On November 6th, Dr. Gregory Williams gave a public evening lecture at the museum entitled “No Quotations: Günther Förg in the Context of the Long 1980s,” jointly sponsored by the Dallas Museum of Art and the Edith O’Donnell Institute of Art History. While in town, Dr. Williams also led several other programs, including docent training for the DMA, a seminar at UT Dallas, a visit to The Warehouse, and an interview for the Athenaeum Review podcast.
This lecture and associated events stimulated many fruitful and rewarding conversations about contemporary art history, ranging from the lively artistic scene in 1980s Cologne surrounding Förg (including, among others, the artists Martin Kippenberger, Rosemarie Trockel, Albert Oehlen and the gallerists Max Hetzler and Monika Sprüth), to the subtleties of Förg’s work, suspended as it is between the legacies of modernism and the challenges of postmodernism, at the same time exploiting the specific formal properties of each medium while also bringing together painting, photography, and architectural space in his trademark combined installations.
Gregory Williams is associate professor of contemporary art history, and associate chair of the department of art history at Boston University. He has published widely on contemporary art in journals such as October, Artforum, Art Journal, Frieze, Parkett and Texte zur Kunst, and contributed catalog essays for exhibitions at the Tate Modern, Museum Ludwig, and Kunstmuseum Basel among many others. His book Permission to Laugh: Humor and Politics in Contemporary German Art, was published by the University of Chicago Press. His current research projects include a monograph on the East German artist Carlfriedrich Claus, a study of the 1960s-era attempt to combine training in fine arts and applied arts at the Werkkunstschule in West Germany, and an edited volume on the German artist and filmmaker Harun Farocki (1944-2014).