Kate Mondloch
I am Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Oregon, where I also serve as faculty-in-residence in the Clark Honors College. Prior to joining the Clark Honors College, I served for two years as Interim Vice Provost and Dean of the Graduate School, three years as Head of the Department of the History of Art and Architecture, three years as the founding director of the University’s graduate certificate program in New Media and Culture, and five years as Director of Graduate Studies. I earned my MA and PhD in art history from UCLA.
My research interests focus on late 20th- and early 21st- century art, theory, and criticism, particularly as these areas of inquiry intersect with the cultural, social, and aesthetic possibilities of new technologies. My research fields include media art and theory, installation art, new media, feminism, digital humanities, human flourishing, and contemplative research. I am especially interested in theories of spectatorship and subjectivity, and in research methods that bridge the sciences and the humanities.
My first book is Screens: Viewing Media Installation Art (University of Minnesota Press, 2010). My second book is A Capsule Aesthetic: Feminist Materialisms in New Media Art (University of Minnesota Press, 2018), for which I developed a related multimedia publication, Installation Archive: A Capsule Aesthetic, using the Scalar platform. My current book research explores attention and body-mind awareness in contemporary art.
Address: www.katemondloch.com
My research interests focus on late 20th- and early 21st- century art, theory, and criticism, particularly as these areas of inquiry intersect with the cultural, social, and aesthetic possibilities of new technologies. My research fields include media art and theory, installation art, new media, feminism, digital humanities, human flourishing, and contemplative research. I am especially interested in theories of spectatorship and subjectivity, and in research methods that bridge the sciences and the humanities.
My first book is Screens: Viewing Media Installation Art (University of Minnesota Press, 2010). My second book is A Capsule Aesthetic: Feminist Materialisms in New Media Art (University of Minnesota Press, 2018), for which I developed a related multimedia publication, Installation Archive: A Capsule Aesthetic, using the Scalar platform. My current book research explores attention and body-mind awareness in contemporary art.
Address: www.katemondloch.com
less
Related Authors
InterestsView All (39)
Uploads
Books by Kate Mondloch
A Capsule Aesthetic establishes the unique insights that feminist theory offers to new media art and new materialisms, offering a fuller picture of human–nonhuman relations. In-depth readings of works by Rist, Piccinini, and Mori explore such questions as the role of the contemporary art museum in our experience of media art, how the human is conceived of by biotechnologies, and how installation art can complicate and enrich contemporary science’s understanding of the brain. With vivid, firsthand descriptions of the artworks, Mondloch takes the reader inside immersive installation pieces, showing how they allow us to inhabit challenging theoretical concepts and nonanthropomorphic perspectives.
Striving to think beyond the anthropocentric and fully consider the material world, A Capsule Aesthetic brings new approaches to questions surrounding our technology-saturated culture and its proliferation of human-to-nonhuman interfaces.
Examining a range of installations created over the past fifty years that investigate the rich terrain between the sculptural and the cinematic, including works by artists such as Eija-Liisa Ahtila, Doug Aitken, Peter Campus, Dan Graham, VALIE EXPORT, Bruce Nauman, and Michael Snow, Kate Mondloch traces the construction of screen spectatorship in art from the seminal film and video installations of the 1960s and 1970s to the new media artworks of today’s digital culture.
Mondloch identifies a momentous shift in contemporary art that challenges key premises of spectatorship brought about by technological objects that literally and metaphorically filter the subject’s field of vision. As a result she proposes that contemporary viewers are, quite literally, screen subjects and offers the unique critical leverage of art as an alternative way to understand media culture and contemporary visuality.
Edited by Gabrielle Jennings
Foreword by Kate Mondloch
Now available on Amazon, or from University of California Press - http://www.ucpress.edu/book.php?isbn=9780520282483
SAVE 30%
Use source code 15M4426 at checkout
Offering historical and theoretical positions from a variety of art historians, artists, curators, and writers, this groundbreaking collection is the first substantive source book on abstraction in moving-image media. With a particular focus on art since 2000, Abstract Video addresses a longer history of experimentation in video, net art, interactive art, installation, new media, expanded cinema, visual music, and experimental film. Editor Gabrielle Jennings—a video artist herself—reveals as never before how works of abstract video are not merely, as the renowned curator Kirk Varnedoe once put it, “pictures of nothing,” but rather amorphous, ungovernable spaces that encourage contemplation and innovation. Featuring well known artists such as Jeremy Blake, Mona Hatoum, Pierre Huyghe, Ryoji Ikeda, Takeshi Murata, Diana Thater and Jennifer West, alongside emerging artists, this volume offers fresh and vigorous perspectives on a burgeoning and ever-changing arena of contemporary art.
Contributing Authors:
Tilman Baumgärtel
Philip Brophy
Michael Connor
Sarah Cook
Trinie Dalton
Charlotte Frost
Jeremy Gilbert-Rolfe
Johanna Gosse
John G. Hanhardt
Caitlin Jones
Stanya Kahn
Cindy Keefer
Katja Kwastek
Christine Ross
Lumi Tan
Maria-Christina Villaseñor
John C. Welchman
Siona Wilson
Gregory Zinman
Papers by Kate Mondloch
A Capsule Aesthetic establishes the unique insights that feminist theory offers to new media art and new materialisms, offering a fuller picture of human–nonhuman relations. In-depth readings of works by Rist, Piccinini, and Mori explore such questions as the role of the contemporary art museum in our experience of media art, how the human is conceived of by biotechnologies, and how installation art can complicate and enrich contemporary science’s understanding of the brain. With vivid, firsthand descriptions of the artworks, Mondloch takes the reader inside immersive installation pieces, showing how they allow us to inhabit challenging theoretical concepts and nonanthropomorphic perspectives.
Striving to think beyond the anthropocentric and fully consider the material world, A Capsule Aesthetic brings new approaches to questions surrounding our technology-saturated culture and its proliferation of human-to-nonhuman interfaces.
Examining a range of installations created over the past fifty years that investigate the rich terrain between the sculptural and the cinematic, including works by artists such as Eija-Liisa Ahtila, Doug Aitken, Peter Campus, Dan Graham, VALIE EXPORT, Bruce Nauman, and Michael Snow, Kate Mondloch traces the construction of screen spectatorship in art from the seminal film and video installations of the 1960s and 1970s to the new media artworks of today’s digital culture.
Mondloch identifies a momentous shift in contemporary art that challenges key premises of spectatorship brought about by technological objects that literally and metaphorically filter the subject’s field of vision. As a result she proposes that contemporary viewers are, quite literally, screen subjects and offers the unique critical leverage of art as an alternative way to understand media culture and contemporary visuality.
Edited by Gabrielle Jennings
Foreword by Kate Mondloch
Now available on Amazon, or from University of California Press - http://www.ucpress.edu/book.php?isbn=9780520282483
SAVE 30%
Use source code 15M4426 at checkout
Offering historical and theoretical positions from a variety of art historians, artists, curators, and writers, this groundbreaking collection is the first substantive source book on abstraction in moving-image media. With a particular focus on art since 2000, Abstract Video addresses a longer history of experimentation in video, net art, interactive art, installation, new media, expanded cinema, visual music, and experimental film. Editor Gabrielle Jennings—a video artist herself—reveals as never before how works of abstract video are not merely, as the renowned curator Kirk Varnedoe once put it, “pictures of nothing,” but rather amorphous, ungovernable spaces that encourage contemplation and innovation. Featuring well known artists such as Jeremy Blake, Mona Hatoum, Pierre Huyghe, Ryoji Ikeda, Takeshi Murata, Diana Thater and Jennifer West, alongside emerging artists, this volume offers fresh and vigorous perspectives on a burgeoning and ever-changing arena of contemporary art.
Contributing Authors:
Tilman Baumgärtel
Philip Brophy
Michael Connor
Sarah Cook
Trinie Dalton
Charlotte Frost
Jeremy Gilbert-Rolfe
Johanna Gosse
John G. Hanhardt
Caitlin Jones
Stanya Kahn
Cindy Keefer
Katja Kwastek
Christine Ross
Lumi Tan
Maria-Christina Villaseñor
John C. Welchman
Siona Wilson
Gregory Zinman
This collection of moving image uploads—or what I like to call “here’s my experience” videos—offers a novel form of crowd-sourced art historical documentation. Perhaps needless to say, visitor-generated videos of viewers' particularized experiences with installations challenge conventional art historical standards of documentation. Because we did very minimal editing (weeding out only things that, despite their titles, had no images of the work in question), these innumerable and fluctuating social media uploads depict installations from highly idiosyncratic and subjective points of view (for example, user-added personal commentary or supplemental text, abnormal audio or ambient noises, multiple and sometimes unrelated works documented in a single video, and so on). And yet, looked at in a different light, these very “limitations” prove to be enormous assets. As these social media uploads underscore, art spectatorship is inherently multiple because artistic experience itself is multiple.