Community and Creativity at Residencies Near and Far: Chad Stayrook in Conversation with Caitlin Masley-Charlet

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.

2017: Indigenous Futures

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.

Building a Table

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.

Damon Davis’s Negrophilia: Encounters with Black Death

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.

Restructuring Place in Hawaiʻi: Jaimey Hamilton Faris and Margo Machida in Conversation with Sean Connelly and Lynne Yamamoto

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.

The Prehistory of Exhibition History

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.

Introduction: The Politics of Legacy

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.

Art Embedded into Protest: Staging the Ukrainian Maidan

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.

In Submission

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.

Communing with Dore Ashton

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.

Candida Höfer’s Türken in Deutschland as “Counter-publicity”

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).

Solitary/Solidary: Mario Merz’s Autonomous Artist

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.

Art-Science: An Annotated Bibliography

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.”

Happyville in the Rearview: A Conversation between Joel Tauber and Pedro de Llano

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.

A New Configuration: Marco Breuer in Conversation with Vanessa Kauffman

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.

Root and Ramble: Kija Lucas and Amy Cancelmo in Conversation

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 .

Outside of Time: Patricia Fernández Carcedo in Conversation with Vanessa Kauffman

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.

Humans Have Been Human for So Long: Shana Lutker and Mika Yoshitake in Conversation

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.

Space Travel: Trisha Brown’s Locus

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.

Caitlin Masley-Charlet and Diana Shpungin in Conversation

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.

Small Boats, Slave Ship; or, Isaac Julien and the Beauty of Implied Catastrophe

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.

The Arctic Plants of New York City: An Annotated Bibliography

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.

Knight’s Heritage: Karl Haendel and the Legacy of Appropriation, Episode Two, 2012

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.

Leaving Düsseldorf

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.

Knight’s Heritage: Karl Haendel and the Legacy of Appropriation, Episode One, 2000

By Natilee Harren

In Natilee Harren’s three-part essay series on issues of appropriation and artistic heritage, she examines episodes in the work of the Los Angeles–based artist Karl Haendel. In “Episode One,” Harren looks closely at Haendel’s Knight’s Heritage, 1963 (2001), which he made as a graduate student, and how it relates to the career and work of the sculptor Anne Truitt (1921–2004). Haendel made his work, a reconstruction of a 1963 work by Truitt, based on photographs, without ever having seen the Truitt sculpture itself.

Two for One: robbinschilds in conversation with Dina Deitsch

By Dina Deitsch

In the final installment of her three-part interview series, curator Dina Deitsch speaks with robbinschilds about site, collaboration, and the process of creating Constructions I–IV, which was commissioned for the 2011 exhibition Temporary Structures: Performing Architecture in Contemporary Art at the deCordova Sculpture Park and Museum.

In, Around, and Afterthoughts (On Participation): Photography and Agency in Martha Rosler’s Collaboration with Homeward Bound

By Adair Rounthwaite

It seems obvious to state that photographs play a central role in our ability to study participatory art. Art historians, however, have largely bracketed this as an issue that might be important for how we conceive the politics and aesthetics of participation.

The New Geography: Earth Music and Land Art, Version 2.0

By Mike Maizels
The apologists for “Big Data” seem to be everywhere these days. In forums ranging from TED talks to marketing campaigns, we are now being bombarded by the just-on-the-horizon possibilities of Total Information. It is no surprise that a particular articulation of these ideas has also surfaced in the world of contemporary art practice.

Dada Dance: Sophie Taeuber’s Visceral Abstraction

By Nell Andrew

In a recent landmark exhibition on the intersection of art and dance, Danser sa vie, the Centre Georges Pompidou displayed an enigmatic photograph identified as the artist Sophie Taeuber dancing at the Cabaret Voltaire in 1916. It is not uncommon for a photograph to stand in as an icon of a live event and offer what we hope is access to some present now passed, but for decades scholars have disagreed on the date and location of the Taeuber photograph.

Sexing Sculpture: New Approaches to Theorizing the Object

By Jillian Hernandez and Susan Richmond

This forum, which originated as a panel at the 2013 Annual Conference of the College Art Association in New York, developed from the following question: how do sculptural practices uphold or, conversely, equivocate the certainties of gendered and sexual embodiment?

Through the Looking-Glass, Darkly

By Tina Rivers

When H. H. Arnason published the first edition of his 1968 book The History of Modern Art, it ended with a one-page entry on “Psychedelic Art.” Positioning the inchoate movement as a bridge between the modern and contemporary periods, the entry was a blueprint for a future that would never come to pass, and was expunged from all further editions, helping to relegate psychedelia to the proverbial dustbin of history.