Sarah Kanouse brings to a close the Beyond Survival series, which probes the effects of sustained precarity, a diminished funding landscape in the arts, and institutional relations to socio-ecological urgencies.
Huey Copeland reviews Darby English’s 1971: A Year in the Life of Color.
C. C. McKee examines the materiality and significance of salt in Deborah Jack’s art practice and poetry.
In the final entry in a series of contributions, Hannah Star Rogers gathers reflections from Alice Smits and Judith van der Elst on the 2018 convening of the Helsinki-based Bioart Society.
María Laura Rosa on how Alicia D’Amico’s images of female desire reflect “dissident and destabilizing identities in the heteronormative visual imaginary.” (In English and Spanish.)
Artist Luca M. Damiani reflects on his creative responses to and interpretations of the hearing conditions tinnitus and hyperacusis.
Using Axis Lab—the Chicago-based interdisciplinary arts organization she helped found—as a case study, Patricia Nguyen explores the intricacies of funding and establishing networks of community support.
Duygu Demir reviews The Political Aesthetics of the Armenian Avant-Garde: The Journey of the “Painterly-Real,” 1987–2004.
In the second entry in a series of contributions, Hannah Star Rogers convenes reflections from Sam Nightingale and Lisa Swanstrom on the 2018 convening of the Helsinki-based Bioart Society.
Kristen Galvin and Christina M. Spiker discuss the adjunctification of the academy and what has been sacrificed by this new paradigm of the gig economy.
Joey Orr and Imani Wadud present their reflections on ongoing transdisciplinary programming, exhibition work, learning, and social action through the Integrated Arts Research Initiative at the Spencer Museum of Art, University of Kansas.
In the first entry in a series of contributions, Hannah Star Rogers convenes reflections from Leena Valkeapää, Saara Hannula, and Erich Berger on the 2018 convening of the Helsinki-based Bioart Society.
Margo Handwerker and Richard Saxton of the collective M12 Studio offer observations and critiques of the process of applying for and reporting on grants in the United States.
This roundtable conversation among Iranian gallerists, available in English and in Persian, explores the politics and particularities of gallery ownership in Tehran.
Sophia Powers reviews the 2018 exhibition India/Contemporary Photographic and New Media Art, and its accompanying catalogue by the same name.
Amy K. Hamlin offers fifteen propositions for “thinking otherwise”—a text that serves as a kind of imaginary syllabus asking what the future of art history might look like.
Noah Simblist presents a parafictional story about a small American town and the frontier culture of manifest destiny.
Artist and museum educator Kerry Downey reflects on making space for queerness within and outside of institutions through participatory art making.
Maria Porges presents Shortest Stories, an ongoing series that joins collage from found material with abbreviated fiction that functions in dialogue with the images.
The collective BFAMFAPhD presents the Making and Being Card Game, a pedagogical tool created for Art Journal Open that encourages students to approach their projects holistically, looking at their own learning goals and the life and death of their projects in relation to their social and emotional needs.
Stephanie Sparling Williams reviews Uri McMillan’s Embodied Avatars: Genealogies of Black Feminist Art and Performance, and Malik Gaines’s Black Performance on the Outskirts of the Left: A History of the Impossible.
Gail Hastings executes a close formal reading of Donald Judd’s sculpture Untitled (DSS 33), as well as the “unity that Judd’s space champions in us.”
Ana María León inaugurates Art Journal Open‘s new Pedagogies series, presenting her findings in the communal production and dissemination of knowledge through reading groups and digitally crowdsourced syllabi and reading lists.
Three decades into the long culture wars, how are artists, scholars, and cultural organizations navigating shifting political, community, and financial tides? Art Journal Open presents a collection of responses to this pressing question from twenty-three artists, curators, scholars, writers, and cultural workers, with an introduction from Sarah Kanouse.
In a new essay, Winston Kyan considers the extensive body of work of artist Zhang Huan within the histories of Chinese Buddhism, the American art market, durational performance work, and “existence as suffering.”
Art Journal Open presents Terra Forma, an immersive, interactive digital project and scholarly text by Andrew Yang. Following a 2017 trip to the Sanriku coast of Japan, Yang traces the area’s recovery and rebuilding efforts after the devastation of the 2011 earthquake and tsunami. Yang explores the terraforming of the coast, “a kind of garden-making on a planetary scale,” pressuring the categories of “natural” and “man-made” in our landscapes.
Elizabeth Rodini discusses World on the Horizon: Swahili Arts across the Indian Ocean with one of the exhibition’s curators, Allyson Purpura. The conversation focuses on object kinship and adjacency, a strategy that enables a resistance to “the stasis and fixity of exhibitions.”
Walker Downey explores sound—and the various societal, artistic, and militaristic attempts to eliminate it—through the work of Doug Wheeler, in particular his 2017 exhibition PSAD Synthetic Desert III at the Guggenheim Museum.
Dushko Petrovich leads a series of conversations about the tensions and processes of art publication, speaking to the parties involved with, and implicated by, Steven Nelson’s two-part Hyperallergic essay of June 2018.
Dominic Johnson reviews Long Suffering: American Endurance Art as Prophetic Witness by Karen Gonzalez Rice.
As the latest addition to the Afrotropes series, Krista Thompson reflects on the extensive photographic and cultural legacy of Ivanhoe “Rhygin” Martin and the circulation of images in Jamaica and beyond.
Risham Majeed reflects on the current exhibition Heavenly Bodies: Fashion and the Catholic Imagination at The Met Cloisters, looking at how the disjunctions of architecture, costumery, and religious iconography “join to create cohesive desires, unmoored from historical boundedness.”
In a new essay, Melissa Warak reviews Portraits of Courage: A Commander in Chief’s Tribute to America’s Warriors, an exhibition of the paintings of George W. Bush.
Sarah Kanouse, Jeremy Liu, Catherine Morris, and Mimi Thi Nguyen seek 500-word responses from communities of art-making, scholarship, and exhibition practice regarding public funding for the arts in an environment of heightened scarcity and competitiveness.
Scholar Suzaan Boettger traces the generative interplay between science-fiction author Brian Aldiss’s novel Earthworks and the Land art practice of Robert Smithson.
Caitlin Masley-Charlet sits down with artist Elisabeth Smolarz to discuss Smolarz’s recent residencies and projects, and the importance of failure, artistic community, and cross-pollination between practitioners.
Geeta Kapur puts forth a thirteen-part text, “Proposition Avant-Garde: A View from the South,” with critical responses by Saloni Mathur and Rachel Weiss.
Zach Kaiser presents his app CitationBomb, as well as his theory and practice of scrambling and hacking the contemporary metrics of academic success. In “overflowing the commodity market for citations,” Kaiser questions the value systems we assign to knowledge production and consumption.
The 2017 film Through the Repellent Fence looks at Postcommodity’s practice and its relation to and divergences from Land art traditions. Emily Eliza Scott explores the film and the role of art along the US-Mexico border.
Sara Reisman reflects on the ways in which artists and institutions consider (or disregard) how individuals with disabilities access their work.
Huey Copeland and Krista Thompson sketch the concept of the afrotrope, a term they have developed over the past decade to describe “those recurrent visual forms that have emerged within and become central to the formation of African diasporic culture and identity.”
By Risham Majeed and Elizabeth Rodini
Risham Majeed and Elizabeth Rodini discuss Majeed’s exhibition Made to Move: African Nomadic Design, the museological and curatorial challenges posed by the exhibition’s material, and the possibility of a decolonized museum space.
Andrew Yang shares a “transdisciplinary cluster” of works that engage the concept of the Anthropocene. When it comes to climate change, Yang asks, “Which we is responsible, or most at risk? What sorts of people, organisms, and entities does we invite or exclude?”
By A.K. Burns and Melissa Ragain
In this annotated commentary, artist A.K. Burns and art historian and critic Melissa Ragain explore the script, performances, and citations in Burn’s video installation A Smeary Spot (2015), which is the first episode in her five-part Negative Space film cycle.
By Nick Herman
Art Journal Open presents Medias Res by artist Nick Herman, which features Herman’s exploration of his artworks and texts related to his interests in static, rastering, layering, and other transmission processes. These interests have led Herman to create two new works to be viewed on Art Journal Open: Comm 1 (2017), which takes the shape of a unique and experimental pop-up GIF experience, and MERROR ERROR TERRIOR (2017), a downloadable image. “Static or noise as a record of transmission becomes its own reward, reflecting its innate complexity and, in the process, some greater truth about its origin.” Herman writes, “To me, the GIF does something similar, capturing the unpredictable rhythms and constituent raster of their source.”
By Anna Craycroft
In “To Listen,” artist Anna Craycroft considers the role of the voice of the artist and reflects on her process of creating her exhibition Tuning the Room (Ben Maltz Gallery at Otis College of Art and Design in Los Angeles, January 28–April 16, 2017) in relationship to her research into the archives of photographer Berenice Abbott for Craycroft’s exhibition The Earth Is a Magnet (Institute of Contemporary Art Boston, November 16, 2016–March 26, 2017). This is the second installment of Craycroft’s two-part series for Art Journal Open.
By Caitlin Masley-Charlet
Caitlin Masley-Charlet speaks with artist Chad Stayrook about his experiences at artist residencies around the world, the effects that residencies have had his artistic practice, and the development of Present Company, the artist-run space in Brooklyn that he cofounded.
By Marie Watt
Marie Watt first encountered Joseph Beuys’s work as a college student studying abroad. While working on an MFA at Yale, she wrote a reflection on the artist’s I Like America and America Likes Me from the perspective of Coyote, for a course taught by the art historian Romy Golan.
By Camila Maroja
Camila Maroja reviews the exhibition and catalogue, Hélio Oiticica: To Organize Delirium.
By Kate Morris and Bill Anthes
On November 15, 2016, a “National Day of Action,” demonstrators in cities from Los Angeles to New York took to the streets in support of the efforts of the Standing Rock Sioux to block construction of the Dakota Access oil pipeline (DAPL). According to tribal leaders, the presence of the pipeline constitutes a dire threat to the tribe’s water supply, and will desecrate scores of sacred, historical, and cultural sites along its intended 1,172-mile route.
By Ryan Kuo
In “Building a Table,” artist and writer Ryan Kuo discusses his use of HTML to construct the data tables in his artist’s project, Tables of Content, and the profound implications that seemingly benign systems of ordering have on society. With an introduction by Art Journal Open’s former web editor, Gloria Sutton.
By Ryan Kuo
Art Journal Open presents an interactive artist’s project by Ryan Kuo.
By Charissa Terranova
Charissa Terranova discusses the exhibition and catalogue, Conceptual Art in Britain 1964–1979, which was on view at the Tate Britain from April 12–August 29, 2016.
By Olubukola A. Gbadegesin
Olubukola A. Gbadegesin speaks with multidisciplinary artist Damon Davis about his mixed-media collage series, Negrophilia, and the importance of self-representation. “We’ve got to represent ourselves,” Davis says, “Because if we let others tell the story, important parts are going to be erased.
By Jaimey Hamilton Faris and Margo Machida
Jaimey Hamilton Faris and Margo Machida speak with Hawaiʻi-born artists Lynne Yamamoto and Sean Connelly to discuss their sculptural works for the inaugural Honolulu Biennial, Middle of Now|Here (March 8–May 8, 2017). Connelly’s Thatch Assembly with Rocks (2060s) (2017) and Yamamoto’s Borrowed Time (2017) recognize the significance of locality and place in illuminating the enduring impact of entwined histories and shifting alignments among the native, local, and global.
By Ace Lehner
Ace Lehner shares their reading list with Art Journal Open.
By grupa o.k. (Julian Myers and Joanna Szupinska)
Art history has long included studies of exhibitions as episodes or turning points within more expansive narratives. Such moments have opened art histories based in the studio, or among the members of a small, bohemian circle, to a larger social field that includes politics, audience, and market, before returning to the private or small-group interactions that have equally served to drive art’s internal means.
By Rachel Middleman and Anne Monahan
In 1974 news that David Smith’s executors had stripped paint from some of his sculptures catalyzed a long-running public conversation about executors’ responsibilities to artists, artworks, and art history. Forty years later, news that the same estate’s administrators tried to stifle the exhibition and sale of Lauren Clay’s diminutive, painted-paper objects inspired by that earlier incident has yet to prompt a similar critical response.
By Nazar Kozak
Around 9:00am on January 24, 2014, Maxym Vehera, an amateur artist, comes to Hrushevskyi Street in Kyiv, mounts his portable easel some one hundred yards from the riot police line, and spends five hours painting the scene of a street fight in progress. Black smoke from the burning barricade veils the sky, tear gas irritates the frosty air, a stun grenade explosion shuts all senses down. The canvas falls to the ground, into the mixture of snow and ashes. Vehera picks it up, wipes off the dirt, and continues to paint amid chaos.
By Ryan Kuo
“As platforms from Submittable to Snapchat streamline personal publishing into drag-and-drop gestures,” writes Ryan Kuo, “the work being submitted becomes not the work, but a signpost redirecting us to a semblance of the work, subject to Terms and Conditions.” “In Submission” is the first of a three-part series by writer and artist Ryan Kuo for Art Journal Open.
By Michael Corris
A tribute to Dore Ashton, “one of the most energetic, widely published, and politicized American writers on art, and one of the chief proponents of the artists of the New York School (she decried the label Abstract Expressionism).” Michael Corris shares his remembrances of Dore Ashton as well as the audio and transcribed text from their 2011 conversation about Ashton’s experiences with the New York art world in the 19650s and 1960s. Alfredo Jaar’s film, Dore Ashton, you know (2015), and photographs by Madeline Djerejian and Polly Bradford-Corris are also presented here.
An update from Temporary Collectives, a dynamic intercollegiate graduate project involving professors and students from six universities in North Texas.
By Mary L. Coyne
For the first conversation in Mary L. Coyne’s Playing by the Rules series, Coyne speaks with filmmaker Ericka Beckman about the framework of games and performance in Beckman’s films You The Better and Cinderella.
By Mary L. Coyne
An introduction to Playing by the Rules, a new conversation series by curator and writer Mary L. Coyne.
An update from Voices in Contemporary Art (VoCA) on the most recent issue of VoCA Journal.
By Alexandra Nitschke
Alexandra Nitschke shares what she’s reading with Art Journal Open.
By Anna Craycroft
In “To Record, to Interpret, to Comment,” Brookyn–based artist Anna Craycroft asks readers to reconsider how we come to know what we think we know about the history of modernist photography and the photographer Berenice Abbott, which draws from Craycroft’s extensive research into Abbott’s writings, photographs, letters, inventions, and other archival materials.
By Gloria Sutton
Art Journal Open presents “To Record, to Interpret, to Comment” by Anna Craycroft.
By Nick Herman
In Edges of Action (2016), Los Angeles–based artist Nick Herman finds a distinctive method of framing his practice, blending the studied delivery of a public artist’s talk with the conversational pace of an intimate studio visit. This is the first installment of a unique three-part artist’s project Herman has created for Art Journal Open.
By Gloria Sutton
Art Journal Open is pleased to present Edges of Action by artist Nick Herman.
By Lynn M. Somers
Lynn M. Somers shares her reading list in this new installment of Art Journal Open’s Bookshelf.
By Amy A. DaPonte
Millions of Turkish immigrants settled in Germany after World War II to answer the call of politicians who needed to refresh the labor force after the war. Images of Turks at work or leisure in the parks, homes, markets, shops, and bars of 1970s West German cities populate Candida Höfer’s large, multiformat series entitled Türken in Deutschland (Turks in Germany, 1972–79).
By Lauren Richman
Lauren Richman reviews Hilary Roberts, ed., Lee Miller: A Woman’s War, and the exhibition Lee Miller: A Woman’s War, and Walter Moser and Klaus Albrecht Schröder, eds., Lee Miller, and the exhibition Lee Miller, aka Lee Miller—Photographs and The Indestructible Lee Miller
By Elise Dodeles
In this new installment of Art Journal Open’s Bookshelf, Elise Dodeles shares what she’s reading.
By Caitlin Masley-Charlet
Caitlin Masley-Charlet, deputy director of Guttenberg Arts in Guttenberg, New Jersey, and artist Roberto Visani discuss his experiences while artist-in-residence at Guttenberg Arts and other residencies.
By Lisa Pon
Lisa Pon shares her reading list in this new installment of Art Journal Open’s Bookshelf.
By Kate Costello
The Los Angeles–based artist Kate Costello has created a unique animation of her limited edition book, P&P. P&P conveys Costello’s examination and subjective cataloging of vernacular languages active within contemporary visual culture.
By Gloria Sutton
Art Journal Open is pleased to present a new Contemporary Project by artist Kate Costello.
By Elizabeth Mangini
In 1968, while demonstrating students occupied university buildings less than a mile away, the Italian artist Mario Merz hung a handful of neon lights bent into the numerals 1, 1, 2, 3, and 5 above the kitchen stove in his home on Via Santa Giulia in Turin. It wasn’t yet an artwork, just something to think about in the place where he and his wife, fellow artist Marisa Merz, gathered to talk with each other and with friends.
By Roger F. Malina
We are witnessing a resurgence of creative and scholarly work that seeks to bridge science and engineering with the arts, design, and the humanities. These practices connect both the arts and sciences, hence the term art-science, and the arts and the engineering sciences and technology, hence the term “art and technology.”
By Penelope Vlassopoulou
Penelope Vlassopoulou began her Metamorphosis series in her home city of Athens. The series evolved in multidisciplinary dialogue with diverse urban environments including Berlin, Belgrade, and Chicago. In March 2015, Metamorphosis returned to its point of origin with no water tracing a link between Greece’s historical past and the country’s current predicament.
By Pedro de Llano
Curator and art historian Pedro de Llano speaks with artist Joel Tauber about Tauber’s The Sharing Project (2012–16), an installation and film project that looks at the socialist Jewish community of Happyville (1905–1908) in South Carolina as a way to consider complex questions about social, political, and economic issues in today’s world.
By Vanessa Kauffman
Artist Marco Breuer and Vanessa Kauffman, communications and outreach manager of Headlands Center for the Arts (Sausalito, California), discuss Breuer’s experiences as an artist-in-residence at Headlands and other residencies, and the way that the flexibility and differences in the studio set-up at each residency creates opportunities for new discoveries.
By Amy Cancelmo
Amy Cancelmo, art programs director at Root Division (San Francisco, California), speaks with artist Kija Lucas about her experiences as an artist-in-residence at Root Division and other residencies, and her cross-country travels to work on her projects In Search of Home and Objects to Remember You By: An Index of Sentiment .
By Charissa Terranova
Charissa Terranova reviews Wetware: Art, Agency, Animation, which was on view at the Beall Center for Art + Technology, University of California, Irvine, from February 6–May 7, 2016.
By Vanessa Kauffman
Vanessa Kauffman, communications and outreach manager for Headlands Center for the Arts (Sausalito, California), speaks with artist Patricia Fernández Carcedo about her experiences as an artist-in-residence at Headlands and other residencies, and the importance that walking holds within her artistic practice.
By Gloria Sutton
Art Journal Open is pleased to introduce a new cluster of conversations focused on artist residencies.
By Mika Yoshitake
Curator Mika Yoshitake and artist Shana Lutker discuss Surrealist fightfights, making sense of the past through the lens of the contemporary, and the research process for Lutker’s exhibition Shana Lutker: Le “NEW” Monocle, Chapters 1–3 at the Hirshhorn Museum and Sculpture Garden in Washington, DC (October 27, 2015–February 16, 2016), which was curated by Yoshitake.
By Amanda Jane Graham
In 1974 the choreographer Trisha Brown moved to 541 Broadway in SoHo, New York City. The cast-iron “nexus” for postmodern dance, commonly referred to as “the dance building,” had what the former Brown company dancer Elizabeth Garren describes as a “communal atmosphere.” Purchased and renovated by the Fluxus founder George Maciunas “with dancers in mind,” 541 was wider than the majority of the standard buildings in the neighborhood, and more important, it contained no interior pillars, making it an ideal choreographic work space.
By Chris Taylor
Chris Taylor reviews Troublemakers: The Story of Land Art (2015), written and directed by James Crump.
By Caitlin Masley-Charlet
Caitlin Masley-Charlet, deputy director of Guttenberg Arts (Guttenberg, NJ), speaks with artist Diana Shpungin about her experiences as an artist-in-residence at Guttenberg Arts and other programs, artistic community, and the importance of having space for experimentation. This is the first conversation in a four-part series by Caitlin Masley-Charlet, focusing on artists who were recently in residence at Guttenberg Arts.
By Natilee Harren
In “Episode Three, 2013,” Natilee Harren looks at artist Karl Haendel’s practice of appropriation within the context of today’s image culture. This is the third and final part of her essay, “Karl Haendel and the Legacy of Appropriation.”
By Nate Harrison
Nate Harrison responds to “Episode Three, 2013,” the third and final part of Natilee Harren’s essay, “Karl Haendel and the Legacy of Appropriation.”
By Emma Chubb
Three horizontal screens stretch across two gallery walls, suspended from the ceiling and hung in a slight arc. At first, the two flanking screens remain dark and only the center screen is illuminated. It shows an expanse of blue water, waves rippling with gold and reflecting the setting sun as they gently curl forward onto a barely visible beach.
By James Walsh
I’ve been working since 2008 on a long, complex project centered on plants that grow in both the arctic (I always use the lowercase) and New York City, of which there are a surprising number. Along with identifying and pressing these plants, I’ve been reading eighteenth-century herbals and floras and more recent works on edible plants and botany generally, and have had a particular interest in mental travel and in writers who combine botany and literature.
By Natilee Harren
In “Episode Two” of her three-part essay, “Knight’s Heritage: Karl Haendel and the Legacy of Appropriation,” Natilee Harren explores appropriation, artistic heritage, and medieval suits of armor through the context of an encounter between Karl Haendel and an artist of an earlier generation, Robert Longo.
By Nate Harrison
Nate Harrison responds to “Episode Two, 2012,” the second part of Natilee Harren’s essay, “Knight’s Heritage: Karl Haendel and the Legacy of Appropriation.”
By Chelsea Spengemann
Chelsea Spengemann on the Art+Feminism Wikipedia Edit-a-thon held at the Museum of Modern Art on March 5, 2016.
For this new installment of Art Journal Open Bookshelf, Jongwoo Jeremy Kim shares his reading list.
By Godfre Leung
Godfre Leung reviews Sabine Breitwieser, Laura J. Hoptman, Michael Darling, and Jeffrey D. Grove, Isa Genzken: Retrospective, and the exhibition Isa Genzken: Retrospective; Kathy Halbreich, ed., Alibis: Sigmar Polke, 1963–2010, and the exhibition Alibis: Sigmar Polke, 1963–2010; and Elodie Evers, Magdalena Holzhey, and Gregor Jansen, eds., Leben mit Pop and the exhibition Leben mit Pop.