, 2002, pp. 146-162

 

“Beauty,” Critical Terms for Art History, ed. Robert S. Nelson and Richard Shiff, 2nd edition, Chicago and London: Chicago University Press, 2003, pp. 267-280

 

“Sacred to Profane and Back Again,” Art and its Publics: Museum Studies at the Millennium, ed. Andrew McClellan, Oxford and Malden: Blackwell, 2003, pp. 149-162

 

“Diptychs—What’s the Point?” Essays in Context: Unfolding the Netherlandish Diptych, ed. John Hand and Ron Spronk, Cambridge, Mass.: Harvard University Art Museums, and New Haven, Conn. And London: Yale University Press, 2006, pp. 201-213

 

“After Art, Beyond Beauty,” Inspiration and Technique: Ancient to Modern Views on Beauty and Art, ed. John Roe and Michele Stanco, Oxford and New York: Peter Lang, 2007, pp. 311-334

 

“El Ayuntamiento de Amsterdam: ¿poder político o poder del arte?” La Historia imaginada: Construcciónes visuales del pasado en la Edad Moderna, ed. Joan Lluís Palos and Diana Carrió-Invernizzi, Madrid: Centro de Estudios Europa Hispánica, 2008, pp. 65-81 [Link to English version]

 

“Ethical Judgments in Museums,” Art and Ethical Criticism, ed. Garry L. Hagberg, Oxford and Malden, Mass.: Wiley-Blackwell, 2008, pp. 229-242

 

“Some Cherokee and Chitimacha Baskets: Problems of Interpretation,” Iconographies Without Texts, ed. Paul Taylor (Warburg Institute Colloquia Series 13), Turin: Nino Aragno Editore, 2008, pp. 175-193

 

“Do Subaltern Artifacts Belong in Art Museums?” (with A.W. Eaton), The Ethics of Cultural Appropriation, ed. James O. Young and Conrad Brunk, Oxford and Malden, Mass.: Wiley-Blackwell, 2009, pp. 235-267

 

“Kuba Textiles in a Subversive Role,” Emil Bosshard, Paintings Conservator (1945-2006): Essays from Friends and Colleagues, ed. Maria de Peverelli, Marco Grassi, and Hans-Christoph von Imhoff, Florence: Centro Di, 2009, pp. 60-71

 

 

 

Articles in journals

 

“Gerrit Dou, his patrons and the art of painting,” Oxford Art Journal 5: 1, 1982, pp. 15-23

 

“Transformations of Cervantes’s La Gitanilla in Dutch art,” Journal of the Warburg and Courtauld Institutes 45, 1982, pp. 263-270

 

“Vermeer, judgment and truth,” The Burlington Magazine 126, 1984, pp. 557-561

 

“Rooted sorrows,” Creative Camera, Jan. 1989, pp. 18-19

 

“Photography and art—what next?” Apollo 130, 1989, pp. 155-158

 

“Cambridge Darkroom: the Chairman’s tale,” Creative Camera Oct. 1989, p. 31 (special issue on the fifth anniversary of the Cambridge Darkroom)

 

“Free State: Ivan Gaskell in conversation with Tim Brennan,” Performance 60, spring 1990, pp. 30-35

 

“Contemporary Art and the Department of Paintings & Sculpture,” Harvard University Art Museums Review 2: 2, spring 1993, p. 3

 

 “Tiepolo in Madrid: the Fogg’s Aeneas sketch investigated,” Bulletin of the Harvard University Art Museums 1: 2, 1992-93, pp. 55-70

 

“Writing (and) Art History: Against Writing,” The Art Bulletin 78, 1996, pp. 403-406

 

“Salim Kemal Remembered,” American Society for Aesthetics Newsletter 20: 1, 2000, pp. 4-5 (posted on Aesthetics Online)

 

“The Imperative of History: Comments on the Clark Symposium ‘Institutionalizing the Aesthetic,’” CAI: Journal of the Clark Art Institute 2, 2001, pp. 45-49

 

“Interdisciplinary Perspectives: Harvard’s Mystery Seminar,” The Catalogue of Antiques and Fine Art, Autumn, 2002, pp. 198-201 (posted on Antiques and Fine Art)

 

“Being True to Artists,” Journal of Aesthetics and Art Criticism 61: 1, 2003, pp. 53-60

 

“Costume, Period Rooms, and Donors: Dangerous Liaisons in the Art Museum,” The Antioch Review 62: 4, 2004, pp. 615-623

 

“Interdisciplinary Aesthetics,” American Society for Aesthetics Newsletter 25: 1, 2005, pp. 1-3

 

“Cézanne’s Painted Remainder,” The Antioch Review 64: 2, 2006, pp. 248-255

 

“Diptychs—What’s the Point?” Journal of Aesthetics and Art Criticism 64, 3, 2006, pp. 325-332

 

“Editorial: Museums—Crossing Boundaries” (with Jeffrey Quilter), Res: Anthropology and Aesthetics 52, 2007, pp. 5-7

 

“Rembrandt’s Genius, Wittgenstein’s Warning,” Res: Anthropology and Aesthetics 52, 2007, pp. 97-106

 

“The Riddle of a Riddle,” Contemporary Aesthetics 6, 2008

http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=504

 

“Interdisciplinary Aesthetics,” Folly, May, 2008, pp. 3-8

http://www.follymag.com/files/FOLLY_May-08.pdf (revised version of the article in American Society for Aesthetics Newsletter 25: 1, 2005)

 

Jesus Christ as The Divine Mercy by Eugeniusz Kazimirowski: The Most Influential Polish Painting of the Twentieth Century?” Ars: Journal of the Institute of Art History of Slovak Academy of Sciences 42, 1, 2009, pp. 81-91

 

 

Museum publications, including exhibition catalogues

 

Contributions to European Paintings 1550-1800, exhibition catalogue, ed. D. Garstang, Colnaghi, New York, 1985, pp. 10-15

 

Contributions to Collection for a King: Old Master Paintings from the Dulwich Picture Gallery, exhibition catalogue, ed. G. Waterfield, National Gallery of Art, Washington D.C. & Los Angeles County Museum of Art, 1985-86, pp. 74, 106, 118

 

Contributions to Gothic to Renaissance: European Painting 1300-1600, exhibition catalogue, ed. D. Garstang, Colnaghi, London & New York, 1988, pp. 132-137

 

“Intimations of mortality” in Death (Cambridge Darkroom and Kettle’s Yard Joint Open Exhibition), exhibition catalogue, ed. H. Gresty and M. Lumley, 1988, pp. 3-7

 

Introduction to (and editing of) Shadow of a Dream: Contemporary Photo-works from France, exhibition catalogue (with texts by Véronique Pittolo and Alain Renaudo), Cambridge Darkroom (and U.K. national tour), 1989

 

“Loss of Eden” in Singular Visions: Recent Landscapes by Five Artists (Andy Goldsworthy, Christopher Le Brun, Sandra Masterson, Michael Porter, Terry Shave), exhibition catalogue, ed. C. Stracey and K. Eustace, Mead Gallery, Warwick University, 1989, pp. 4-5 (exhibition also at Pomeroy Purdy Gallery, London, 1990)

 

From Moment to Moment, a boxed set of artists’ postcards with an essay by Ivan Gaskell published to accompany a season of time-based media events and exhibitions at the Cambridge Darkroom, May-June, 1990

 

Post-Morality, exhibition catalogue, Cambridge Darkroom and Kettle’s Yard, Cambridge, 1990 (editor)

 

Rembrandt, his Pupils and Rivals, Dulwich Picture Gallery (gallery guide), 1990

 

Dutch Landscape Painting, Dulwich Picture Gallery (gallery guide), 1990

 

National Gallery Master Paintings from the Collection of Wynn Ellis of Whitstable, exhibition catalogue, Royal Museum and Art Gallery, Canterbury and the National Gallery, London, 1990

 

“Incredibility escapes recognition: thoughts on Three Heraclitean Elements in John Stathatos, “Three Heraclitean Elements,” exhibition catalogue ed. C. MacDonald, Cambridge Darkroom (and European tour), 1991

 

David Ward: Keepers of Light, Harvard University Art Museums Gallery Series, no. 7, Cambridge, Mass., 1993

 

An Offbeat Collection of Dutch and Flemish Paintings. The Netherlandish Pictorial Tradition: Representations and Iconographies, exhibition catalogue, Fogg Art Museum, Harvard University Art Museums, 1993

 

Contributions to From Van Dyck to Goya. Old Master Paintings in the Carmen Thyssen-Bornemisza Collection, exhibition catalogue, Museo de Bellas Artes de Castellón, 2001

 

Contributions to Landscapes from Brueghel to Kandinsky. The Exhibition in Honour of the Collector Baron Hans Heinrich Thyssen-Bornemisza, exhibition catalogue, Kunst- und Ausstellungshalle der Bundesrepubllik Deutschland, Bonn, 2001

 

“Museums, Nature, and Artifice” in Nature and Nation: Vaster than Empires, exhibition catalogue, ed. Anne Eggebert and Polly Gould, The London Institute, London and Hastings Museum and Art Gallery, 2003, pp. 35-44

 

“Ary Scheffer” in A Private Passion: 19th-Century Paintings and Drawings from the Grenville L. Winthrop Collection, Harvard University, exhibition catalogue, ed. Stephan Wolohojian, with the assistance of Anna Tahinci, Musée des Beaux-Arts, Lyons, National Gallery, London, and Metropolitan Museum of Art, New York, 2003, pp. 302-304

 

Contributions to Carmen Thyssen-Bornemisza Collection, I, ed. Javier Arnaldo, Madrid: Museo Thyssen-Bornemisza, 2004

 

“Rembrandt, Ingenuity, and Skill,” in Rembrandt and the Aesthetics of Technique, ed. Ivan Gaskell and William W. Robinson, Harvard University Art Museums Gallery Series, no. 52, Cambridge, Mass, 2006

 

“A Public and Patriotic Museum”: Artworks and Artifacts from the General Artemas Ward House (with Laurel Thatcher Ulrich), Harvard University Art Museums Gallery Series, no. 53, Cambridge, Mass., 2006

 

“I Have a Son to Offer”—An Online Exhibition of American Civil War Artworks in Harvard Collections, http://www.artmuseums.harvard.edu/civilwar/, live Nov. 30, 2007 onwards (suspended May, 2009 for website redesign)

 

 

 

Book and exhibition reviews

 

“The imagery of incitement” (review article), Art History 5, 1982, pp. 366-370

 

“Art for the oligarchs” (review article), Art History 6, 1983, pp. 236-241

 

John Michael Montias, Artists and Artisans in Delft 1982 in Oxford Art Journal 6: 1, 1983, pp. 67-68

 

Christopher White, The Dutch Pictures in the Collection of Her Majesty The Queen, 1982 in Oxford Art Journal 6: 1, 1983, pp. 68-69

 

John Rowlands, Hercules Segers, 1979 in Art International 26: 4, 1983, pp. 59-61

 

Michael Kitson, Rembrandt, 1982 in Art International 26: 5, 1983, pp. 87-88

 

“The Van Eyck Problem” (review article), Apollo 120, 1984, pp. 145-147

 

“Cornelis Ploos van Amstel” (review article), Print Quarterly 1, 1984, pp. 283-285

 

Svetlana Alpers, The Art of Describing, 1983 in Oxford Art Journal 7: 1, 1984, pp. 57-60

 

Alison McNeil Kettering, The Dutch Arcadia: Pastoral Art and its Audience in the Golden Age, 1983 in Apollo 121, 1985, pp. 356-357

 

Edgar Wind, The Eloquence of Symbols: Studies in Humanist Art, ed. Jaynie Anderson, 1983 in British Journal of Aesthetics 25, 1985, pp. 79-81

 

Eric Jan Sluyter, De “Heydensche Fabulen” in de Noordnederlandse Schilderkunst, 1985 in The Burlington Magazine 128, 1986, pp. 612-613

 

“The catalogue of Dutch paintings in the National Gallery of Ireland” (review article), Irish Arts Review 3:4, 1986, pp. 56-57

 

Michael Baxandall, Patterns of Intention, 1985 in British Journal of Aesthetics 27, 1987, pp. 188-190 (with Salim Kemal)

 

“No easy route to pathos: John Goto, Terezín,” Creative Camera November 1988, p.36

 

Simon Schama, The Embarrassment of Riches, 1987 in The Burlington Magazine 130, 1988, pp. 636-637

 

“Choice silver: Hannah Collins at the Institute of Contemporary Arts, London,” Creative Camera March 1989, p. 36

 

“Flickering flexions: Marie-Jo Lafontaine at the Fruitmarket Gallery, Edinburgh,” Creative Camera August-September 1989, pp. 58-59

 

Hans Belting, The End of the History of Art?, 1987 in British Journal of Aesthetics 29, 1989, pp. 182-185

 

“Richard Layzell, The Revolution –You’re In It!” (nine day performance work commissioned by Kettle’s Yard for the 1989 Cambridge Festival), Performance 59, winter 1989-90, pp. 77-79

 

“Arnhem Internationaal Audio Visual Experimenteel Festival (AVE)” (festival review), Performance 60, spring 1990, pp. 64-66

 

“Epic intimacies: Craigie Horsfield at the Frith Street Gallery,” Creative Camera April-May 1990, pp. 47-48

 

“Birmingham’s civic pride goes Dutch” (exhibition review: Images of a Golden Age; Dutch Seventeenth-Century Paintings, Birmingham City Museum and Art Gallery), Apollo 131, 1990, p. 47

 

Eric Jan Sluijter et. al., eds., Leidse Fijnschilders: van Gerrit Dou tot Frans van Mieris de Jonge, 1630-1760, 1988 in The Burlington Magazine 132, 1990, p. 48

 

“Dutch painters of high finish” (exhibition review: De Hollandse Fijnschilders, Rijksmuseum, Amsterdam), The Burlington Magazine 132, 1990, pp. 228-230

 

“State of the art Frans Hals” (exhibition review: Frans Hals, Royal Academy of Arts, London), Apollo 131, 1990, pp. 262-264

 

“The Real Thing,” (exhibition review: Fake? The Art of Deception, British Museum, London), Apollo 132, 1990, pp. 109-110

 

John Michael Montias, Vermeer and his Milieu: a Web of Social History, 1989 in The Burlington Magazine 132, 1990, pp. 724-725

 

“Rembrandt’s landscape” (review of Cynthia P. Schneider, Rembrandt’s Landscapes, 1990), Apollo 133, 1991, pp. 58-59

 

Alison McNeil Kettering, Drawings from the Ter Borch Studio Estate, 1988 in The Burlington Magazine 133, 1991, p. 122

 

Kathleen Preciado, ed., Retaining the Original: Multiple Originals, Copies and Reproductions, 1989 in British Journal of Aesthetics 31, 1991, pp. 179-182

 

“Rembrandt’s self portrayed?” (review of H. Perry Chapman, Rembrandt’s Self-Portraits, 1990), Apollo 133, 1991, pp. 362-363

 

“A tangle of glances: Sharon Kivland in Birmingham,” Creative Camera June-July 1991, pp. 48-49

 

“Drawn by Rembrandt? Reflections on exhibitions and attributions” (exhibition review: Drawings by Rembrandt and his Circle, British Museum, London), Apollo 136, 1992, pp. 55-56

 

Daniel Arasse, Vermeer: Faith in Painting, 1994 in The Burlington Magazine 137, 1995, p. 468

 

Douglas Crimp, On The Museum’s Ruins, 1993 (and other books on museums and collecting), The Art Bulletin 77, 1995, pp. 673-675

 

Christiane Hertel, Vermeer. Reception and Interpretation, 1996 in The Burlington Magazine, 140, 1998, pp. 209-210

 

Victor I. Stoichita, The Self-Aware Image. An Insight into Early Modern Meta-Painting, 1997 in The Burlington Magazine 140, 1998, pp. 570-571

 

“Washington, London and The Hague: Gerrit Dou,” (exhibition review: Gerrit Dou, 1613-1675: Master Painter in the Age of Rembrandt, National Gallery of Art, Washington, DC), The Burlington Magazine 142, 2000, pp. 533-535

 

E. de Jongh, Questions of Meaning: Theme and Motif in Dutch Seventeenth-Century Painting, 2000 in The Burlington Magazine 142, 2000, p. 707

 

“New York and London: Vermeer and the Delft School,” (exhibition review: Vermeer and the Delft School, Metropolitan Museum of Art, New York, and National Gallery, London), The Burlington Magazine 143, 2001, pp. 452-455

 

Cynthia Freeland, But Is It Art? An Introduction to Art Theory, 2001 in American Society for Aesthetics Newsletter 22, 2, 2002, pp. 4-6 (posted on Aesthetics Online)

 

“Anish Kapoor: Past, Present, Future,” (exhibition review: Anish Kapoor: Past, Present, Future, Institute of Contemporary Art, Boston), artUS 24/25, 2008, p. 26

 

“Shepard Fairey,” (exhibition review: Shepard Fairey: Supply and Demand, ICA, Boston), artUS 26, 2009, pp. 42-43

 

“Laylah Ali,” (exhibition review: Laylah Ali: Notes/Drawings/Untitled Afflictions, DeCordova Museum and Sculpture Park, Lincoln, MA), artUS 26, 2009, p. 44

 

“Abelardo Morell,” (exhibition review: Abelardo Morell: Pictures in Pictures, Bonni Benrubi Gallery, New York), artUS 26, 2009, p. 69

 

“The Singularity of Sculpture” (review of Roberta Panzanelli, ed., Ephemeral Bodies, 2008, and Jacqueline Lichtenstein, The Blind Spot, 2008), Oxford Art Journal 32, 2009, pp. 303-306

 

 

In press

 

“Encountering Pacific Art,” Journal of Museum Ethnography 21, 2009

 

David Carrier, A World Art History and its Objects, 2008 in Journal of Aesthetics and Art Criticism 68, 1, 2010

 

 

Accepted for publication

 

“In Search of Christian Miraculous Images in the Age of Mechanical Reproduction, and Beyond,” Annual Report of the Center for Evolving Humanities: Study of Cultural Exchange (University of Tokyo) 22, 2010

 

“Icons of the Desert” (exhibition review: Icons of the Desert: Early Aboriginal Paintings from Papunya, Fowler Museum of Cultural History, Los Angeles), artUS 27, 2010

 

“Acting Out” (exhibition review: Acting Out: Social Experiments in Video, Institute of Contemporary Art, Boston), artUS 27, 2010

 

 

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