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G. Roger Denson (born 1956) is an American journalist, art critic, theoretician, novelist and curator. A regular contributor to ''Huffington Post'', his writings have also appeared in such international publications as ''Art in America'', ''Parkett'', ''Artscribe International'', ''Flash Art'', ''Cultural Politics'', ''Bijutsu Techo'', ''Kunstlerhaus Bethanien'', ''Artbyte'', ''Art Experience'', ''Arts Magazine'', ''Contemporanea'', ''Tema Celeste'', ''M/E/A/N/I/N/G'', ''Trans>Arts, Culture,Media'', ''The New York Times'' and ''Journal of Contemporary Art''. He has published criticism and commentary on such international artists as Terrence Malick, Kathryn Bigelow, Hiroshi Sugimoto, Sigmar Polke, Andres Serrano, Yvonne Rainer, Sarah Charlesworth, Cindy Sherman, Jack Smith, Philip Taaffe, Pat Steir, Shirin Neshat, Marilyn Minter, Renée Green, John Miller, Robert Longo, Ashley Bickerton, Nayland Blake, Tishan Hsu, Liz Larner, Gilbert and George, Barbara Ess, Robert Ryman, Dan Flavin, General Idea, Jules Olitski, Lydia Dona, Maura Sheehan, Jimmy De Sana, Dan Graham and Richard Artschwager.〔(G. Roger Denson: Books, Biography, Blog, Audiobooks, Kindle ). Amazon.com. Retrieved on 21 October 2011.〕 Denson has written on the criticism of Thomas McEvilley (with republished essays by McEvilley) in ''Capacity: History, the World, and the Self in Contemporary Art and Criticism'', currently issued by Routledge, (originally Gordon & Breach).〔(Capacity: history, the world, and ... – Thomas McEvilley, G. Roger Denson – Google Books ). Books.google.com. Retrieved on 21 October 2011.〕 Denson’s monographs and catalogues include ''Dennis Oppenheim'', (Fundacao De Serralves, Portugal);〔(LIVRES / BOOKS / LIVROS : Exposition – Dennis OPPENHEIM – Porto, Fundação de Serralves, 1996 ). TOBEART.com. Retrieved on 21 October 2011.〕 ''Hunter Reynolds: Memento Mori, Memoriter'', (Trinitatiskirche, Cologne); ''Michael Young: Predella of Difference'', (Blum Helman, New York). And in the book by Robert Morris (artist), ''Continuous Project Altered Daily: The Writings of Robert Morris'' (October Books, MIT Press), Denson has contributed to the chapter, “Robert Morris Replies to Roger Denson (Or Is That a Mouse in My Paragon?) ”.〔(Continuous Project Altered Daily – The MIT Press ). Mitpress.mit.edu. Retrieved on 21 October 2011.〕 ==Toward A Nomadic Criticism== In the late 1980s and early 1990s, Denson reached beyond conventional art criticism to establish a reputation as a nomadic ideologist. As such, he developed an approach toward the criticism of art that matches the concerns of his subjects. He does this by entering into the ideological models presented to the viewer by an artist rather than carrying with him some pre-established criteria that is projected onto all art. Among the philosophical issues Denson addresses are those of pragmatism, historicism, cultural relativism, and mythopoetics, all of which are ideologically suited to dismantling the need for a master narrative or identity. In so doing, he effectively dismantles cultural, national, racial, sexual, and gender biases in the critique of art and culture.〔(Capacity: history, the world, and ... – Thomas McEvilley, G. Roger Denson – Google Books ). Books.google.com. Retrieved on 21 October 2011.〕 Among Denson's most influential essays count "Going Back to Start, Perpetually: Playing the Nomadic Game in the Critical Reception of Art," which first appeared in ''Parkett'' issue #40/41, 1994, (in English and German) and was republished (in Spanish) in ''El reverso de la diferencia,'' Caracas, 2000. It is here that Denson states, "To a great degree the nomad is to late twentieth-century intellectuals what the noble savage was to Enlightenment writers like John Dryden, Jean-Jacques Rousseau, Voltaire, and François-René de Chateaubriand. I write this not to debunk the nomadic model in postmodern culture, but to stress how some intellectuals (I think especially of Gilles Deleuze and Félix Guattari) have romanticized a pragmatic, decentered, migrant existence as a dissident response to global institutions and technologies that are becoming increasingly centralized and fortified at their boundaries." This is despite, as Denson argues, there being "a host of global conditions in the world that are adversarial to the spread of nomadic methods of conceptualization, judgment, and discourse, whether in reference to the shifting significations that come with cross-cultural or multicultural convergence, or the multiplicity of conceptual models that breed with today's radical skepticism, deconstructive suspension and deferral of belief, and provisional and pragmatic views of discourse and political action. The nomadic tendency, then, is the intellectual's game, though it is also at work in the mainstreams of postindustrial nations ... the willed and pragmatic response to diversity and displacement that leads to prosperous and protean results." In the end, Denson concludes, "No doubt a kind of conceptual and cultural nomadism has been mediated for centralized and static populations through journalism, network and cable television, cinema, the internet, and virtual reality. From here one can distinguish what we mean anthropologically by "nomadic"—from our metaphorical usage of it critically and theoretically to describe the shiftings and migrations occurring in a global civilization. ...Paradoxically, this logic proceeds to make the couch potato or armchair traveller a potentially formidable player of nomadism."〔''Parkett'' issue #40/41, 1994, pgs. 154–155.〕 Expanding on this notion a year later in ''Migrations of the Real and the Ideal: Exploring a Nomadic Criticism,'' (published in the premiere issue of ''Trans>Arts, Culture, Media''), Denson writes: "Because there are so many models of reality and identity existing simultaneously, because there are so many societies and cultures converging in a global community, because discourse is being negotiated among them, and because we are recognizing multiple histories of the world, we require a critical attitude that rides with the shifts in civilization's discourse. The best of today's critics are ready to visit the models of any given community—ideological, spiritual, political, economic, technological, scientific, aesthetic—at any given time without obstructing communication and insinuating personal models on them. This does not mean that we must have expertise in those models or even accept them personally, but we must be ready to defer and then adapt all personal criteria responsively in acknowledgement of the world's diversity. ...When two or more ideas conflict, the temptation often is to reconcile them. Nomadic criticism doesn’t require this. We needn’t reconcile an idea to any other, including the model of nomadism. We can just move among them, using them when we need to, putting them on hold when we don’t. The nomadic ideal also doesn’t position two or more models in opposition. We think only of two or more ideas as being opposed if we think we hold a more comprehensive, singular, or foundational truth; nomadism holds that there are only shifting and contingent models that are as temporally relative as the condition among individuals, communities, and environments that produce them."〔''Trans>arts.culture.media,'' Issue No. 1, 1995, pg. 15.〕 In 1996, Denson gives example of the kind of nomadic criticism he has been referring to. In ''Capacity: History, the World, and the Self in Contemporary Art and Criticism'', Denson writes of the art critic Thomas McEvilley. "Through his reference to various models around the world, readers get an idea of how much more liberating it is to capaciously represent and experience the world's heterogeneity. ...Globalism and diversity, as McEvilley represents them, have come to replace the esteem of universality. Globalism, in contrast to universalism, compels cooperation and exchange from multiple sources (cultures and geographies) without posing any one as primary; it is the composition or network potentially encompassing all diversity without imposing a unity or other singular principle on it."〔Capacity: History, the World, and the Self in Contemporary Art and Criticism'', Routledge, 1996, pgs. 91–92.〕 Denson exemplifies this nomadic relativism when examining the intersection of art and politics in such publications as ''Foreign Affairs: Conflicts in the Global Village—Central America, Middle East, South Africa,''〔Library, Brownell. (2 December 2009) (Brownell Library – New Books: New Materials – December 2009 ). Brownellessexjunctionnb.blogspot.com. Retrieved on 21 October 2011.〕 (with Noam Chomsky, Edward Said, Geno Rodriguez, and Eqbal Ahmed), and ''Occupation and Resistance,''〔(DUC Library Program Available Material ). Ducprogram.org. Retrieved on 21 October 2011.〕 about the art and artists reflecting on and participating in the Palestinian First Intifada. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「G. Roger Denson」の詳細全文を読む スポンサード リンク
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