As art objects circulate over time, they connect various people, places, times, stories, and even historiographies. Although they cannot speak to us directly about their biographies, we can still interrogate them and related evidence in order to learn more about who once possessed them and where and how they were kept. As we do this, we can draw on the concept of circulation to direct scholarly attention toward how not only objects but also knowledge about them moves. Objects, knowledge, and their significance for those involved is continuously circulated and negotiated, yielding new knowledge and meaning in the process. Thus, we might endeavor to elaborate both the spatial and temporal dimensions of provenance research as integral parts of contemporary art history.
Brainstorming as a way to organize ideation was first practiced in the United States in 1938 in the advertising firm Batten, Barton, Durstine & Osborn (BBDO). One partner, Alex Osborn, later described it as “using the brain to storm a problem,” adding that it should be done “in commando fashion.”1 As a method for thinking freely and wildly, so as to generate “new thoughts and ideas that no individual would have thought of on their own,”2 it was remarkable for its initial combination of conscious effort and play, of tenacious exercise and practices of freedom, and of rationality and irrationality. Brainstorming gained traction in American manufacturing, government, and the military in and after World War Two.3 And while brainstorming developed as a knowledge-generating practice squarely at the heart of military-industrial settings, it was pitted against predominant utilitarian rationalities of management, the military, and bureaucracies, for instance. Practiced in settings that explicitly suspended hierarchical orderings, it was geared toward the democratic expertise of no expertise—where anybody can have ideas. I have hypothesized that in order to overcome the boundaries imposed by modern and emergent rationalities in these settings, brainstorming offered a form of counterknowledge: an understanding that came about by not following the usual rules of thought.4