Dr. Shep Steiner
Assistant Professor

Shep Steiner
465 Tache
204.474.7696
Shepherd.Steiner@umanitoba.ca


EDUCATION

PhD, MA (British Columbia)
BA sp. (Alberta)

 

RESEARCH

Literary theory, philosophical aesthetics and the continuance of modernism in and as the contemporary are Dr. Steiner’s general areas of research. More specifically, his research involves the intersection between practice and theory in contemporary art, especially the ways in which interpretative dynamics encountered on the micro level of the work of art are mediated by larger issues in the political crucible. One key area of investigation involves the question of projection, in particular, the ways in which we inhabit or live in the work of art or literary text. This research is inclusive of the theoretical notion of teleopoiesis, confronts the problem of identity and opens onto the horizon of ethics.

Dr. Steiner is actively researching a wide range of contemporary photographic practices for a book titled The Outsides of Photography. Recent books include Rodney Graham: The Phonokinetoscope, (London: Afterall Books: One Work Series, 2013) and The New Criticism: Formalist Literary Theory in America, co-edited with Rick Armstrong and Alfred J. Drake (London: Cambridge Scholars Press), 2013. With Trevor Joyce he co-edited Cork Caucus: on art, possibility, and democracy (Frankfurt: Revolver Verlag, 2007). While with the Proto-academy, he co-edited the collaborative publication PA System: On Urbanism and the Activation of Space (2003). A book length essay titled, ‘Toward a Spacious, Excitable Open: On the Surveillance, Care and the Bliss of Tiny Creatures,’ was published for the exhibition Henrik Hakansson: Sweet Leaf (Leipzig: Galerie Für Zeitgenössische Kunst, 2000). A manuscript titled, Projective Politics and the Mnemotechnics of Support: High Modernist Painting, Sculpture and Criticism, 1945-1968 on David Smith, Jackson Pollock, Helen Frankenthaler, Morris Louis, Kenneth Noland, Jules Olitiski, Frank Stella and Donald Judd has just been completed.

 

GRANTS, FELLOWSHIPS & AWARDS

University of Waterloo, Premiers Research Fellowship Award in Fine Art (PREA), 2007-08.
University of Waterloo, Premiers Research Fellowship Award in Fine Art (PREA), 2003-05.
Proto-Academy, Edinburgh College of Art, Teaching Fellowship, 2000-03.
Canada Council for the Arts, Independent Critics and Curators, Creation/Production Grant, 2002.
Canada Council for the Arts, Writers and Critics Grant, 2001.
University of British Columbia, Research Bursary, 1996.
Social Sciences and Research Council of Canada Grant (SSHRC), 1993-94,
University of British Columbia, University Graduate Fellowship, 1991-92.

 

PROFESSIONAL POSITIONS

Assistant Professor of Contemporary Art History and Theory in the School of Art at the University of Manitoba, 2013.
Advisor, Van Abbe Museum, Eindhoven, Holland, 2006-present.
Advisor, Rijksakademie van beeldende kunsten, Amsterdam, Holland, 2007-present
Sessional Lecturer, Departments of Graduate Studies and Critical Studies, Emily Carr University of Art and Design, Vancouver, B.C., Canada. 2010-present.
Sessional Lecturer, Department of Art History, Visual Art and Theory, University of British Columbia, Vancouver, B.C., Canada. 2011-present.
Sessional Lecturer, School for the Contemporary Arts, Simon Fraser University, Vancouver, B.C., Canada. 2012.
Visting Assistant Professor, School of Art & Art History, University of Florida, Gainesville Florida, USA, 2007-2010.
Visiting Assistant Professor, Department of Art History, Emory University, Atlanta, Georgia, USA. 2006-2007.
Sessional Lecturer: Department of Art, University of California, Los Angeles, USA. 2005-2006.
Advisor, Rooseum for Contempoary Art, Malmö, Sweden, 2000-2004.
Visiting Lecturer: Critical and Curatorial Studies Department, Malmö Art Academy, Lund University, Malmö, Sweden, 2002-2004.
Sessional Lecturer, School for Critical Studies, Emily Carr Institute of Art + Design. Vancouver, B.C., Canada. 1999.
Sessional Lecturer, School for Contemporary Arts, Simon Fraser University, Vancouver, B.C., Canada.
Sessional Lecturer, Department of Fine Arts, University of British Columbia, Vancouver, B.C., Canada

 

MUSEUM EXPERIENCE

“A Genealogy of Acts: 1960-1976,” Van Abbe Museum, Eindhoven, October 1, 2008 – November 1, 2009. Plug In #46, Plug In to Play (Eindhoven: Van Abbe Museum Press, 2009.) [link]
“One On One: Frank Stella’s Tuxedo Junction,” Van Abbe Museum, Eindhoven, Dec. 15, 2007 – Mar. 30, 2008. Plug In #32, Plug In to Play (Eindhoven: Van Abbe Museum Press, 2009.  [link]

 

STUDY IN LITERARY THEORY

Phil Wegner, “Modernism and Revolution,” Department of English. University of Florida (Fall, 2008).
John Leavey, “Introductory Studies in Theory,” Department of English, University of Florida (Spring, 2008).
Cathy Caruth, “Literary Theories,” Department of Comparative Literature, Emory University, (Fall, 2006).
Gayatri Chakravory Spivak, “Feminism and Psychoanalysis,” Critical Theory Institute, UC Irvine, (Summer, 2006).
Andrzej Warminski, “Literary Theory and its History,” Comparative Literature Department, UC Irvine, (Spring, 2006).
Andrzej Warminski, “Reading Lyric,” Comparative Literature Department, UC Irvine, (Spring, 2005).
Andrzej Warminski, “Autobiography,” Comparative Literature Department, UC Irvine, (Spring, 2005).
Charles Altieri, “Theorizing the Emotions,” Department of English, UC Berkeley, (Spring, 1996).
T. J. Clark, “On Allegory,” Department of Art History, UC Berkeley, (Spring, 1996).

 

PUBLICATIONS

BOOKS

The Outsides of Photography: Close Readings in Contemporary Photography. (in process)
Projective Politics and the Mnemotechnics of Support: High Modernist Painting, Sculpture and Criticism, 1945-1968 (manuscript, 2013).
Rodney Graham: The Phonokinetoscope, (London: Afterall Books: One Work Series, 2013).
The New Criticism: Formalist Literary Theory in America and Abroad, co-edited with Rick Armstrong and Alfred J. Drake (London: Cambridge Scholars Press), 2013.
Cork Caucus: on art, possibility, and democracy, co-edited with Trevor Joyce (Frankfurt: Revolver Verlag, 2007).
Community and Art: 4th Gwangju Biennale, Invited Groups, International Workshop Manual, English editor, (Gwangju: Gwangju Biennale Press, 2002).

 

SCHOLARLY ARTICLES

“A New (and by Extension Leisurely) Reading of Clement Greenberg’s Modernism, c. 1950-1960,” Formalist Literary Theory in America, ed., Alfred H. Drake (Oxford: Oxford University Press, 2013), 44-68.
“Dialectical Inroads to a Post-Political Photography: Democratic Violence in the Work of Lidwien van de Ven,” Journal of the Philosophy of Photography, Vol. 2/Issue 1, 2011, 57-81.
“Reading Reading in Benjamin’s “Little History of Photography,” InTensions, vol. 1.0 (March 2008), 1-19.
“On Formalism and Tinkering with the Political on the Far Side of the Subject at Documenta XII,” Journal of Visual Culture, vol. 7, no. 1 (March 2008), 244-252.
“Noland’s Largeness. Or Narrating a Proto-minimalist Misfire” New Models For Abstraction,
“Street Smart: ‘Thinking Pictures’ in the Tradition of Street Photography,” Image [&] Narrative, The Journal of Visual Narrative, 18, (July 2007) 1-16. [link]
“In Other Hands: Jeff Wall’s Beispiel,” Oxford Art Journal, vol. 30, no. 1 (January 2007), 1-13.
“Loose Ends: Untitled, Unstretched, Rolled Round,” Morris Louis Now (Atlanta: High Museum, 2006), 39-60.
“Modernism’s Masculine Subjects: Matisse, the New York School, and Post-Painterly Abstraction, by Marcia Brennan,” College Art Association: Book Reviews, November 18, 2005. [link]
“Ritual and the Space of Morris Louis: Unlocking Openness via the Studio Door,” Chicago Art Journal, vol. 11 (Spring 2001), 45-56.
"Fascism and Acèphalic Man: Lacan, Bataille, Masson and the Orgy of Blood," RACAR, Canadian Art Review, vol. XVIII (Spring 1991), 1-12.

 

ARTICLES, CHAPTERS IN BOOKS, EXHIBITION CATALOGUES

“Occupy 21st Street: Helen Frankenthaler at Gagosian Gallery,” Afterall 34, Fall 2013, ix ms. pp.
“Time Machines: Projection and Void in the Work of Alexander Gutke,” Alexander Gutke (Malmö: Malmö Konsthall, 2012), 31-39.
“Snow Changes Everything (Unfinished Form in the Filmworks of Ibon Aranberri,” Ibon Aranberri. Organogramme (Barcelona: Fundació Tapies, Jan. 28- May 15, 2011).
“Book Things II,” On the Nature of Things (Kamloops: Kamloops Art Gallery, 2011), 66-68. First published in The Libraries of Thought & Imagination, ed. Ian Finlay (Edinburgh: Pocket Books, 2001), 155-159.
“The Responsibility of Photography,“ Scott McFarland (Vancouver: Vancouver Art Gallery, 2009), 93-105.
“We Field Workers,” in Can Altay, Ahali (London: Bedford Press, 2013). Also published in C. Doherty ed., Situation: Documents of Contemporary Art, (Cambridge: MIT Press, 2009), 94-95. First published in Can Altay, Ey Ahali—a journal for setting a setting (Spike Island: Bristol, 2007), 3-5.
“Other Uses: Boolean Searches in The Martha Rosler Library,” Filip 9, 2009, 9-19. [link]
“Corrective (><) Measures: Between the Discrete Work and the Corpus of Jack Goldstein” Jack Goldstein (Frankfurt: Museum für Moderne Kunst, 2009), 13-34.
“The Beautiful and Everyday in the Filmwork of Mark Lewis,” C-Magazine 102, Summer, 2009, 31-39. [link]
“Über Struth,” Writings on Thomas Struth (München: Schirmer/Mosel, 2009), 132-143. First published as “Wondering About Struth,” Afterall, 4 (2001), 68-74. [link]
“(Art and) Democracy | Hegemony (and Anarchy),” Becoming Dutch, (Eindhoven: Van Abbe Museum Press, 2008), xii ms. pp. With Dutch translation.
“Para-graphs,” Roy Arden – Against the Day (Vancouver: Vancouver Art Gallery, 2007), 105.
“A Lost Moment to all but Michael Fried: Radical Act in Morris Louis,” The lost moment is the lost moment is the lost moment (Berlin: Gf—Kunstfabrik, 2007), 1-5.
“On Jennifer Bornstein: Prohibitions…Props…Performatives: surefire (and other) ways to do away with property,” Afterall, Issue 15, (Spring/Summer 2007), 42-50. [link]
“Afterword,” in Cork Caucus: on art, possibility, and democracy, eds. S. Steiner and T. Joyce (Frankfurt: Revolver Verlag, 2007), 401-413.
“In Another Orbit Altogether: Jeff Wall in 1996 and 1997,” Vancouver Art and Economies, ed. M. O’Brian (Vancouver: Arsenal Press, 2007), 127-141.
“Give me Examples!” Photography Theory, The Art Seminar, ed. James Elkins (London: Routledge, 2006), 56-58.
“v. s. a beginning of sorts,” Intertidal (Antwerp: MuHKA, 2006), 113-125.
”Jörg Immendorff – of painting and its abuses,” Jörg Immendorff, Santa Monica: Patrick Painter Gallery, 2006.
“Biennial Cultures/Perennial Worries: But Hope for Community Just the Same,” Art, City and Politics in an Expanding World, Writings from the 9th Istanbul Biennial (Istanbul: Istanbul Kültür Sanat Vakfi, 2005), 152-168. With Turkish translation.
“Take That,” The Shape of Color: Excursions in Color Field Art, 1950-2000, Toronto: Art Gallery of Ontario, 2005, 60-61.
“What is it About Vancouver Art? Tales of Narrative Entanglement from Up North,” X-tra, 6.3, (Spring 2004), 42-55.
“Where World View and World Lines Converge: William Eggleston’s Los Alamos,” Fillip, 1 (Summer 2005), 1-6; republished in X-tra, 7.1 (Fall 2004), 40-44. [link]
“Anomalies of the Phenomenal: A ‘Close’ Reading of Rodney Graham’s Joke-Works,” Rodney Graham: A Little Thought (Los Angeles: Los Angeles Museum of Contemporary Art, 2004), 74-94.
“Of Warmth, Better Weather and the Greening of a Northern Institution. Or, On the Current Ecological Crisis,” Rooseum: 2001-2003 (Malmö: Rooseum Center for Contemporary Art, 2004).
“Painting in Spherical Space Time: A Conversation between Robert Linsley and Shepherd Steiner” (Barcelona: Barcelona Culture Institute, 2003).
“Invention & Reinvention in the Films of Mark Lewis,” Mark Lewis (Bern: Kunsthalle Bern, 2002), 15-34.
“Beating Around the Bush: Itineraries for Identity, or Asymptomatic Structure in the Work of Liz Magor,” Liz Magor (Vancouver: Vancouver Art Gallery, 2002), 9-21.
“A User’s Guide to Possibility: Bringing Pause Closer-to-Hand,” Project 1. Pause: Conception (Gwangju: Gwangju, Biennale Press, 2002), 32-45. With Korean translation.
“Contingency and Community,” Community and Art: 4th Gwangju Biennale Invited Groups, International Workshop Manual, editors. S. Steiner and Yong-soek (Gwangju: Gwangju Biennale Press, 2002), 185-195.
“On the Ground of Epiphytes,” ARS 01: Unfolding Perspectives (KIASMA: Helsinki, 2001), 86-87.
“The Old Mole: Photography Neighboring on Materialism,” Roy Arden: 1986-2001 (Oakville: Oakville Galleries, 2001). [link]
“Between a Rock and a Hard Place: Le Corbusier as Subject in the Photography of Arni Haraldsson,” Arni Haraldsson: Firminy (Vancouver: Contemporary Art Gallery, 2001), 13-22.
“Toward a Spacious, Excitable, Open: On the Surveillance, Care, and the Bliss of Tiny Creatures,” Henrik Håkansson: Sweet Leaf (Leipzig: Galerie Für Zeitgenössische Kunst, 2000).
“A Plot Unfolding: The Work of Stephen Waddell,” Solitude im Museum /Solitude au Musée (Stuttgart: Akademie Schloss Solitude, 2000), 164-173.
“Mike Kelley: The Use-Value of Irony or Sexual Revolution the Monkish Way,” Consolation Prize (Vancouver: Morris and Helen Belkin Art Gallery, 2000), 35-41.
“John Miller: Game Show Pastoral,” Consolation Prize (Vancouver: Morris and Helen Belkin Art Gallery, 2000), 25-33.
“It Must be the Weather. Today’s Forecast: Again Mainly Capitalism,” Afterall, 2 (2000), 74-81. [link]
“Fold as Figure: Daniel Congdon,” Daniel Congdon (Vancouver: Contemporary Art Gallery, 1999), 9-24.
“Ear-Marked: Notes,” Rodney Graham: Cinema, Music, Video (Brussels: Yves Gevaert, 1999), 103-120.
“Aspects of the Rustic as Trope,” Roy Arden: Terminal City (Salamanca: Univ. de Salamanca, 1999), 18-21. [link]
“X…” Island Thought: an archipelagic journal published at irregular intervals, Summer 1997, Canada XLVII Biennial Di Venezia (York: York University Press, 1997), 39-72. With French and Italian translations.

 

REVIEWS

“Untitled, 1965,” Enclave 2, October, 2010, 2-3.
“Allergy Patch: Michael Fried’s Why Photography Matters As Art as Never Before,” Texte zur Kunst, No 77. January 2010, 140-144.
“In Conversation with Larry Rinder On Democracy and the Demos,” Filip 10, 2009, 9-15.
“Politics vs. the Political,” in Max Becher, The Political Spectrum: An Inside Look, (New York: Max Becher, 2008), 55-56.
“In the Studio with the Gifted Amateur: Rodney Graham Practices Painting,” Modern Painters, March 2007, 64-69.
“On Form, Formlessness, and Curatorial Formalism at Documenta XII,” Friendly Enemies, 2 (2007), 12-25. With Korean translation.
“The Los Angeles Spring, May, 1968 2005,” Parachute – para-para, 120, (2005), 4.
“End Games: Regaining a ‘Measure’ of Intention in Painting After Pollock,” X-tra, 8:2 (Winter 05), 52-59.
“Karen Kilimnik, im Haus zum Kirschgarten, Paintings and Installations,” Canadian Art, 22:4 (Winter 2005), 82-83.
“Ed Ruscha, Museum of Contemporary Art, Los Angeles,” Canadian Art, 22:2 (Summer 2005), 82-84.
“Morris Louis,” Riva Yares Gallery, Scottsdale,” Parachute – para-para, 119 (2005), 7.
“Robert Smithson, Museum of Contemporary Art, Los Angeles,” Parachute–para-para, 118 (2005), 5.
“Nedko Solakov – Rooseum, Center for Contemporary Art,” Provisorium, (2005), 3-4.
“Jeff Wall, Marian Goodman, New York,” Parachute – para-para, 116 (2004), 6.
“Raoul de Keyser, Whitechapel Gallery, London,” Canadian Art, 21: 3 (Fall 2004), 146-147.
“Candida Höfer,” Contemporary–special issue on photography, 67 (Sept./Oct. 2004), 50-53.
“l’autobiographie dans l’oeuvre de Rodney Graham,” art press–Dossier photographie: Fait et fiction, 295 (November 2003), 29-37. With English translation.
“Keeping the Revolution Creeping–Rooseum, Center for Contemporary Art,” Provisorium, (2002), 5.
“Vi-Intentional Communities: Rooseum, Center for Contemporary Art,” Parachute – para-para, 104 (Fall 2001), 7.
“Low Entropy, High Structure: The Aerial View of John Latham,” Sculpture Matters (Summer 2001), 6-7.
“Rodney Graham: What is Happy, Baby?” Parachute – para-para, 103, (Summer 2001), 3.
“Jorge Pardo - Kunsthalle Basel,” Parachute – para-para, 102, (Spring, 2001), 6-7.
“Au Dela des Principes de la Blague,” Last Call, 1:1 (Summer 2001), 1-2.
“Dieter Roth: Staatsgalerie Stuttgart,” Parachute – para-para, 101, (Winter, 2000), 11.

 

OTHER WRITING

“The Secret,” Climbing in the Bow Valley (Squamish: Quickdraw Publications, 2011), 30.
“Verstiegenheit,” Canadian Alpine Journal, 88 (2005), 146-147.

 

INVITED LECTURES

UNIVERSITY DEPARTMENTS

“Resistance to the Cinematic: Film and Photography in the Work of Three Vancouver Artists.” Invited Lecture, Birkbek Institute of the Moving Image, Birkbeck College, University of London, 23 October, 2013. Published in shoirt form at Afterall.com.
“Skēnē for ’51 (A Political Pollock),” Invited Lecture, Emily Carr Univeristy of Art and Design, Vancouver, B.C., Canada. Mar. 25, 2012.
“What Happens in the Classroom Ought Not Stay in the Classroom: Toward a Theory of Conceptual Art,” Invited Lecture. Material Witness: Mario Garcia Torres/Konrad Wendt Symposium, Morris and Helen Belkin Art Gallery, Vancouver, B.C., Canada. June 25, 2011.
“On Violence in Democracy,” Invited Lecture. Dept. of Art History, Visual Art and Theory, University of British Columbia, Canada. March 1, 2011.
“Jack Bush vs. Andy Warhol: Between Advertising and Art in Toronto and New York.” Invited Lecture, Emily Carr University of Art and Design, Vancouver, B.C., Canada. October 22, 2010.
“Dialectical Inroads to a Post-Political Photography: The Problem of Pure Politics in the Work of Lidwien Van de Ven.” Invited Lecture, “Project Europa,” Samuel H. Harn Museum, Gainesville, Florida, U.S.A. April 9, 2010. Invited Lecture, Banff Center for the Arts, Banff, Alberta, Canada. May 20, 2010.
“Introduction to the Films of Deimantas Narkevičius.” Invited Lecture, Samuel H. Harn Museum, Gainesville, Florida, U.S.A. March 23, 2010.
“Boolean Searches in the Martha Rosler Library.” Invited lecture and discussant with Paul Domela and Maria Hlavajova, for “Site” Liverpool Biennial, John Moores University, Liverpool, United Kingdom. June 2, 2008. [link]
“Narrating a proto-minimalist misfire: or Noland’s Largeness.” Plenary lecture presented at the symposium “Crossing the Boundaries XV: Time, Space and Movement,” Department of Art History, State University of New York, Binghampton, New York, U.S.A. 20 April 2007.
“Critical Aporias/Graduating Worries: Thoughts on Leaving College, But Not the Classroom.” Plenary lecture presented at Graduation Ceremonies, Marian College, Indianapolis, Indiana. 14 April 2005.
“Addendums: to, for, and as Painting,” Invited lecture. Art Center Pasadena. Pasadena, California, U.S.A. 3 April 2005.
“The Audience is Listening: Mark Lewis and the Zero Point of Cinema.” Invited Lecture and colloquium, Emily Carr Institute for Art and Design, Vancouver, B.C., Canada. 8 October 2004.
On Putting Things Beside Each Other: Arguments For and Against Position in the Work of Jeff Wall.” Invited lecture, Malmö Art Academy, Malmö, Sweden. 20 March 2004.
“What is it About Vancouver Art?” Invited lecture, Premier’s Research Excellence Award, University of Waterloo, Waterloo, Ontario Canada. 20 January 2004.
“Mo(ve)ments in the Sublime, Or Reading for Untranslatability.” Invited lecture, Premier’s Research Excellence Award, University of Waterloo, Waterloo, Ontario, Canada. 20 March 2004.
“Critical Aporias: Images of Interpretation.” Invited lecture, Piet Zwart Institute, Rotterdam, Holland. 10 April 2003.
“Reading for Reportage in the Photography of Roy Arden.” Invited lecture, University College Cork. Cork, Ireland. 12 November 2001.
“The Old Mole: Photography in the Neighborhood of Materialism.” Invited lecture, Edinburgh College of Art. Edinburgh, Scotland. 15 October 2001.
“Why Art is the Best Philosophy.” Invited lecture at the conference “Rethinking the Academy,” Stuttgart Art Academy, Stuttgart, Germany. 10 July 2000.
“Drama and Tableau in the Work of Jeff Wall.” Invited lecture, University of Edinburgh, Edinburgh, Scotland. May 2000.
“Irony in the work of Mike Kelley.” Invited lecture, Kungliga Konstögskolan. Stockholm, Sweden. 15 December 1999.
“Photography is not Death. Film is! Parataxis in the work of Stan Douglas.” Invited lecture, Simon Fraser University, Vancouver, B.C., Canada. 16 March 1999.
“André Masson and the Optic of French Psychoanalysis.” Paper presented at The Berkeley Symposium. University of California, Berkeley, Berkeley, California, U.S.A. 24 February 1991.
“A Tourist in Nice: Matisse on the Cote d'Azur.” Paper presented at The Matisse Symposium, University of British Columbia. Vancouver, B.C., Canada. 8 October 1990.
“Throne, Altar, and Laureate Bower: John Constable's Salisbury Cathedral from the Bishop’s Ground.” Graduate Symposium, University of British Columbia, Vancouver, B.C., Canada. 25 January 1988.

 

MUSEUMS/INSTITUTIONS

“Feminism, Projection and Symbolist Theory in the Painting of Landon Mackenzie.” The Esker Foundation, Calgary, Alberta, Canada. 4 October, 2012.
“Reading Larry Clark’s Tulsa,” Invited lecture and discussant with Clint Brunham, Catherine Sousloff, Althea Thauberger. “Exposed: Voyeurism and Photography.” Presentation House Gallery, Vancouver, B.C., Canada. 13 November, 2011.
“File Under S(h)elf-Help—Examples from the Archive.” Invited Lecture, “Art Always Has Its Consequences.” Museum Sztuki, Lodz, Poland. 24 April, 2009.
“A Genealogy of Performatives.” Invited lecture, Rijksakademie van beeldende kunsten, Amsterdam, Holland. 2 May, 2009.
“Toward a Genealogy of Acts.” Invited lecture, Rijksakademie van beeldende kunsten, Amsterdam, Holland. 17 September, 2008.
“Figural Problems in the Work of Ibon Aranberri.” Invited lecture, Figure in a Mountain Landscape, Banff Center for the Arts, Banff, Alberta, Canada. 12 July, 2008.
“Modernist Photography…” Invited lecture and discussant with David Jacobs, Andrea Robbins, and Thomas Southall at the panel discussion “The Success and Failure of Modernist Photography.” Samuel Harn Museum of Art, Gainesville, Florida, U.S.A. 18 October 2007.
“Pale-Fire: Those Misfiring, Sure-firing Performatives.” Invited lecture. Basis voor Actuele Kunst (BAK). Utrecht, Holland. February 2007.
“Looking at Modernist Painting.” Invited lecture at the High Museum of Art, Atlanta, Georgia, U.S.A. 8 December 2006.
“Beyond the Ifs of an Ifing Hermeneutic Economy: Examples from an Unsystematizable Economy.” Invited lecture Vancouver Art and Artists Lecture Series. Vancouver, B.C., Canada. 24 October 2005.
“Allegories of … Something or Other.” Invited lecture, Museum of Contemporary Art, Los Angeles. Los Angeles, California, U.S.A. 20 November 2004.
“Hope for Community to Come.” Invited lecture, Cork Caucus. Cork City, Ireland. 20 June 2005.
“In Conversation with Superflex.” The Power Plant, Toronto, Ontario, Canada. 3 October, 2004.
“On Narrative and Contemporary Art.” Lecture and discussant with Anthony Spira, Whitechapel Art Galley, London, United Kingdom. 7 July 2003.
“Four Points on Reading Gilles Deleuze.” Invited lecture at the symposium “Nomadsland,” Rooseum, Center for Contemporary Art, Malmö, Sweden. 16 June 2001.
“The Age of Anxiety: Clement Greenberg and Liberal Psychiatry.” Invited lecture, Vancouver Art Gallery. Vancouver, Canada. 10 February 1993.

 

PANEL DISCUSSIONS

“In Conversation with Derek Brueckner and Aleem Khan.” Eat Your Arts Vegetables, CKUW Radio. 21 November, 2013.
“In Conversation with Rodney Graham.” Platform Theatre, Central Saint Martins College of Art and Design, University of the Arts London, United Kingdom. 21 October, 2013.
“Mixed Agency,” Presenter and Panelist with Ted McLachlan, Richard Holden, Esyllt Jones, Lisa Landrum. “The Agency of Photography (and Cities).” The Winnipeg Design Festival, 18 September, 2013.
“On Jack Goldstein’s Records,” In Conversation with Ian Wallace. Emily Carr University of Art and Design, Vancouver B. C., Canada. 13 December, 2010.
“Badiou and Levinas on Ethics.” Participant. Secularization, Judaism and the Political. University of Florida, Gainesville, Florida, U.S.A. 25 March 2008.
“Responding to Photography and Video.” In Conversation with Scott Nygren, University of Florida Art Gallery, Gainesville, Florida, U.S.A. 12 September, 2008.
“Much Posturing Against the Image.” Invited lecture and discussant with Eric Kligerman, John Leavey, Ralf Remshardt and Nora Alter, Reading Franz Kafka, University of Florida, Gainesville, Florida, U.S.A. 31 March, 2008.
“Two Moments of the Secular: Symbol and Allegory in Greenbergian Modernism.” Participant. Secularization, Judaism and the Political, University of Florida. 25 March 2008.
“Close Reading,” Discussant with Dmitry Vilensky and Grant Watson on “Art and Democracy.” Van Abbe Museum, Eindhoven, Holland. 11 November 2007. [link]
“Noland’s Largeness: Problems of Scale in Painting After Pollock”—Attention to Space: A Conversation About Shepherd’s Steiner’s Close Reading of Abstract Painting,” On-line Respondent and Discussant with Howard Singerman, Lane Relyea, Robert Linsley, and Lisa Frye Ashe. 8 October 2007. [link]
“On the Value of Socially Engaged Art.” Discussant with Gregg Smith, Stephen Hobbs, Jill Majid, Gerald Raunig. Johannesburg, South Africa 12-16 February 2006. [link]
Discussant with Chantal Mouffe in the colloquium “On the Differences Between “Radical Democracy” and The Coming Community.” Cork Caucus, Cork, City. 16 May 2005.
Discussant with Gayatri Spivak, Gerald Raunig, and James Elkins, “Art and Democracy.” Cork Caucus, Cork City, Ireland. 18 May 2005.

 

Steiner

Rodney Graham: The Phonokinetoscope (London: Afterall Books:
One Work Series, 2013)

Steiner

The New Criticism: Formalist Literary Theory in America (London: Cambridge Scholars Press)

Steiner

Cork Caucus: on art, possibility, and democracy (Frankfurt: Revolver Verlag, 2007)

Steiner

PA System: On Urbanism and the
Activation of Space
(2003)

Steiner

‘Toward a Spacious, Excitable Open: On the Surveillance, Care and the Bliss of Tiny Creatures,’ published for the exhibition Henrik Hakansson: Sweet Leaf (Leipzig: Galerie Für Zeitgenössische Kunst, 2000). A manuscript titled, Projective Politics and the Mnemotechnics of Support: High Modernist Painting, Sculpture and Criticism, 1945-1968