Kellen Auditorium, 66 Fifth Avenue, New York City
April 4 & 5, 2008
AfterTaste 2 is the second annual international symposium dedicated to the critical review of interior design and to identifying pressing contemporary issues and practices that will challenge practitioners in the near future. It is intended as an expansive meditation on the concept of the interior environment and its constituent elements.
The Intellectual History of Taste
The theory of “taste” as category of aesthetic judgment and its evolution as a distinguishing characteristic of the interior designer.
graphic design by Lisa Maione
[biographies current to 2008]
J.M. Bernstein, after having taught for nearly 25 years at the University of Essex in England, and after spending a brief spell at Vanderbilt University, is now University Distinguished Professor of Philosophy at the New School for Social Research. He works primarily in the areas of aesthetics and the philosophy of art, ethics, critical theory, and German Idealism. Among his books are: The Philosophy of the Novel; The Fate of Art: Aesthetic Alienation from Kant to Derrida and Adorno; Adorno: Disenchantment and Ethics; Against Voluptuous Bodies: Late Modernism and the Meaning of Painting; he edited and wrote the introduction for Classic and Romantic German Aesthetics. In all these writings, his goal has been to defend modernism as exemplifying a form of rationality and reason that escapes the reductions of scientific and instrumental rationality. He is currently at work on a book provisionally entitled Torture and Dignity.
James Casebere‘s pioneering work has established him at the forefront of artistis working with constructed photography. Foe the last thirty years, Casabere has devised increasingly complex models that are subsequently photographed in his studio. Based on architectural, art historical and cinematic sources, his table-sized constructions are made of simple materials, pared down to essentials forms. Casabere’s abandoned spaces are hauntingly evocative and oftentimes suggestive of prior events, encouraging the viewer to reconstitute a narrative or symbolic reading of his work. Casabere is the recepient of numerous fellowships including the National Endowment for the Arts, the New York Foundation for the Arts and the John Simon Guggenheim Memorial Foundation. His work has been collected by museums worldwide, including the Museum of Modern Art, the Whitney Museum of American Art, the Salomon R. Guggenheim Museum, the Jewish Museum and the Metropolitan of Srt in New York, the Walker Art Center in Minneapolis, the Los Angeles Museum of Contemporary Art and the Los Angeles County Museum, and the Victoria and Albert Museum in London.
Kent Kleinman is professor and chair of the department of Architecture, Interior Design and Lighting at Parsons School of Design. His scholarly focus is the 20th Century European Modernism, and his book include Villa Muller: A Work of Adolf Loos, Rudolf Arnheim: Revealing Vision, The Krefeld Villas: Mies’s Haus Lange and Esters, and a forthcoming translation of Turnovsky’s Die Poetik eines Mauervorspruns. His articles and reviews have appeared in Bauwelt, Progressive Architecture, Domus, A+U, Bauart, Archis and the Architect’s Journal. He was awarded the Mellon Foundation’s Senior Public Goods Fellowship and was a Visiting Scholar at the Canadian Center for Architecture in Montreal. He has received three Graham Foundation Grants, the national Bruner Prize; two Architect’s Journal 10 Best Books awards, a New York Council for the Arts gran, and a 2001 Progressive Architecture Design Award.
Julie Lasky is editor-in-chief of I.D., the award-winning magazine of international design. Prior to that, she was editor-in-chief of Interiors magazine, which she led to sevral national honors. A widely published writer and critic, she has contributed to The New York Times, Metropolis, Dwell, Architecture, Slate, Surface, The National Scholar, and NPR, and she is the author of two books: Borrowed Design: Use and Abuse of Historical Form (written with Steven Heller) and Some People Can’t Surf: The Graphic Design of Art Chantry. Honors include a National Arts Journalism Program Fellowship at the Medill School of Journalism at Northwestern University, and the Richard J. Margolis award for writing on the cultural life of postwar Sarajevo. SHe recently joined the MFA design criticism faculty at New York’s School of Visual Arts.
Emmanuelle Linard is the Executive Director of Edelkoort Inc., the New York affiliate of the Paris-based Studio Edelkoort. Studio Edelkoort and Edelkoort Inc. have partered with major U.S. and international companies to identify and analyze future consumer attitudes, lifestyles, and economic trends. With a background in creation, production and public relations, French-born Emmanuelle Linard spent 10 years with the Edelkoort European office developing trend forecasts, managing production, and presenting audiovisuals internationally. Since 1999, Linard has directed Edelkoort Inc., developing trend projections for the U.S. market together with Li Edelkoort, the full-time staff in Paris, and the worldwide network of specialists affiliated with Studio Edelkoort’s “Trend Union”, which creates a collection of seasonal trend books and audiovisuals for the textile and fashion industries as well as the interior, retail, design and well being markets.
Tim Marshall became the Dean of Parsons School of Design in 2006, after having served as Parsons Associate Dean for Academic Affair for two years. Previously, he was Director of Academic and International Programs and Chair of the School of Design at the University of Western Sydney, Australia, where he held a range of academic leadership positions over 14 years. Tim has served as a consultant to academic istitutions in Australia, Germany, Hong Kong, China and Singapore, and he has written and lectured internationally on academic topics related to design research and educatio. His most recent publication is Design Dictionary (Birkhauser, 2007), a volume he co-edited with Micheal Erlhoff, Founding Dean of the Koln International School of Design. Tim also has an extensive background as a professional photographer. He received his education at the University of South Wales and the City Art Institute of Australia.
Joanna Merwood-Salisbury is the Associate Chair of the Department of Architecture, Interior Design and Lighting at Parsons School of Design in New York City, where she teaches the history and theory of interior design, architecture and urbanism. She hold a Ph.D. from Princeton University, a Master of Architecture from McGill University and a Bachelor of Architecture from Victoria University of Wellington in her native New Zealand. She has taught at the University of Illinois in Chicago, Bard College, Barnard and Columbia Colleges ad the Pratt Institute. The University of Chicago Press will publish her book Chicago 1890: The Skyscraper as Urban Solution in 2008. She is currently researching a history of luxury in modern architecture and interior design.
THE QUAY BROTHERS
Stephen & Timothy Quay were born near Philadelphia in 1947. After graduating in 1969 from the Philadelphia College of Art, they studied at the Royal College of Art, London where they made their first short films (mostly lost), and met fellow student Keith Griffiths, who first collaborated with them on Nocturna Artificialia (1979). Working together as Konick Studios, with Griffiths’producing, the Quays have maintained a steady output of fastidious and hybrid puppet animation films, supplemented by design work for opera, theatre and ballet.
The Quay are renowned for their craftsmanlike methods and their unusual sources of inspiration. Apart from their puppets, which typically look like old dolls abused by many generations of children, they construct their own sets, arrange the lighting, and operate the cameras. The films draw heavily on early twentieth-century European visual and literary culture, particularly as represented by the Polish writer Bruno Schulz, Robert Walser, Frank Kafka. The Quays’cinema is short on conventional narrative but long on enigmatic visuals. Their work relies exclusively on the power of music as dramaturgy and this is reflected in all their short films along with the two feature films: Institute Benjamenta and The Piano Tuner of Earthquakes.
Recent collaborations with the choreographers William Tuckett and Kim Brandstrup and their small insert in Julie Taymor’s Frida (US, 2002) have introduced wider audiences to the Quays; while The Piano Tuner of Earthquakes (2005), a live-action fairy-tale where a piano tuner attempts to rescue an opera singer from the clutches of a mad doctor in the Carpathian Mountains, is so bizarrely beautiful in its foggy, artificial, de-colorized way that it sure to attract new admirers. But the Quays remain director-animators for the cognoscenti-happy to live, like their films’ characters and objects, in a remote, hermetic maze.
Courtney Smith creates complex, manipulable pieces of deconstructed and reconstructed furniture. Her work transcends its minimal roots by delighting in the intellectual practice of conjugating order and disorder. Attentive to pattern and repetition, and fearlessly rigorous in its construction, it achieves a coy but deeply intelligent sensuality. Smith has exhibited her work throughout the United States, Europe and Latin America. She began her career based in Rio de Janeiro, Brazil where she lived for 10 years before relocating to New York in 2000. in New York, her work was included in the “Greater New York, 2005” at PS1/MOMA and in 2006 she had a comprehensive solo show, “Tongue in Groove”, spanning the last four years of work, at the Chelsea Art Museum. She is represented by Roebling Hall in New York, where her latest solo show “BUild Up” took place in 2007.
Penny Sparke is a Professor of Design History and Pro Vice-Chancellor at Kingston University, London. Professor Sparke is a Senior Fellow of the Royal College of Art and a Fellow of the Society of Arts. SHe has taught the History od Design at Brighton Polytechnic and the Royal College of Art. She has worked in the field of Late Nineteenth and Twentieth Century Design History and has lectured, curated exhibitions, broadcast and published widely in the field both in the UK and overseas. A selection of her book include An Introduction to Design and Culture in the Twentieth Century; Design in Context; and As Long As It’s Pink: The Sexual Politics of Taste. A special interest has been the meaning of design within the context of consumption and its relationship with gender and identity, in addition to focusing on the ‘interior’. In 2005 she published a monograph on the American pioneer interior decorator, Elsie de Wolfe, and her book The Modern Interior will be published in the summer of 2008.
Ioanna Theocharopoulou is an architect and an architectural historian who holds a Ph.D. in Architecture (History & Theory) from Columbia University. She received her training in Architecture at the Architectural Association in London. Here research interests include the impact of modernization processes on architectural culture, the history and theory of interiors, the transformations of domesticity particularly in respect to issues of gender, and the history and theory of sustainable design. Her publications include contributions to Paradigmata, 9th International Architectural Exhibition, Venice Biennale (Hellenic Ministry of Culture, 2004); Negotiating Domesticity. Spatial Productions of Gender in Modern Architecture, an anthology edited by Hilde Heynen and Gulsum Baydar, (Routledge, 2005) and to the forthcoming Landscapes of Development: The Impact of Modernization on the Physical Environment of the Eastern Mediterranean, edited by Pani Pyla and Hashim Sarkis, (Harvard University Graduate School of Design, 2008). Theocharopoulou has been teaching at the Masters Program in Decorative Arts, Cooper-Hewitt National Design Museum since 2004 and at the AAS Program at Parsons School of Design since 2005. She is currently teaching at the Graduate School of Planning and Preservation at Columbia University.
Anthony Vidler is Dean and Professor at The Irwin S. Chanin School of Architecture, The Cooper Union. He received his undergraduate and graduate degrees in architecture from Cambridge University, and his Ph.D. from the Technical University, Delft. He taught at Princeton University from 1965-1992, directing the Ph.D. program and the Program in European Cultural Studies. From 1992 to 2001 he was Chair and Professor of the Department of Art istory, UCLA. He was a Fellow of the Institute for Architecture and Urban Studies, New York where he was an editor of the journal Oppositions and Editorial Director of Skyline. His books include The Writing of the Walls: Theory and Design in the Late Enlightenment; the prize-winning Claude-Nicolas Ledoux. Architecture and Society in the Ancient Regime; The Architectural Uncanny. Essays in the Modern Unhomely; Warped Space: Art, Architecture, and Anxiety in Modern Culture, and Histories of the Recent Present. The invention of Modernism forthcoming from MIT Press in June, 2008. He is a Fellow of the National Academy of Arts and Sciences.
Lois Weinthal is Director of the Interior Design program at Parson School of Design. She is particularly interested in the relationships between architecture, interiors, clothing and objects, resulting in works that are linked through questions and curiosities and implemented through design projects that take on an experimental nature. She has received grants from the Graham Foundation, a Fulbright Award, and a DAAD Award for residency in Berlin that led to the exhibit, “Berlin: A Renovation of Postcards“, in Berlin and New York. In 2007, she curated “Architecture Inside/Out” at the Center for Architecture in New York ity. She has lectured, published, and exhibited widely in the field, and is principal of the design practice Weinthal Works. Weinthal studied architecture at the Rhode Island School of Design and Cranbrook Academy of Art. SHe was previously Associate Profeesor at The University of Texas at Austin.
Allan Wexler works within the fields of architecture, design and fine art. He is represented by the Ronald Feldman Gallery in New York City and teaches at Parsons Schoolof Design. Wexler’s works explore human activity and the bult environment. He works as an investigator using series, permutations and chance rather than searching for definitive solutions. He makes buildings, furniture, vessels and utensils as backdrops and props for everyday, ordinary human activity. the works isolate, elevate, and monumentalize our daily rituals: dining, sleeping, and bathing. And they, in turn, become mechanisms that activate ritual, ceremony and movement, turning ordinary activities into theater. A collection of his works is published in the books Custom Built: A Twenty-year Survey of Work by Allan Wexler and GG Portfolio Allan Wexler.
Mark Wigely is Dean of Columbia University’s Graduate School of Architecture, Planning and Preservation. An accomplished scholar and design teacher, Mark Wigley has written extensively on the theory and practice of architecture and is the author of Constant’s New Babylon: The Hyper-Architecture of Desire (1998); White Walls, Designers Dresses: The Fashioning of Modern Architecture (1995); and The Architecture of Deconstruction: Derrida’s Haunt(1993). he co-edited The Activist Drawing: Retracing Situationalist Architectures from Constant’s New Babylon to Beyond (2001). Wigeley has served as curator for widely attended exhibitions at the Museum of Modern Art, New York; The Drawing Center, New York; Canadian Centre for Architecture, Montreal; and Witte de With Museum, Rotterdam. He received both his Bachelor of Architecture (1979) and his Ph.D. (1987) from the University of Auckland, New Zealand.
Alfred Zollinger is co-principal of Matter Practice, an architecture and exhibition design firm founded with Sandra Wheeler. Matter has completed a range of public projects including exhibition designs for the National Building Museum, Cooper-Hewitt Museum, and International Center of Photography, as well as several residential projects. The practice maintains its own prototyping and custom fabrication shop and is characterized by Zollinger’s early training as a precision machinist and interest in making as a mode of critical inquiry. he studied architecture at Rhode Island School of Design, and completed his post-professional studies at Cranbrook Academy of Art, where he was designer and fabrication specialist on a number of widely published projects completed by the Cranbrook Architecture Office. He has taught at RISD for three years and at Parsons since 2006.
AFTER TASTE 2 was organized by Kent Kleinman and Lois Weinthal of the Department of Architecture, Interior Design and Lighting at Parsons School of Design and made possible with the support of the Office of the Dean, Parsons School of Design.
Friday 6-8pm, Tishman Auditorium, University Center, 63 Fifth Avenue, New York City
Saturday 10-6pm, Kellen Auditorium, 66 Fifth Avenue, New York City
February 27 + 28, 2015
Friday 6-8pm, Tishman Auditorium, University Center, 63 Fifth Avenue
Saturday 10-6pm, Kellen Auditorium, 66 Fifth Avenue
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