PAUL WERNER, PhD, DSFS
artist, writer, cultural critic
publisher, The Orange Press
editor, WOID, a journal of visual language
editor, The Red Vienna Reader
resident: New York City; Vienna, Austria
languages: Fluent in French and English, conversational German, Italian
2018: A Memoir of May for the next revolution. The Orange Press.
2014: Jump Jim Corot. Cash, class and Culture at the Metropolitan Museum of Art. NY: The Orange Press.
2011: The Red Museum. Art, economics and the ends of capital. NY: The Orange Press.
2009: Musée et cie : Globalisation de la Culture. Paris : L’Harmattan.
Museo S.p.A. La globalizzazione della cultura. Milan: Johan & Levi.
2006: Museum Inc. Inside the Global Art World. Chicago: Prickly Paradigm Press.
2003: La Préparation du Parchemin. Histoire et techniques. NY: The Orange Press.
1999: Vellum Preparation. History and Technique. New York: The Orange Press.
2018 “Young Dorothy Burlingham.’” Freud / Tiffany and the Best Possible School, ed. Elizabeth Ann Danto. London: Routledge.
2017: “Teaching Schonberg to Vienna's Workers. ‘Can the Workers learn to relate to Contemporary Music?’” Freud Tiffany and the Best Possible School, ed. Elizabeth Ann Danto and Alexandra Steiner. Exhibition Catalog, Freud Museum, London (May 10 through July 17, 2017): pp. 38-43.
2015: “Anarquismo pós-produção / Post-Production Anarchism.” Art Research Journal / Revista de Pesquisa em Arte Vol. 2, no. 2. 2015.
Inc : Inside the Global Art World. [Over-the-Cliff Notes]."
in Bertell Ollman and Kevin B. Anderson, ed. Karl Marx.
International Library of Essays in Classical Sociology. Farnham, Surrey:
2011: « Les Saturnales de la démocratie » in Serge Chaumier, ed. Expoland. Ce que le parc fait au musée : ambivalence des formes de l’exposition. Paris: Complicités.
2010: « Katherina l’Africaine ou les ruses du dessin » in D. Olariu, ed. Le Portrait individuel. Réflexions autour d’une forme de représentation, XIIIe-XVe siècles. Bern: Peter Lang.
1973 to the present: Editor and Publisher, The Orange Press.
1985 to the present: Numerous published articles in cultural criticism.
1998 to the present: Editor and Publisher, WOID, a journal of visual language.
2015 to the present: Editor,The Red Vienna Reader, A portal for writings of Red Vienna (1919-1934) in English translation and in the original German, with introductions and supportive data and resources.
1980-2012: Free-lance lecturer on Art and museums.
1980-2012 : Lecturer on medieval art techniques, widely and to all age levels.
1984-2012: Adjunct instructor in Art, Art History, Graphic Design,Medieval Art and Literature.
1995-2004: Independent lecturer under contract, Guggenheim Museum, NYC.
1988-1998: PhD in Art History, City University of New York: Thesis: David’s Basket; Art and Activism in the French Revolution.
1987-1988: MA in Art History and Art Criticism, SUNY Stony Brook.
1978-79: At the University of Pennsylvania, Informal advanced studies in Paleography with Doctor David Dumville of Cambridge, England.
1973-78: Founds The Orange Press as an extension of an anarchist experiment in pay-as-you-can distribution combining innovative and archaic production techniques. Deeply influenced by William Morris. Publishes Verse Gazette, a free collection of poetry posters that includes Free Verse, the first free listing of poetry events in New York. Initiates the Dragonsblood and Ashes project to adapt medieval art techniques to emerging exchange systems.
1973 to the present: Numerous solo and group shows.
1972-73: Completes a BA at Sarah Lawrence College, focusing on cultural systems: Cultural Anthropology, Creative Writing, Medieval Literature, German Literature. Graduate studies in Yiddish.
1968-1971: Active in the theater in New York. Trains at Juilliard under John Houseman. Works as a backstage assistant at the Juilliard Theater, then as a lighting designer at the Actor’s Studio. Studies Drawing and Printmaking at the Art Students League.
May, 1968: As a theater delegate, involved in failed negotiations to avoid the takeover of the Odéon Theater. Arrested while defending the worker’s occupation of the Flins factory, declared a ‘Danger to the Security of the State’ and deported to America.
1967-1968: Joins the Théâtre National Populaire, as member of the repertory group. (Founded by Jean Vilar, TNP is the largest State-sponsored theater in France, dedicated to a Socialist vision of Theater for the People.)
1962-65: Attends the Lyçée Henri IV in Paris, France, with a focus on classical and literary studies. Lyçée Henri IV is one of the premier high schools in France and a feeder school for the Ecole Normale Supérieure, the center for the formation of French intellectuals.