Liz Linden
Biographic Data
| ID | 3604550 |
|---|---|
| NAME | Liz Linden |
| GIVEN NAMES | Liz |
| FAMILY NAME | Linden |
| SIGNATURE | LINDÉN L |
| AFFILIATIONS | University of Chicago |
| ORCID | 0000-0002-6155-1645 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 7 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Here and Now
This essay is an experimental and collaborative text that explores, challenges, and stretches the familiar categories of reader and writer, writer and collaborator, collaborator and individual self. Presented as a textual conversation between two authors, it suggests that multiple modes of address are necessary for contemporary art writing to belie the essentialism inherent in traditional modes of art criticism. Taking as its initial provocation …
Roundtable on Warhol v. Goldsmith
Art Writing and Allegory in the Anthropocene
This essay traces the emergence of a rich and densely layered field of art writing within the Anthropocene. We ask: If the Anthropocene is all around us, where is it in art writing? We identify the emergence of Anthropocenic art writing: writing that is not art writing about the Anthropocene per se but rather art writing that takes its cue from the operations and outcomes of the Anthropocene itself, including its flagrant disregard for boundaries…
Women with Cameras
The essay looks at photographs from American photographer Anne Collier’s ongoing series Woman with a Camera (2006–). The essay argues that Collier’s series anticipates and “invents” the selfie by using anachronistic found materials. A number of Collier’s works in Woman with a Camera depict printed matter from the postmodern period that include photographs of female models posed as if they are shooting playful selfportraits in a mirror, acting as…
Spiral Jetty, geoaesthetics, and art
Despite the call for artists and writers to respond to the global situation of the Anthropocene, the 'people disciplines' have been little published and heard in the major journals of global environmental change. This essay approaches the Anthropocene from a new perspective: that of art. We take as our case study the work of American land artist Robert Smithson who, as a writer and sculptor, declared himself a 'geological agent' in 1972. We sugge…
Alone in the Crowd
The practice of Thai artist Rirkrit Tiravanija is perhaps the best-known exemplar of relational aesthetics, a distinction first made by Nicholas Bourriaud and affirmed in the writings of many subsequent art critics; but the critical focus on the interactive aspect of his works has tended to rely on utopian modes of community engagement, which ignore Tiravanija's strategic deployment of relational, interactive structures to implicate the viewer, p…
Spiral Jetty, geoaesthetics, and art
Despite the call for artists and writers to respond to the global situation of the Anthropocene, the 'people disciplines' have been little published and heard in the major journals of global environmental change. This essay approaches the Anthropocene from a new perspective: that of art. We take as our case study the work of American land artist Robert Smithson who, as a writer and sculptor, declared himself a 'geological agent' in 1972. We sugge…
Alone in the Crowd
The practice of Thai artist Rirkrit Tiravanija is perhaps the best-known exemplar of relational aesthetics, a distinction first made by Nicholas Bourriaud and affirmed in the writings of many subsequent art critics; but the critical focus on the interactive aspect of his works has tended to rely on utopian modes of community engagement, which ignore Tiravanija's strategic deployment of relational, interactive structures to implicate the viewer, p…
Women with Cameras
The essay looks at photographs from American photographer Anne Collier’s ongoing series Woman with a Camera (2006–). The essay argues that Collier’s series anticipates and “invents” the selfie by using anachronistic found materials. A number of Collier’s works in Woman with a Camera depict printed matter from the postmodern period that include photographs of female models posed as if they are shooting playful selfportraits in a mirror, acting as…
Alone in the Crowd
The practice of Thai artist Rirkrit Tiravanija is perhaps the best-known exemplar of relational aesthetics, a distinction first made by Nicholas Bourriaud and affirmed in the writings of many subsequent art critics; but the critical focus on the interactive aspect of his works has tended to rely on utopian modes of community engagement, which ignore Tiravanija's strategic deployment of relational, interactive structures to implicate the viewer, p…
Women with Cameras
The essay looks at photographs from American photographer Anne Collier’s ongoing series Woman with a Camera (2006–). The essay argues that Collier’s series anticipates and “invents” the selfie by using anachronistic found materials. A number of Collier’s works in Woman with a Camera depict printed matter from the postmodern period that include photographs of female models posed as if they are shooting playful selfportraits in a mirror, acting as…
Spiral Jetty, geoaesthetics, and art
Despite the call for artists and writers to respond to the global situation of the Anthropocene, the 'people disciplines' have been little published and heard in the major journals of global environmental change. This essay approaches the Anthropocene from a new perspective: that of art. We take as our case study the work of American land artist Robert Smithson who, as a writer and sculptor, declared himself a 'geological agent' in 1972. We sugge…
Art Writing and Allegory in the Anthropocene
This essay traces the emergence of a rich and densely layered field of art writing within the Anthropocene. We ask: If the Anthropocene is all around us, where is it in art writing? We identify the emergence of Anthropocenic art writing: writing that is not art writing about the Anthropocene per se but rather art writing that takes its cue from the operations and outcomes of the Anthropocene itself, including its flagrant disregard for boundaries…
Roundtable on Warhol v. Goldsmith
Here and Now
This essay is an experimental and collaborative text that explores, challenges, and stretches the familiar categories of reader and writer, writer and collaborator, collaborator and individual self. Presented as a textual conversation between two authors, it suggests that multiple modes of address are necessary for contemporary art writing to belie the essentialism inherent in traditional modes of art criticism. Taking as its initial provocation …
Art (5 works) · Visual arts (4 works) · Aesthetics (3 works) · Literature (3 works) · Philosophy (3 works) · Anthropocene (2 works) · Art history (2 works) · Art, Politics, and Modernism (2 works) · Computer Science (2 works) · Ecocriticism and Environmental Literature (2 works)