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	<title>Q</title>
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	<link>http://www.uppercaseq.com</link>
	<description>Q features a body of writing on art history, visual culture, museums, and some theory, in an attempt to come to terms with art.</description>
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		<title>A Linear System of Seeing (Exerpt No. 1)</title>
		<link>http://www.uppercaseq.com/2012/04/a-linear-system-of-seeing-exerpt-no-1/</link>
		<comments>http://www.uppercaseq.com/2012/04/a-linear-system-of-seeing-exerpt-no-1/#comments</comments>
		<pubDate>Mon, 30 Apr 2012 01:38:41 +0000</pubDate>
		<dc:creator>Serena</dc:creator>
				<category><![CDATA[Books]]></category>
		<category><![CDATA[Crit and Theory]]></category>
		<category><![CDATA[Museums]]></category>
		<category><![CDATA[Scholarship]]></category>
		<category><![CDATA[aesthetic theory]]></category>
		<category><![CDATA[anthropology]]></category>
		<category><![CDATA[art]]></category>
		<category><![CDATA[Art History]]></category>
		<category><![CDATA[book review]]></category>
		<category><![CDATA[contemporary theory]]></category>
		<category><![CDATA[curating]]></category>
		<category><![CDATA[curatorial]]></category>
		<category><![CDATA[curatorial theory]]></category>
		<category><![CDATA[documentary]]></category>
		<category><![CDATA[image making]]></category>
		<category><![CDATA[images]]></category>
		<category><![CDATA[john berger]]></category>
		<category><![CDATA[photography]]></category>
		<category><![CDATA[photography theory]]></category>
		<category><![CDATA[spatial aesthetics]]></category>
		<category><![CDATA[spatial theory]]></category>
		<category><![CDATA[visual art]]></category>

		<guid isPermaLink="false">http://www.uppercaseq.com/?p=224</guid>
		<description><![CDATA[This is an edited excerpt from a piece written for Valentin Y. Mudimbe on the subject of theories of difference in museums, curation and cultural displays. It was meant to entertain a vein of continental structuralist thinking. The process of assembling and navigating a book can be experienced as curation, if curation is thought of [...]]]></description>
		<wfw:commentRss>http://www.uppercaseq.com/2012/04/a-linear-system-of-seeing-exerpt-no-1/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>If for Anne-Lise Coste</title>
		<link>http://www.uppercaseq.com/2012/04/if-for-anne-lise-coste-at-toomer-labzda/</link>
		<comments>http://www.uppercaseq.com/2012/04/if-for-anne-lise-coste-at-toomer-labzda/#comments</comments>
		<pubDate>Sun, 08 Apr 2012 10:11:44 +0000</pubDate>
		<dc:creator>Serena</dc:creator>
				<category><![CDATA[Art World]]></category>
		<category><![CDATA[Galleries]]></category>
		<category><![CDATA[New York]]></category>

		<guid isPermaLink="false">http://www.uppercaseq.com/?p=218</guid>
		<description><![CDATA[Read another version of this article published on Artlog. If for Anne-Lise Coste, words are at times “too narrative, too emotional,” how does one address her latest exhibition at toomer labzda, titled m, l, e (on view until April 15) after the very units of words? In the moments leading up to her gallery talk last Thursday, [...]]]></description>
		<wfw:commentRss>http://www.uppercaseq.com/2012/04/if-for-anne-lise-coste-at-toomer-labzda/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Beginning of a Thought on Installation Art</title>
		<link>http://www.uppercaseq.com/2011/08/thoughts-on-installation-art/</link>
		<comments>http://www.uppercaseq.com/2011/08/thoughts-on-installation-art/#comments</comments>
		<pubDate>Tue, 02 Aug 2011 21:24:45 +0000</pubDate>
		<dc:creator>Serena</dc:creator>
				<category><![CDATA[Art World]]></category>
		<category><![CDATA[Books]]></category>
		<category><![CDATA[Crit and Theory]]></category>
		<category><![CDATA[Museums]]></category>
		<category><![CDATA[Scholarship]]></category>
		<category><![CDATA[1960]]></category>
		<category><![CDATA[1970]]></category>
		<category><![CDATA[art book]]></category>
		<category><![CDATA[art criticism]]></category>
		<category><![CDATA[Art History]]></category>
		<category><![CDATA[art history book]]></category>
		<category><![CDATA[art museum]]></category>
		<category><![CDATA[art theory]]></category>
		<category><![CDATA[book review]]></category>
		<category><![CDATA[Contemporary art]]></category>
		<category><![CDATA[critical theory]]></category>
		<category><![CDATA[criticism]]></category>
		<category><![CDATA[emerging art]]></category>
		<category><![CDATA[hal foster]]></category>
		<category><![CDATA[installation art]]></category>
		<category><![CDATA[modern art]]></category>
		<category><![CDATA[museum theory]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[october group]]></category>
		<category><![CDATA[site specific art]]></category>
		<category><![CDATA[whitney museum]]></category>
		<category><![CDATA[whitney museum of american art]]></category>

		<guid isPermaLink="false">http://www.uppercaseq.com/?p=206</guid>
		<description><![CDATA[In an attempt to re-compress some of the art and literature I&#8217;ve gathered in the past few years, I&#8217;ve been slowly pinning down corners of a subject I want to pursue in my graduate work. The recurring themes in my undergraduate studies circle around the art institutional space, how it can be transformative and plastic, validating [...]]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>The Cloisters, between Pilgrimage and Tourism</title>
		<link>http://www.uppercaseq.com/2011/04/the-cloisters-between-pilgrimage-and-tourism/</link>
		<comments>http://www.uppercaseq.com/2011/04/the-cloisters-between-pilgrimage-and-tourism/#comments</comments>
		<pubDate>Sat, 23 Apr 2011 20:34:00 +0000</pubDate>
		<dc:creator>Serena</dc:creator>
				<category><![CDATA[Crit and Theory]]></category>
		<category><![CDATA[Museums]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[Scholarship]]></category>
		<category><![CDATA[abbey]]></category>
		<category><![CDATA[art]]></category>
		<category><![CDATA[Art History]]></category>
		<category><![CDATA[bronx]]></category>
		<category><![CDATA[cloister]]></category>
		<category><![CDATA[cloisters]]></category>
		<category><![CDATA[curation]]></category>
		<category><![CDATA[curatorial]]></category>
		<category><![CDATA[dark ages]]></category>
		<category><![CDATA[display]]></category>
		<category><![CDATA[duke art history]]></category>
		<category><![CDATA[duke university]]></category>
		<category><![CDATA[fort tryton park]]></category>
		<category><![CDATA[gallery]]></category>
		<category><![CDATA[manhattan]]></category>
		<category><![CDATA[medieval art]]></category>
		<category><![CDATA[medieval times]]></category>
		<category><![CDATA[middle ages]]></category>
		<category><![CDATA[museum]]></category>
		<category><![CDATA[pilgrimage]]></category>
		<category><![CDATA[tourism]]></category>
		<category><![CDATA[tourist]]></category>
		<category><![CDATA[visual studies]]></category>

		<guid isPermaLink="false">http://www.uppercaseq.com/?p=199</guid>
		<description><![CDATA[This was a miniature conference paper I gave this week. I was trying to locate the Cloisters, as both a museum and a medieval (contemporary) construction, relative to traditions of pilgrimage and tourism. In the modern age of tourism, museums have achieved landmark status. For one who sees “everything as a sign of itself,” [1] museums [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Taken 3/26/11</title>
		<link>http://www.uppercaseq.com/2011/04/carolee/</link>
		<comments>http://www.uppercaseq.com/2011/04/carolee/#comments</comments>
		<pubDate>Tue, 05 Apr 2011 04:33:04 +0000</pubDate>
		<dc:creator>Serena</dc:creator>
				<category><![CDATA[Art World]]></category>
		<category><![CDATA[Books]]></category>
		<category><![CDATA[artist]]></category>
		<category><![CDATA[artist talks]]></category>
		<category><![CDATA[avant garde art]]></category>
		<category><![CDATA[carolee schneemann]]></category>
		<category><![CDATA[Contemporary art]]></category>
		<category><![CDATA[duke]]></category>
		<category><![CDATA[duke university]]></category>
		<category><![CDATA[emerging art]]></category>
		<category><![CDATA[feminism]]></category>
		<category><![CDATA[feminist theory]]></category>
		<category><![CDATA[film screening]]></category>
		<category><![CDATA[fluxus]]></category>
		<category><![CDATA[nasher]]></category>
		<category><![CDATA[nasher museum of art]]></category>
		<category><![CDATA[performance]]></category>
		<category><![CDATA[performance art]]></category>
		<category><![CDATA[university talks]]></category>

		<guid isPermaLink="false">http://www.uppercaseq.com/?p=203</guid>
		<description><![CDATA[notes transcribed from a talk the artist Carolee Schneemann gave at the Nasher Museum at Duke University; she came in honor of an epistolary book our Kristine Stiles published on her, titled Correspondence Course. &#8211;who saw the body as sculpture and as painting, and video as response to writing (for Carolee) &#8220;Spatial is structural design, and innovative gymnastics,&#8221; her name is [...]]]></description>
		<wfw:commentRss>http://www.uppercaseq.com/2011/04/carolee/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Vogue, Vogue, Gender, Repetition, Erasure</title>
		<link>http://www.uppercaseq.com/2011/03/vogue-vogue-gender-repetition-erasure/</link>
		<comments>http://www.uppercaseq.com/2011/03/vogue-vogue-gender-repetition-erasure/#comments</comments>
		<pubDate>Thu, 17 Mar 2011 16:32:32 +0000</pubDate>
		<dc:creator>Serena</dc:creator>
				<category><![CDATA[Crit and Theory]]></category>
		<category><![CDATA[Fashion]]></category>
		<category><![CDATA[Scholarship]]></category>
		<category><![CDATA[critical theory]]></category>
		<category><![CDATA[deconstructionism]]></category>
		<category><![CDATA[feminist theory]]></category>
		<category><![CDATA[gender]]></category>
		<category><![CDATA[jacques derrida]]></category>
		<category><![CDATA[judith butler]]></category>
		<category><![CDATA[lgbt]]></category>
		<category><![CDATA[madonna]]></category>
		<category><![CDATA[music video]]></category>
		<category><![CDATA[performance]]></category>
		<category><![CDATA[performing gender]]></category>
		<category><![CDATA[post-modernism]]></category>
		<category><![CDATA[queer theory]]></category>
		<category><![CDATA[queery]]></category>
		<category><![CDATA[sexual orientation]]></category>
		<category><![CDATA[sexuality]]></category>
		<category><![CDATA[vogue]]></category>

		<guid isPermaLink="false">http://www.uppercaseq.com/?p=193</guid>
		<description><![CDATA[I wrote this piece recently on Madonna&#8217;s music video &#8220;Vogue.&#8221; It was fun to write, so I thought I&#8217;d edit it and include it here. Feathers part like curtains to announce the beginning of a performance. Figures impeccably dressed strike poses and are interspersed at intervals between objects of art. In participating in the same space [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>(Re)Distributing Gawker Artists</title>
		<link>http://www.uppercaseq.com/2011/03/redistributing-gawker-artists/</link>
		<comments>http://www.uppercaseq.com/2011/03/redistributing-gawker-artists/#comments</comments>
		<pubDate>Mon, 14 Mar 2011 06:17:28 +0000</pubDate>
		<dc:creator>Serena</dc:creator>
				<category><![CDATA[Art World]]></category>
		<category><![CDATA[Galleries]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[art shop]]></category>
		<category><![CDATA[Contemporary art]]></category>
		<category><![CDATA[curation]]></category>
		<category><![CDATA[curatorial]]></category>
		<category><![CDATA[doug smock]]></category>
		<category><![CDATA[gallery]]></category>
		<category><![CDATA[gawker media]]></category>
		<category><![CDATA[gawkerartists]]></category>
		<category><![CDATA[kelsey bennett]]></category>
		<category><![CDATA[limited edition]]></category>
		<category><![CDATA[nicholas bohac]]></category>
		<category><![CDATA[online gallery]]></category>
		<category><![CDATA[print]]></category>
		<category><![CDATA[scott listfield]]></category>
		<category><![CDATA[society 6]]></category>

		<guid isPermaLink="false">http://www.uppercaseq.com/?p=196</guid>
		<description><![CDATA[I recently got news from Liz Dimmitt, a co-curator of Gawker Artists, that it is again expanding its already multi-faceted role in the art scene. GA recently has begun to collaborate with the art print organization society6 to make its artists&#8217; work available to purchase in a variety of forms. Society6 is a group that shares GA&#8217;s [...]]]></description>
		<wfw:commentRss>http://www.uppercaseq.com/2011/03/redistributing-gawker-artists/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Tourism, and its Semiotics in Museums</title>
		<link>http://www.uppercaseq.com/2011/03/tourism-and-museums/</link>
		<comments>http://www.uppercaseq.com/2011/03/tourism-and-museums/#comments</comments>
		<pubDate>Sun, 13 Mar 2011 09:53:38 +0000</pubDate>
		<dc:creator>Serena</dc:creator>
				<category><![CDATA[Books]]></category>
		<category><![CDATA[Crit and Theory]]></category>
		<category><![CDATA[Museums]]></category>
		<category><![CDATA[Scholarship]]></category>
		<category><![CDATA[Art History]]></category>
		<category><![CDATA[book review]]></category>
		<category><![CDATA[culler]]></category>
		<category><![CDATA[institutional critique]]></category>
		<category><![CDATA[literary criticism]]></category>
		<category><![CDATA[modern travel]]></category>
		<category><![CDATA[museum]]></category>
		<category><![CDATA[museum theory]]></category>
		<category><![CDATA[post-modernism]]></category>
		<category><![CDATA[post-structuralism]]></category>
		<category><![CDATA[semiology]]></category>
		<category><![CDATA[semiotics]]></category>
		<category><![CDATA[signifiers]]></category>
		<category><![CDATA[signs]]></category>
		<category><![CDATA[structuralism]]></category>
		<category><![CDATA[tourism]]></category>
		<category><![CDATA[tourist]]></category>
		<category><![CDATA[travel]]></category>

		<guid isPermaLink="false">http://www.uppercaseq.com/?p=192</guid>
		<description><![CDATA[I recently reread “Semiotics of Tourism” by Jonathan Culler and was reminded of its usefulness in examining museums. In it, Culler makes a nuanced reading of touristic habits and its significance for contemporary semiotics. His Tourist is one who deals in the currency of signs and signifiers, who reads “cities, landscapes, and cultures as sign [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>In Talking about Art, Pt. 1</title>
		<link>http://www.uppercaseq.com/2011/02/in-talking-about-art-pt-1/</link>
		<comments>http://www.uppercaseq.com/2011/02/in-talking-about-art-pt-1/#comments</comments>
		<pubDate>Sat, 26 Feb 2011 21:16:57 +0000</pubDate>
		<dc:creator>Serena</dc:creator>
				<category><![CDATA[Art World]]></category>
		<category><![CDATA[Scholarship]]></category>
		<category><![CDATA[art class]]></category>
		<category><![CDATA[art education]]></category>
		<category><![CDATA[Art History]]></category>
		<category><![CDATA[art theory]]></category>
		<category><![CDATA[class]]></category>
		<category><![CDATA[duke university]]></category>
		<category><![CDATA[house course]]></category>
		<category><![CDATA[steve martin]]></category>
		<category><![CDATA[steven colbert]]></category>
		<category><![CDATA[Work of Art]]></category>

		<guid isPermaLink="false">http://www.uppercaseq.com/?p=191</guid>
		<description><![CDATA[Monday nights, I get the pleasure of sitting down with my highly intelligent peers and talk as if we had no obligations to the art. As we utopically expunge art jargon from the realm of relevance, we unpack how art and its value are postured. Two months ago in our first meeting, we invoked the [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Contemplating the Pink Tree</title>
		<link>http://www.uppercaseq.com/2011/01/contemplating-the-pink-tree/</link>
		<comments>http://www.uppercaseq.com/2011/01/contemplating-the-pink-tree/#comments</comments>
		<pubDate>Tue, 18 Jan 2011 10:29:49 +0000</pubDate>
		<dc:creator>Serena</dc:creator>
				<category><![CDATA[Crit and Theory]]></category>
		<category><![CDATA[Scholarship]]></category>
		<category><![CDATA[Art World]]></category>
		<category><![CDATA[classical painting]]></category>
		<category><![CDATA[consumer culture]]></category>
		<category><![CDATA[Contemporary art]]></category>
		<category><![CDATA[female body]]></category>
		<category><![CDATA[figure]]></category>
		<category><![CDATA[john currin]]></category>
		<category><![CDATA[nude]]></category>
		<category><![CDATA[pink tree]]></category>
		<category><![CDATA[post card]]></category>
		<category><![CDATA[reproduction]]></category>
		<category><![CDATA[souvenir]]></category>
		<category><![CDATA[the pink tree]]></category>
		<category><![CDATA[women in art]]></category>

		<guid isPermaLink="false">http://www.uppercaseq.com/?p=188</guid>
		<description><![CDATA[Below is a writing exercise I completed for a course on the subject of the representation of the human figure in visual culture and literature, especially in the Judeo-Christian and Western imaginations. There is nothing immediately unusual about John Currin’s “the Pink Tree.” The subject is reminiscently classical and thus feels familiar to the western [...]]]></description>
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		<slash:comments>0</slash:comments>
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