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"I was so impressed with your concept, working at low tide in the early mornings to carve signs that during the day would be concealed. It calls into question so much about time, history, language, meaning, and sculpture." "I have great respect for what you are doing and have already mentioned how taken I was by your work in Venice in 2003. The idea of working with primitive signs or basic ritualistic signs that hold universal meaning in the Jungian sense is very important, a necessary and vital aspect of art today." Professor Robert C. Morgan Ph.D.
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In the middle of March the American art critic and historian Robert C. Morgan was traveling in Iran. I accompanied him when he traveled to Isfahan. During this two-day excursion, I was able to ask him a variety of questions and learn a lot about contemporary art in the USA. I very much enjoyed our conversations and dialogue together.
ROBERT C. MORGAN Robert C. Morgan received his M.F.A. from the University of Massachusetts, Amherst in 1975 and his Ph.D. from New York University in 1978. Dr. Morgan is Professor of the History and Theory of Art at the Rochester Institute of Technology. He has taught at Barnard College, Columbia University, the University of Rochester, Pratt Institute, and the School of Visual Arts, New York. In addition to a consistently full teaching load, he has written and published over 1000 articles and reviews in more than 50 magazines and professional journals. His essays have been translated into more than a dozen languages. In addition, he has authored books, catalogs and monographs on numerous contemporary artists in various countries. His book on the American Conceptualist Robert Barry was published by Karl Kerber Press in Bielefeld, Germany (1986). Haim Steinbach was published by the Musee d'Art Contemporain, Bordeaux (1988). Duchamp, Androgyny, Etc, was published by Editions Antoine Candau in Paris (1990). A Hans Bellmer Miscellany was published by Baum/Malmburg in Malmo (Sweden) in 1993. His book, Bernar Venet: Work, 1961 -1971, was published by Editions des Cahiers intempestifs in St, Etienne, France as a bilingual edition (1999). His books published in the United States include Commentaries on the New Media Arts , Umbrella Associates (1992); After the Deluge: Essays on the Art of the Nineties, Red Bass Publications (1993), Conceptual Art: An American Perspective, McFarland (1994); Art into Ideas: Essays on Conceptual Art (Cambridge University Press, 1996), Between Modernism and Conceptual Art (McFarland, 1997): and The End of the Art World (Allworth Press, 1998) A critical anthology on Gary Hill (2000) was recently published by Johns Hopkins University Press. A collection of Morgan's essays, entitled El Fin del Mundo del Arte, were published by Eudeba in conjunction with the Centro Cultura Rojas at the University of Buenos Aires (1998). Another volume of his lectures, entitled Duchamp y los artistas contemporaneous postmodernos, was published by Eudeba in 2000. He is co-author of Dorothea Tanning (Braziller, 1995). An anthology of criticism on the conceptual artist Bruce Nauman (Johns Hopkins University Press) and an edited volume of the late writings by the critic Clement Greenberg (University of Minnesota Press) are forthcoming in 2002.
http://www.kazmaslanka.com/morgan/morgan.html
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