Samantha Krukowski
Samantha Krukowski is an artist, author and educator who is interested in the roles of impermanence, ephemerality and (in)visibility in creative production. She is curious about how images, objects, people and places function in the context of a society where information is aggressive, multilocated and slippery. Her writing has focused on the modes and problems of historicizing time-based artworks; presence and absence in the pictorial field; the nature of creativity and the identity of the maker. Her studio work often involves examining bits of the world at micro and macro scales in order to discover shared pattern languages. Her videos, paintings and drawings have been exhibited nationally and internationally. She edited Playa Dust: Collected Stories from Burning Man (London: Black Dog Publishing, 2014.) Her forthcoming volume, T-Squared: Theories and Tactics in Architecture and Design, will be published by Intellect Press in 2020. Dr. Krukowski is a faculty member at the University of Cincinnati; prior she taught at Iowa State University (Department of Architecture) and at University of Texas at Austin (Department of Radio-TV-Film). She earned a PhD (Art History) and MArch (Architecture) from the University of Texas at Austin, an MA (Art History) from Washington University in St. Louis, and a BA (Political Science) from Barnard College/Columbia University.
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While such a specific focus might appear to limit my research, in this case it is an important directive. I use one artwork to contain my investigation; to provide one point of reference for a variety of historical and theoretical treatments. And I use this artwork because it is a particularly generative one. It embodies conditions that suggest a different kind of historical attention: It is no longer extant, its historical presence is dependent upon photographs and words, it occupies a landscape, it traces a prominent ancient ruin in a foreign (and largely inaccessible) country, it requires international mediation, it is made with and by bodies, it represents a reunion and a departure, its components include memory, time, ritual and endurance. It invites methodological inquiry as much as it problematizes historical attention to artworks that are not dimensionally finite.
edifices, and mechanized rural landscapes. The spaces of urban and rural abandonment share palimpsestic surfaces that are compelling grounds for
observation and intervention. Their layers are complex if not nearly obliterated histories, sometimes overwritten by ghost texts, always faded by changes in production methods and habits of occupation. In opposition to the idea that these sites should be whitewashed and redrawn, the authors consider them as grounds for new imagery and as repositories for material evidence that deepens, rather than erases, the evidence of their pasts. This new imagery is developed, in part, through the accumulation and projection of phenomena harvested from other post-industrial
sites.
Because of the War Things Were Changing by Jennet Thomas, UK
Patriotic by Benny Nemerovsky Ramsay, Canada
Jean Genet in Chicago by Frederic Moffet, USA
Remaking Jane Fonda by Scott Stark, USA
Our Brightly Shining Future by Ray Sweeten, USA
While such a specific focus might appear to limit my research, in this case it is an important directive. I use one artwork to contain my investigation; to provide one point of reference for a variety of historical and theoretical treatments. And I use this artwork because it is a particularly generative one. It embodies conditions that suggest a different kind of historical attention: It is no longer extant, its historical presence is dependent upon photographs and words, it occupies a landscape, it traces a prominent ancient ruin in a foreign (and largely inaccessible) country, it requires international mediation, it is made with and by bodies, it represents a reunion and a departure, its components include memory, time, ritual and endurance. It invites methodological inquiry as much as it problematizes historical attention to artworks that are not dimensionally finite.
edifices, and mechanized rural landscapes. The spaces of urban and rural abandonment share palimpsestic surfaces that are compelling grounds for
observation and intervention. Their layers are complex if not nearly obliterated histories, sometimes overwritten by ghost texts, always faded by changes in production methods and habits of occupation. In opposition to the idea that these sites should be whitewashed and redrawn, the authors consider them as grounds for new imagery and as repositories for material evidence that deepens, rather than erases, the evidence of their pasts. This new imagery is developed, in part, through the accumulation and projection of phenomena harvested from other post-industrial
sites.
Because of the War Things Were Changing by Jennet Thomas, UK
Patriotic by Benny Nemerovsky Ramsay, Canada
Jean Genet in Chicago by Frederic Moffet, USA
Remaking Jane Fonda by Scott Stark, USA
Our Brightly Shining Future by Ray Sweeten, USA