Chris Gortmaker

Teaching Fellow in the Department of English at UChicago.

[Chris Gortmaker @_cnris_]

Modernism versus realism? Are these discrete literary historical periods? Historically adaptable aesthetic/political commitments? An age-old debate. Paul Stasi incisively clarifies its stakes in his recent book for @CambridgeUP. My review up now in CLCWeb
https://t.co/lsddgjhB2t

[Chris Gortmaker @_cnris_]

What can value criticism contribute to Marxist critical theory? What liabilities can it pose?

"Totality Beyond Class: The Limits of Value Criticism"—new review essay (with Jake Burchard) now out in Mediations.

https://t.co/NQ50ybpO2T

[Critical Inquiry @CriticalInquiry]

"What distinguishes Suther’s Hegel is how embodied this most absolute of German Idealisms appears: rational and conceptual all the way down—yet thoroughly biological."

New in review, Christopher Gortmaker on Jensen Suther's True Materialism: https://t.co/l2oup7MImW

[ASAP/Journal @ASAP_Journal]

Check out our newest piece, Chris Gortmaker's review of Barbara Solomon's EXITS EXIST exhibition: "Solomon’s 21st-century modernism lies in the specifically aesthetic way her work’s unity of form and content makes escape and existence thinkable together.”

https://t.co/Psqn3p6vUH

[Chris Gortmaker @_cnris_]

Adolph Reed approaches the memoir of African American life under Jim Crow as both poison and remedy in The South (Verso 2022). My review of Reed's latest is out now in JMMLA, alongside some incisive articles on affective labor in humanities higher ed: https://t.co/yYRqm69Eo5

[The Syllabus @syllabus_tweets]

First performed at Indiana University on August 7, 1968, as a 'dadaesque' demonstration with participants wielding protest posters, Solt's work of concrete poetry went on to forge a distinct critical standpoint.

By @_cnris_ in @nonsite_org

https://t.co/waWm2Ku4bP

[Chris Gortmaker @_cnris_]

Mary Ellen Solt is one of concrete poetry's foremost proponents, but her major work The Peoplemover has received scant attention. In this article, I show how Solt achieves a “demonstration” of the changing life of art in 1968 #concretepoetry #maryellensolt https://t.co/6t7uwTvAj7