Warren Neidich: Difference between revisions

Edit links
From Wikipedia, the free encyclopedia
Browse history interactively
← Previous editNext edit →
Content deleted Content added
VisualWikitext
Added citation for Hybrid Dialetics
→‎Practice (1996-2017): added dates and names of artists in exhibition Conceptual Art as Neurobiological Praxis
Line 50: Line 50:


==Practice (1996-2017)==
==Practice (1996-2017)==
In 1996 Neidich, began to explore the phenomenological conditions surrounding the cultural and historical aspects of his work. These research projects took the form of texts and lectures entitled “[[Neuroaesthetics]]”, first delivered at the [[School of Visual Arts]] in New York, 1995-1996 when Neidich was visiting lecturer in the Department of Photography and Related Media under [[Charles H. Traub|Charles Traub]]. Soon after, he launched the platform artbrain.org, consisting of ''[[The Journal of Neuroaesthetics]]'' and ''Netspace Gallery''. A platform was created in which painters, sculptors, photographers, filmmakers, and poets, using their own materials, processes, and apparatuses, might critically investigate issues of perception, memory, and consciousness in ways very different from [[neuroscience]], psychology, and psychoanalysis—in many cases producing completely new paradigms through which to understand these phenomena.
In 1996 Neidich, began to explore the phenomenological conditions surrounding the cultural and historical aspects of his work. These research projects took the form of texts and lectures entitled “[[Neuroaesthetics]]”, first delivered at the [[School of Visual Arts]] in New York, 1995-1996 when Neidich was visiting lecturer in the Department of Photography and Related Media under [[Charles H. Traub|Charles Traub]]. Soon after, he launched the platform artbrain.org, consisting of ''[[The Journal of Neuroaesthetics]]'' and ''Netspace Gallery''. A platform was created in which painters, sculptors, photographers, filmmakers, and poets, using their own materials, processes, and apparatuses, might critically investigate issues of perception, memory, and consciousness in ways very different from [[neuroscience]], [[psychology]], and [[psychoanalysis]] - in many cases producing completely new paradigms through which to understand these phenomena.


The [[post-Structuralist]] brain/mind/body/world complex in which cultural mutations are transposed into parallel changes in the mind, brain and body expressed, in pieces such as "Brainwash" and "Re-cognition", developed greater tenacity in 1999 when Neidich curated "Conceptual Art as Neurobiological Praxis" at Thread Waxing Space in New York.<ref>{{citation|title=Seeing Eye|date=May 20, 1999|url=http://www.villagevoice.com/1999-04-20/art/seeing-eye/|author=[[Sue Spaid]]|publisher=The Village Voice|accessdate=2009-08-29}}</ref>
The [[post-Structuralist]] brain/mind/body/world complex in which cultural mutations are transposed into parallel changes in the mind, brain and body expressed, in pieces such as "Brainwash" (1997), Neidich’s first application of his hybrid [[dialectics]] and "Re-cognition", developed greater tenacity in 1999 when Neidich curated "Conceptual Art as Neurobiological Praxis" at Thread Waxing Space in New York<ref>{{citation|title=Seeing Eye|date=May 20, 1999|url=http://www.villagevoice.com/1999-04-20/art/seeing-eye/|author=[[Sue Spaid]]|publisher=The Village Voice|accessdate=2009-08-29}}</ref> which included artists: [[Uta Barth]], [[Sam Durant]], [[Charline Von Heyl]], [[Jason Rhoades]], [[Thomas Ruff], Simon Grennan and [[Christopher Sperandio]], and others.


Neidich’s videoworks from this period include ''Apparatus'', ''Memorial Day, Kiss, and Law of Loci''. The exhibitions "The Mutated Observer Part 1", and "The Mutated Observer Part 2" at the [[California Museum of Photography]] in 2001 and 2002 showcased a number of handmade apparatuses, so-called “''Hybrid Dialectics''”, in [[Dispaly case|vitrines]] adjacent to those of the museum’s collection.
Neidich’s video-works from this period include ''Apparatus'', ''Memorial Day'' (1998), ''Kiss'', and ''Law of Loci''(1998-99). The exhibitions "The Mutated Observer Part 1" (2001), and "The Mutated Observer Part 2" (2002) at the [[California Museum of Photography]] showcased a number of handmade apparatuses, so-called “''Hybrid Dialectics''”, in [[Dispaly case|vitrines]] adjacent to those of the museum’s collection.


[[File:Pizzagate Neon, 2017, by Warren Neidich.jpg|thumb|right|Installation view of 'Pizzagate Neon, 2017' from Warren Neidich's solo exhibition 'Color of Politics' at Kunstverein am Rosa–Luxemburg–Platz, 2017<ref>{{Cite news|url=http://www.rosa-luxemburg-platz.net/warren-neidichcolor-of-politics/|title=Warren Neidich, Color of Politics|date=2017-04-15|work=Kunstverein am Rosa–Luxemburg–Platz|access-date=2018-01-15|language=de-DE}}</ref>]]
[[File:Pizzagate Neon, 2017, by Warren Neidich.jpg|thumb|right|Installation view of 'Pizzagate Neon, 2017' from Warren Neidich's solo exhibition 'Color of Politics' at Kunstverein am Rosa–Luxemburg–Platz, 2017<ref>{{Cite news|url=http://www.rosa-luxemburg-platz.net/warren-neidichcolor-of-politics/|title=Warren Neidich, Color of Politics|date=2017-04-15|work=Kunstverein am Rosa–Luxemburg–Platz|access-date=2018-01-15|language=de-DE}}</ref>]]

Revision as of 10:59, 16 January 2018

Warren Neidich
Warren Neidich performance at The Drawing Center in 2009.
Photograph by Chris Lee.
Born1958
New York City
NationalityAmerican
Known forContemporary art
AwardsVilém Flusser Theory Award 2010, presented at Transmediale,[1] Fulbright Program Scholar Fellowship, Fine Arts Category, 2013[2]

Warren Neidich is an American artist who lives between Berlin and Los Angeles.[3] He is a professor at Kunsthochschule Weißensee School of Art,[4][5] Berlin and visiting scholar at Otis College of Art and Design, Los Angeles.[6]

Neidich is founding director of the Saas-Fee Summer Institute of Art (SFSIA).[7] He has collaborated with artists, curators and critics including: Barry Schwabsky (co-director of SFSIA), Armen Avanessian, Nicolas Bourriaud, Tiziana Terranova, Franco Berardi, Hans-Ulrich Obrist, Isaac Julien,[8] Hito Steyerl,[9], Chris Kraus (American writer)[10], and many others.

His work has been exhibited at numerous institutions including: MoMA PS1,[11] Whitney Museum of American Art,[12] LACMA - Los Angeles County Museum of Art,[13][14] California Museum of Photography, ICA – Institute of Contemporary Arts, London, Museum Ludwig, Cologne, and Walker Art Center, Minneapolis, Minnesota.[15]

Main themes

A major theme in Neidich's practice has bee Neuroaesthetics, upon which he began lecturing in 1996 at the School of Visual Arts in New York City. His website artbrain.org, which includes ‘The Journal of Neuro-Aesthetic Theory’, was published online in 1997.[16] Cognitive Capitalism (Cognitive-cultural economy), 'Critical' Neuroscience, Neuroplasticity, 'Post' Workerism, Immaterial labor, and Epigenesis (biology) are recurring themes since 1996, while earlier themes, between 1985 and 1996, were interested in culturally based work about race, politics, Reenactment, Fictive Documentary, staging, photographic practice, the archive, and Anachronistic technology.

On these topics he has published several books including: Neuromacht, 2017,[17] Psychopathologies of Cognitive Capitalism: Part One,[18] Two,[19][20] and Three,[21] The Noologist's Handbook and Other Art Experiments, 2013,[22][23] From Noopower to Neuropower: How Mind Becomes Matter, 2010[24][25] and Cognitive Architecture (From Biopolitics to Noopolitics. Architecture & Mind in the Age of Communication and Information), 2010,[26] and Blow Up: Photography, Cinema and the Brain, 2003.[27][28]

Neidich’s work has examined the co-evolution of the history of art, brain, and mind, which provides a critical foundation to his understanding of Neuroaesthetics as an ontologic process. The key to Neuroaesthetics is the investigation of apparatuses in which a network of heterogeneous discourses is administered. As the world and technology change, so to the apparatuses which organize it, and the cognitive strategies with which one can understand it. This is especially true of the information age, which distributes such apparatuses non-linearly and profusely. Neidich’s work is inspired by Michael Snow, Stan Brakhage, Jean-Luc Godard and the Apparatus Theory of Stephen Heath.

Studies and teaching

Warren Neidich has studied in diverse fields since 1970 including Photography, Psychology, Biology, (BA Magna Cum Laude Washington University, St. Louis), Neurobiology (as research fellow at California Institute of Technology, under the laboratory of Roger Wolcott Sperry who later won the 1981 Nobel Prize in Physiology and Medicine) and Architecture, he is also a Board Certified Ophthalmologist from Tulane Medical Center.

Neidich has collaborated with Goldsmiths College on several occasions since 2003, when he was visiting artist and lecturer. In 2005 he organized the first symposium on Neuroaesthetics,[29] and in 2014, with Mark Fisher, he organized a symposium titled 'The Psychopathologies of Cognitive Capitalism: The Cognitive Turn Organized'.[30]

At Delft School of Design, Delft University of Technology in The Netherlands (where he was a PhD candidate under Professor Dr. Arie Graafland), in 2008 he co-organized "Architecture in Mind: From Biopolitics to Noo politics."[31]

Early works (1985-1996)

File:Resistance01.jpg
Resistance is Futile/Resistance is Fertile at Kunsthaus Graz, Austria, 2006.

From 1985 to 1997 Neidich worked on a number of projects investigating the relationship between power and representation, focusing on reenactment, staging, fictive documentary and performance. Major works from this time include the American Civil War studies The Battle of Chickamauga and Amputation without Anaesthesia exhibited at The Photographic Resource Center, Boston in 1991 and "American History Reinvented" (1986–1991) at Burden Gallery, Aperture Foundation, New York City, in 1989.[32] Neidich’s appropriation of historical moments by means of photography has been discussed by John Welchman[33] and Graham Clarke.[34]

The series of altered photographs “Unknown Artist”, which recast the early 20th-century art coterie as a social rather than an individual phenomenon, were installed at Berlin’s Paris Bar in 1994 in collaboration with Martin Kippenberger.

In 1994, Neidich’s photography-based sculptural installation Collective Memory and Collective Amnesia (1991–94) used the culturally-constructed story of Anne Frank to reflect upon pop culture’s vulgarization of history. Neidich’s slide show projection "Beyond the Vanishing Point: Media Myth in America" was shown at the N.Y. Kunsthalle, NYC in 1995. It traced a journey across America fifty years after Jack Kerouac, culminating in a photographic exposé of the media encampment that grew outside the courthouse during the O.J. Simpson trial in Los Angeles (1995–97).

Practice (1996-2017)

In 1996 Neidich, began to explore the phenomenological conditions surrounding the cultural and historical aspects of his work. These research projects took the form of texts and lectures entitled “Neuroaesthetics”, first delivered at the School of Visual Arts in New York, 1995-1996 when Neidich was visiting lecturer in the Department of Photography and Related Media under Charles Traub. Soon after, he launched the platform artbrain.org, consisting of The Journal of Neuroaesthetics and Netspace Gallery. A platform was created in which painters, sculptors, photographers, filmmakers, and poets, using their own materials, processes, and apparatuses, might critically investigate issues of perception, memory, and consciousness in ways very different from neuroscience, psychology, and psychoanalysis - in many cases producing completely new paradigms through which to understand these phenomena.

The post-Structuralist brain/mind/body/world complex in which cultural mutations are transposed into parallel changes in the mind, brain and body expressed, in pieces such as "Brainwash" (1997), Neidich’s first application of his hybrid dialectics and "Re-cognition", developed greater tenacity in 1999 when Neidich curated "Conceptual Art as Neurobiological Praxis" at Thread Waxing Space in New York[35] which included artists: Uta Barth, Sam Durant, Charline Von Heyl, Jason Rhoades, [[Thomas Ruff], Simon Grennan and Christopher Sperandio, and others.

Neidich’s video-works from this period include Apparatus, Memorial Day (1998), Kiss, and Law of Loci(1998-99). The exhibitions "The Mutated Observer Part 1" (2001), and "The Mutated Observer Part 2" (2002) at the California Museum of Photography showcased a number of handmade apparatuses, so-called “Hybrid Dialectics”, in vitrines adjacent to those of the museum’s collection.

File:Pizzagate Neon, 2017, by Warren Neidich.jpg
Installation view of 'Pizzagate Neon, 2017' from Warren Neidich's solo exhibition 'Color of Politics' at Kunstverein am Rosa–Luxemburg–Platz, 2017[36]

His essay The Neurobiopolitics of Global Consciousness, published in the Sarai Reader 'Turbulence' in 2006[37], clearly connected the ideas of neural plasticity, epigenesis and Empire. Topics such as Neuro biopolitics were extended to include the political impact of immaterial labor and the information age on the production of architecture and built space, specifically in relation to the ways in which intense sensory and perceptual effect are now used to organize cultural attention.

These ideas later evolved into a series of performative drawings staged in his studio at IASPIS in Stockholm (2008) and at The Drawing Center, New York (2009). The same year Neidich also organized the conference "The Power of Art"[38] at The Drawing Center, New York.

In 2008 Onomatopee published Neidich's book Lost Between the Extensivity-Intensivity Exchange for which he outlined that the "inauguration of the 21st century could be described as a time of cultural torpor resulting from free floating anxiety, ambivalence, and wavering", going on to say, "the condition, suggested by the title, that of being lost in the ‘in-between zone’ of extensive and intensive labor and two evolving partially incommensurable world views, the local (tribal) and global (cosmopolitan) or the nation-state and the Earthling, merged" [39][40]

“What has become obvious to me is that in our moment of cognitive capitalism in which the brain and mind are the new factories of the twenty-first century, forms of activism invented during industrial capitalism like refusal to work, absenteeism, and labor strikes are no longer up to the task” – Warren Neidich 2017[41][42]

In Pizzagate (2017) Neidich returned to his earlier work on apparatus entitled 'Hybrid Dialectics' (1997 - 2003)[43]. In the work he delineates the new apparatuses of the knowledge economy like clickbait and memes as they produce new forms of subjectivity.

Saas-Fee Summer Institute of Art

The Saas-Fee Summer Institute of Art (SFSIA) is a nomadic academy that originated in Saas-Fee, Switzerland in 2015, and moved to Berlin in 2016 where it could engage with the local active art scene. SFSIA maintains the moniker today simply as a nod to its origins.[44] It was founded by fine artist and theorist Warren Neidich, and is co-directed by art critic and poet Barry Schwabsky. The school has included many notable collaborators in workshops or as speakers. SFSIA was born as a parallel program to the activities at the neighboring European Graduate School (EGS), sharing the evening public program, however with no formal connection.

Schwabsky, in conversation with Jennifer Teets for Art & Education, has described his desire for the school to respond to a “crisis” across the sector wherein art academies are “controlled by administrators—not by faculty—an ever-expanding layer of bureaucrats who are removed from the real needs of students and the realities of teaching and research.” [45]

Each year SFSIA has approached a new theme, the founding being 'Art and the Politics of Estrangement' (2015)[46], followed by 'Art and the Politics of Individuation: Affect and the Multiple Body in Cognitive Capitalism' (2016)[47] and 'Art & the Politics of Collectivity' (2017)[48]. The 2018 program circulates around the theme of 'Art and Politics in the Age of Cognitive Capitalism' and will take place in Los Angeles and Berlin.[49]

List of collaborators:[50]

Exhibitions

Selected solo exhibitions

Selected group exhibitions

Public projects

  • 2004 Madrid Abierto Public Sculpture, Madrid, Spain

Books

File:Omp25cover.jpg
Cover of: Lost Between the Extensivity/Intensivity Exchange - published by Onomatopee, 2009.
  • Neuromacht, Merve Verlag (German), 2017.[79]
  • Psychopathologies of Cognitive Capitalism: Part One (2013), Two (2014), and Three (2017), Archive Books (English).[80]
  • The Noologist's Handbook and Other Art Experiments, Anagram, 2013.[81]
  • From Noopower to Neuropower: How Mind Becomes Matter, 2010.
  • Cognitive Architecture. From Biopolitics to Noopolitics. Architecture & Mind in the Age of Communication and Information, 2010.
  • Lost Between the Extensivity/Intensivity Exchange, Onomatopee, 2009.[82]
  • Earthling, Pointed Leaf Press, New York, NY, 2005.[83]
  • Blow-up: Photography, Cinema and the Brain, DAP/UCR/California Museum of Photography, 2003.[84]
  • Camp O.J., Bayly Art Museum, 2001.[85]
  • Cultural Residue: Contamination and Decontamination, Villa Arson, Nice, France, 1994.[86]
  • Unknown Artist, Fricke and Schmid, 1994.
  • Historical in (Tervention), MIT List Visual Arts Center, 2001.[87]
  • American History Reinvented, Aperture, 1989.[88]

References

  1. ^ [1]
  2. ^ [2]
  3. ^ Artist page, Galerie Barbara Seiler, retrieved 2017-10-28
  4. ^ 2002-2017, LifePR (c). "Warren Neidich: New at the Academy - Public Lecture - Weißensee Kunsthochschule Berlin - Pressemitteilung". www.lifepr.de. Retrieved 2017-10-28. {{cite web}}: |last= has numeric name (help)
  5. ^ KH Berlin
  6. ^ "Search Otis". Otis College of Art and Design. Retrieved 2017-10-28.
  7. ^ Saas-Fee About
  8. ^ "Program | Saas-Fee Summer Institute of Art". saasfeesummerinstituteofart.com. Retrieved 2017-10-28.
  9. ^ "Program 2015 | Saas-Fee Summer Institute of Art". saasfeesummerinstituteofart.com. Retrieved 2017-10-29.
  10. ^ "Apparatus (1998) - Warren Neidich". Warren Neidich. 1997-08-01. Retrieved 2018-01-15.
  11. ^ "Museum of Modern Art | MoMA". The Museum of Modern Art. Retrieved 2017-10-28.
  12. ^ "Whitney Museum of American Art: Warren Neidich". collection.whitney.org. Retrieved 2017-10-28.
  13. ^ "Interview with Collector Deborah Irmas on "This Is Not a Selfie: Photographic Self-Portraits from the Audrey and Sydney Irmas Collection" | Unframed". unframed.lacma.org. Retrieved 2017-10-28.
  14. ^ "Site | LACMA Collections". collections.lacma.org. Retrieved 2017-10-28.
  15. ^ "Walker Art Center". walkerart.org. Retrieved 2017-10-28.
  16. ^ "Artbrain  » Journal of Neuro-Aesthetic Theory #1 (1997-99)". www.artbrain.org. Retrieved 2017-12-13.
  17. ^ "Merve – Warren Neidich: Neuromacht, Kunst im Zeitalter des kognitiven Kapitalismus". www.merve.de. Retrieved 2017-10-29.
  18. ^ neidich, warren. "Psychopathologies of Cognitive Capitalism Part 1". {{cite journal}}: Cite journal requires |journal= (help)
  19. ^ "The Psychopathologies of Cognitive Capitalism - ICI Berlin". ICI Berlin. Retrieved 2017-10-29.
  20. ^ neidich, warren. "Psychopathologies of Cognitive Capitalism Part 2". {{cite journal}}: Cite journal requires |journal= (help)
  21. ^ "RAM Publications". www.rampub.com. Retrieved 2017-10-29.
  22. ^ "Warren Neidich Berlin Works – Archive Kabinett". www.archivekabinett.org. Retrieved 2017-10-29.
  23. ^ "The Inner Perspective of the Noologist's Mind", by Suzana Milevska, in Warren Neidich, The Noologist's Handbook and Other Art Experiments, Ed. Suzana Milevska, Archive Books, 2013, ISBN 9783943620085
  24. ^ "From Noopower to Neuropower: How Mind Becomes Matter", by Warren Neidich, in Cognitive Architecture: From Bio-politics to Noo-politics, edited by Deborah Hauptmann and Warren Neidich, 010 Publishers, Rotterdam, 2010, ISBN 9789064507250.
  25. ^ "Neurobiopolitics of Global Consciousness"
  26. ^ "Cognitive Architecture. From Biopolitics to NooPolitics Architecture & Mind in the Age of Communication and Information | Deborah Hauptmann, Warren Neidich | 9789064507250". www.naibooksellers.nl (in Dutch). Retrieved 2017-10-29.
  27. ^ "Warren Neidich". www.goodreads.com. Retrieved 2017-10-29.
  28. ^ "Brain Sculpting and Cinema: Blow-Up: Photography, Cinema and the Brain by Warren Neidich • Senses of Cinema". sensesofcinema.com. Retrieved 2017-10-29.
  29. ^ Warren Neidich (May 20, 2005), Conference on Neuroaesthetics, Goldsmiths College, retrieved 2009-08-29
  30. ^ "The Psychopathologies of Cognitive Capitalism: The Cognitive Turn Organized by Mark Fisher and Warren Neidich". Goldsmiths, University of London. Retrieved 2017-11-24.
  31. ^ Warren Neidich (October 31, 2008), Architecture and The Mind: from bio-politics to noo-politics, Delft School of Design, retrieved 2009-08-29
  32. ^ Warren Neidich (1991), American History Reinvented, Slash Seconds, retrieved 2009-08-29
  33. ^ John Welchman (September 14, 2001), Art after Appropriation: Essays on Art in the 1990s, Routledge, retrieved 2009-08-29
  34. ^ Graham Clarke (May 8, 1997), The Photograph, Oxford University Press, ISBN 978-0-19-284200-8, retrieved 2009-08-29
  35. ^ Sue Spaid (May 20, 1999), Seeing Eye, The Village Voice, retrieved 2009-08-29
  36. ^ "Warren Neidich, Color of Politics". Kunstverein am Rosa–Luxemburg–Platz (in German). 2017-04-15. Retrieved 2018-01-15.
  37. ^ "Sarai Reader 06: Turbulence : s a r a i". sarai.net. Retrieved 2018-01-15.
  38. ^ B. Blagojevic (July 10, 2009), The Power of Art, ArtCat Zine, retrieved 2009-08-29
  39. ^ "onomatopee". www.onomatopee.net. Retrieved 2017-12-21.
  40. ^ "An aftermath essay by Warren Neidich" (PDF). onomatopee. {{cite web}}: Cite has empty unknown parameter: |dead-url= (help)
  41. ^ neidich, warren. "Acid Architecture: Trans-Thinking in the Age of Cognitive Capitalism". {{cite journal}}: Cite journal requires |journal= (help)
  42. ^ "Saas-Fee Summer Institute of Art: A Berlin Intensive at the Juncture of Theory, Praxis, and Art - School Watch - Art & Education". www.artandeducation.net. Retrieved 2017-12-21.
  43. ^ neidich, warren. "On Visualized Vision in the Early Work of Warren Neidich, Suzanne Neubauer, Theory, Culture and Society". {{cite journal}}: Cite journal requires |journal= (help)
  44. ^ "Saas-Fee Summer Institute of Art: A Berlin Intensive at the Juncture of Theory, Praxis, and Art - School Watch - Art & Education". www.artandeducation.net. Retrieved 2018-01-05.
  45. ^ "Saas-Fee Summer Institute of Art: A Berlin Intensive at the Juncture of Theory, Praxis, and Art - School Watch - Art & Education". www.artandeducation.net. Retrieved 2018-01-05.
  46. ^ "Program & Faculty 2015 | Saas-Fee Summer Institute of Art". saasfeesummerinstituteofart.com. Retrieved 2018-01-15.
  47. ^ "Program & Faculty 2016 | Saas-Fee Summer Institute of Art". saasfeesummerinstituteofart.com. Retrieved 2018-01-15.
  48. ^ "Program | Saas-Fee Summer Institute of Art". saasfeesummerinstituteofart.com. Retrieved 2018-01-15.
  49. ^ "Program & Faculty | Los Angeles | 2018 | Saas-Fee Summer Institute of Art". saasfeesummerinstituteofart.com. Retrieved 2018-01-15.
  50. ^ "Saas-Fee Summer Institute of Art". saasfeesummerinstituteofart.com. Retrieved 2018-01-05.
  51. ^ http://www.rosa-luxemburg-platz.net/warren-neidichcolor-of-politics/
  52. ^ http://www.berlinartlink.com/2017/06/20/activism-the-politics-of-color-warren-neidich-at-kunstverein-am-rosa-luxemburg-platz/
  53. ^ http://welcometolace.org/event/the-palinopsic-field/
  54. ^ http://www.laxart.org/initiatives/view/warren-neidich-the-artists-library-2/#images
  55. ^ http://www.warrenneidich.com/nsa-usa/
  56. ^ http://www.cuipcairo.org/en/events/lecture-artistic-research-21st-century-warren-neidich
  57. ^ https://www.facebook.com/events/431543463607455/
  58. ^ http://www.slashseconds.co.uk/warren-neidich/14/274/submission/how-do-you---/
  59. ^ http://www.photography-now.com/artist/warren-neidich
  60. ^ http://www.photography-now.com/artist/warren-neidich
  61. ^ https://www.timeout.com/newyork/own-this-city-blog/art-day-trips-warren-neidichs-book-exchange-at-glenn-horowitz-bookseller
  62. ^ http://www.magnusmuller.com/view-exhibition.php?id=20
  63. ^ http://www.trolleybooks.com/exhibitionSingle.php?exhibId=48
  64. ^ http://www.warrenneidich.com/earthling-1-10/
  65. ^ http://www.storefrontnews.org/archive_dete.php?objID=37
  66. ^ http://www.warrenneidich.com/press/ArtinAmerica1.pdf
  67. ^ http://138.23.124.165/exhibitions/neidich/default.html
  68. ^ http://archives.villa-arson.org/archives_des_expositions.php?page=exposition_unique&id_exposition=1994NEID&titre=Cultural%2BResidue&sous_titre=
  69. ^ http://doc.macval.fr/doc/SYRACUSE/78642/warren-neidich-cultural-residue-contamination-decontamination-exposition-galerie-de-l-ecole-villa-ar
  70. ^ http://www.bu.edu/prc/19901991.htm
  71. ^ https://listart.mit.edu/exhibitions/warren-neidich-historical-interventions
  72. ^ http://www.slashseconds.org/issues/002/004/articles/wneidich/index.php
  73. ^ "GLOBALE: Infosphere | 05.09.2015 (All day) to 31.01.2016 (All day) | ZKM". zkm.de. Retrieved 2017-11-25.
  74. ^ "FAX - Exhibitions - Independent Curators International". curatorsintl.org. Retrieved 2017-11-25.
  75. ^ Museet, Astrup Fearnley. "Everything is connected he, he, he". Astrup Fearnley Musee. Retrieved 2017-11-25.
  76. ^ "BitStreams". whitney.org. Retrieved 2017-11-25.
  77. ^ "Finding aid for the Robert Sobieszek Archive, 1836-2005" (PDF). {{cite web}}: Cite has empty unknown parameter: |dead-url= (help)
  78. ^ "Photography of Invention". MIT Press. Retrieved 2017-11-25.
  79. ^ "Neuromacht - Shop - Mediengruppe Deutscher Apotheker Verlag". www.deutscher-apotheker-verlag.de. Retrieved 2017-11-24.
  80. ^ "RAM Publications". www.rampub.com. Retrieved 2017-11-24.
  81. ^ "Warren Neidich Berlin Works – Archive Kabinett". www.archivekabinett.org. Retrieved 2017-11-24.
  82. ^ "Lost Between the Extensivity / Intensivity Exchange - Antenne Books". www.antennebooks.com. Retrieved 2017-11-24.
  83. ^ Noble, Barnes &. "Earthling". Barnes & Noble. Retrieved 2017-12-13.
  84. ^ "Warren Neidich - Announcements - e-flux". www.e-flux.com. Retrieved 2017-11-24.
  85. ^ Hunt, David; Neidich, Warren; Margulies, Stephen (2001-05-02). Stainback, Charles (ed.). Warren Neidich: Camp O.J. Charlottesville: Bayly Art Museum. ISBN 9780970626301.
  86. ^ Philip, Popcock, (1994). "Warren Neidich : Cultural Residue : Contamination-Decontamination". e-artexte.ca. Retrieved 2017-12-13.{{cite web}}: CS1 maint: extra punctuation (link) CS1 maint: multiple names: authors list (link)
  87. ^ "Warren Neidich: Historical In(ter)ventions". MIT List Visual Arts Center. Retrieved 2017-12-13.
  88. ^ Neidich, Warren (1989-01-01). American History Reinvented (1st ed.). New York: Aperture. ISBN 9780893813710.

External links

Wikimedia Commons has media related to Warren Neidich.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Warren_Neidich&oldid=820747250"