{"id":63945,"date":"2018-10-24T18:01:34","date_gmt":"2018-10-24T23:01:34","guid":{"rendered":"https:\/\/uwm.edu\/news\/?p=63945"},"modified":"2018-10-26T14:04:47","modified_gmt":"2018-10-26T19:04:47","slug":"center-for-21st-century-studies-looks-back-at-50-years-of-influence","status":"publish","type":"post","link":"https:\/\/uwm.edu\/news\/center-for-21st-century-studies-looks-back-at-50-years-of-influence\/","title":{"rendered":"Center for 21st Century Studies looks back at 50 years of influence"},"content":{"rendered":"<p>Before UW-Milwaukee achieved top rankings for research productivity in 2016, there was \u201cmajor university status\u201d \u2013 a goal UWM administrators and educators approached with vigor, creativity and strategy in the late 60s and early 70s. Key to achieving this status was focused growth in several areas of excellence: freshwater, urban, humanities and surface studies.<\/p>\n<p>Opened in 1968 as one of the first humanities research centers in the United States, UWM\u2019s Center for 20<sup>th\u00a0<\/sup>Century Studies was a lynchpin of the university\u2019s growing reputation. In 1971, university leaders dubbed the center one of the four \u201cpeaks of excellence\u201d that became guideposts on UWM\u2019s journey to top-research status. Nationally, the center became known as a groundbreaking gathering place where scholars and artists from all over the world came together for conversation, collaboration and exhibition.<\/p>\n<p>\u201cFrom the time I started graduate school at Berkeley in the mid-1970s, I knew about UWM from the Center for 20th Century Studies and the modern studies doctoral program, both of which were on the cutting edge of critical theory,\u201d said Richard Grusin, center director and UWM distinguished professor of English. \u201cAll of the most famous thinkers and many famous artists and writers came through Milwaukee in the center\u2019s first decades.\u201d<\/p>\n<p>Guests of the center over the years have included artists Nam June Paik, Dick Higgins of Fluxus, Laurie Anderson and John Cage; theorists Stuart Hall, Teresa de Lauretis, Jean Francois Lyotard, Judith Butler, and Jean Baudrillard; authors Ana\u00efs Nin and Eugene Ionesco; and filmmakers Isaac Julien and Frederick Wiseman.<\/p>\n<p>Time has changed the center. In 2001, it received an updated name: the Center for 21<sup>st\u00a0<\/sup>Century Studies, or C21. In another nod to the passage of time and technology, the center has broadened its focus to encompass digital humanities. Today, the center organizes its research and public programs around three broad areas: critical, public and digital humanities, connecting them to today\u2019s most pressing social and political issues.<\/p>\n<p><strong>\u00a0<\/strong>One constant across the decades: All C21 events are free and open to the public, including the center\u2019s 50<sup>th\u00a0<\/sup>anniversary symposium. On Friday, Oct. 26, scholars from UWM, Columbia University, Amherst College, the University of Southern California and elsewhere will gather at UWM to present a series of research talks and commemorations in honor of C21\u2019s golden anniversary.<\/p>\n<p>\u201cI\u2019m excited to bring back to campus some of the key faculty and most successful graduates from the center,\u201d Grusin said.<\/p>\n<p>But first, Grusin and C21 Deputy Director Maureen Ryan have curated a deep dive into the center\u2019s past, rounding up a collection of images and summaries of some of the center\u2019s greatest moments and most influential figures from 1968 to today.<\/p>\n<h2>Ko-Thi Dance Company and Lavinia Williams, &#8216;Caribbean Suite&#8217;<\/h2>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-63947 size-full\" src=\"https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21kothi2.jpg\" alt=\"\" width=\"750\" height=\"500\" srcset=\"https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21kothi2.jpg 750w, https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21kothi2-300x200.jpg 300w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\" \/><\/p>\n<p><strong>March 17, 1983:<\/strong>\u00a0Lavinia Williams was a dance pioneer. Born in Pennsylvania, she became a ballerina after high school but spent much of her life mastering Caribbean dance, developing national dance schools in Caribbean nations and teaching Caribbean dance in the U.S. Williams\u2019 talk at the center was accompanied by a performance of \u201cCaribbean Suite\u201d by Ko-Thi Dance Company, a Milwaukee institution that performs the dance traditions of the African diaspora (and they are still going strong today). The event was part of \u201cBlack Performance in the New World,\u201d a series of events held throughout March at the center that year.<\/p>\n<h2>&#8216;Television: Representation, Audience, Industry&#8217;<\/h2>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-63948 size-full\" src=\"https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21TV4.jpg\" alt=\"\" width=\"750\" height=\"500\" srcset=\"https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21TV4.jpg 750w, https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21TV4-300x200.jpg 300w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\" \/><\/p>\n<p><strong>April 13-15, 1988:<\/strong> This television studies conference was one of the first of its kind, with the center helping to kick off the discipline. Three days of lectures and panels included film, media and television scholars who would go on to establish and define TV studies as an academic field. Attendees included Mary Ann Doane, Patrice Petro, Lynn Spigel, Judith Barry, Charlotte Brundson and others.<\/p>\n<h2>Lawrence Ferlinghetti, reading and open discussion<\/h2>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-63949 size-full\" src=\"https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21-Ferlinghetti-19841127_Ferlingh_7706B_7A.jpg\" alt=\"\" width=\"750\" height=\"500\" srcset=\"https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21-Ferlinghetti-19841127_Ferlingh_7706B_7A.jpg 750w, https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21-Ferlinghetti-19841127_Ferlingh_7706B_7A-300x200.jpg 300w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\" \/><\/p>\n<p><strong>Nov. 27, 1984:<\/strong> Founder of City Lights bookstore and author of \u201cA Coney Island for the Mind,\u201d Lawrence Ferlinghetti is a major figure in 20th-century American poetry. Through City Lights Publishers, Ferlinghetti published some of the most influential writers of the Beat generation, including Allen Ginsberg, Frank O\u2019Hara, Diane di Prima, and others. In 1957, Ferlinghetti and City Lights were put on trial in the landmark obscenity case over Ginsberg\u2019s \u201cHowl and Other Poems\u201d \u2014 a case which set precedent ensuring First Amendment protection for many previously banned books.<\/p>\n<p>Ferlinghetti read from his own poetry and discussed everything from the writing process to publishing and First Amendment issues related to censorship.<\/p>\n<h2>Stelarc, demonstration and lecture<\/h2>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-63961 size-full\" src=\"https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21stelarc300x450-6.jpg\" alt=\"\" width=\"300\" height=\"450\" srcset=\"https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21stelarc300x450-6.jpg 300w, https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21stelarc300x450-6-200x300.jpg 200w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/p>\n<p><strong>Sept. 29, 1995:<\/strong> Legendary Australian performance artist Stelarc augments his own body with medical and technological apparatuses to extend its capabilities. He visited the center to give a demo of his \u201cThird Hand,\u201d a robotic mechanism that was worn over his own arm and controlled by his muscle signals. Later, in 2006, Stelarc would have a prosthetic ear surgically inserted into his arm that he (and others) can use to listen to other places, in an act of distributed global interconnectedness.<\/p>\n<h2>&#8216;The Lost Art of Healing,&#8217; art installation<\/h2>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-63962 size-full\" src=\"https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21Healing31.jpg\" alt=\"\" width=\"750\" height=\"500\" srcset=\"https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21Healing31.jpg 750w, https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21Healing31-300x200.jpg 300w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\" \/><\/p>\n<p><strong>April 24-May 18, 1997:<\/strong> A collaboration between the center and the University Art Museum in Mitchell Hall, \u201cThe Lost Art of Healing\u201d was part conference, part art installation that explored the connections between medicine, aging and the body. As part of the installation, physician-artist Eric Avery gave lectures while co-creator Jane Petro offered plastic surgery consults to visitors and New York performance artist Lily Pink sold \u201cmodern snakeoil.\u201d The performances worked to engage viewers in the installation space with ideas regarding aging and the beauty industry\u2019s false promises.<\/p>\n<h2>International Symposium on Post-Modern Performance<\/h2>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-63963 size-full\" src=\"https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21JohnCage1974MMDD_Cage_12058_9A.jpg\" alt=\"\" width=\"750\" height=\"500\" srcset=\"https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21JohnCage1974MMDD_Cage_12058_9A.jpg 750w, https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21JohnCage1974MMDD_Cage_12058_9A-300x200.jpg 300w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\" \/><\/p>\n<p><strong>Nov. 17-20, 1976:<\/strong>\u00a0This symposium was a real who\u2019s who of avant-garde performers of the 1970s, but perhaps most well-known was John Cage, one of the most important composers of the 20th century. (His famous work \u201c4\u201933\u201d\u201d was an entirely silent composition.) At this four-day conference held at UWM, he performed \u201cEmpty Words,\u201d a spoken-word performance drawn from the journals of Henry David Thoreau. Other symposium participants hosting lectures and workshops included Jean-Fran\u00e7ois Lyotard, Herbert Blau, Teresa de Lauretis and Umberto Eco.<\/p>\n<h2>Paul Aschenbach: &#8216;The Copernicus Stones&#8217;<\/h2>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-63965 size-full\" src=\"https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21Aschenbach-12.jpg\" alt=\"\" width=\"750\" height=\"500\" srcset=\"https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21Aschenbach-12.jpg 750w, https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21Aschenbach-12-300x200.jpg 300w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\" \/><\/p>\n<p><strong>June 25-29,1973:<\/strong>\u00a0Paul Aschenbach became renowned for sculptures and installations that actively involved the public in their creation. In 1973 the Center for 20th Century Studies invited Aschenbach to create a piece called the Copernicus Stones on Summit Avenue in Milwaukee. Assembled over the course of four days by Aschenbach, his wife, June, his assistant Terry Dinnan, and many local residents and UWM students, the piece was in part intended as a reflection on time and experience.<\/p>\n<p>Of the piece, Aschenbach had this to say: \u201cThe object stays in the community; after the sculptors leave, it carries on a longer, quieter dialogue with the people who encounter it. It is important that the object be as intense, as meaningful, as beautiful as the event which produced it.\u201d<\/p>\n<h2>Paul Schrader, screening of &#8216;Taxi Driver&#8217;<\/h2>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-63968 size-full\" src=\"https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21taxi-driver-02.jpg\" alt=\"\" width=\"750\" height=\"500\" srcset=\"https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21taxi-driver-02.jpg 750w, https:\/\/uwm.edu\/news\/wp-content\/uploads\/sites\/41\/2018\/10\/c21taxi-driver-02-300x200.jpg 300w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\" \/><\/p>\n<p><strong>March 27, 1976:<\/strong> Screenwriter Paul Schrader came to UWM in March 1976 for a screening of \u201cTaxi Driver\u201d (directed by Martin Scorsese), which had been released the month before. The film was an instant success, with Roger Ebert praising it as <a href=\"https:\/\/www.rogerebert.com\/reviews\/taxi-driver-1976\" rel=\"noopener\" target=\"_blank\">one of the best films he\u2019d ever seen<\/a>, and Schrader was well on his way to becoming a Hollywood mainstay. Schrader was also a film critic and wrote a book on film theory, \u201cTranscendental Style in Film\u201d (1972). At the event, Schrader discussed screenwriting and criticism with scholar Stephen Heath.<\/p>\n<p>Schrader went on to pen three of Scorsese\u2019s other Oscar-winning films: \u201cRaging Bull\u201d (1980), \u201cThe Last Temptation of Christ\u201d (1988), and \u201cBringing Out the Dead\u201d (1999), so this would have been a pretty important \u201cget\u201d for UWM at the time. And to put it in conversation with film theory: even better.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Opened in 1968 as one of the first humanities research centers in the United States, UWM\u2019s Center for 20th Century Studies was a lynchpin of the university\u2019s growing reputation. Over those 50 years, the center has hosted some of the world\u2019s most notable artists, theorists, authors and filmmakers. <\/p>\n","protected":false},"author":40008,"featured_media":63962,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","uwm_wg_additional_authors":[]},"categories":[211,174],"tags":[249],"section":[127],"display_categories":[115,116],"related-coverage":[260],"uwmnews-feed":[167,158],"class_list":["post-63945","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-listicles","category-news","tag-community-engagement","section-arts-humanities","display_categories-top-story-secondary","display_categories-top-story-section","related-coverage-community-engagement","uwmnews-feed-alumni-association","uwmnews-feed-letters-science"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.3 (Yoast SEO v27.3) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Center for 21st Century Studies looks back at 50 years of influence<\/title>\n<meta name=\"description\" content=\"Opened in 1968 as one of the first humanities research centers in the United States, UWM\u2019s Center for 20th Century Studies was a lynchpin of the university\u2019s growing reputation. 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