Author Archives: Ryan Kuo

Japanese Counting Board (image in the public domain)

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.

Japanese Counting Board (image in the public domain)

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.

Kuo_cover image_Tables of Content

Tables of Content

By Ryan Kuo

Art Journal Open presents an interactive artist’s project by Ryan Kuo.

Kuo_cover image_Tables of Content

Tables of Content

By Ryan Kuo

Art Journal Open presents an interactive artist’s project by Ryan Kuo.

Conceptual Art in Britian 1964–1979, April 12–August 29, 2016, installation view, Tate Britian (photo: Tate Photography)

Warm, Wet, Cold, Dry: Conceptual Art in Britain 1964–1979

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.

Conceptual Art in Britian 1964–1979, April 12–August 29, 2016, installation view, Tate Britian (photo: Tate Photography)

Warm, Wet, Cold, Dry: Conceptual Art in Britain 1964–1979

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.

Damon Davis, Untitled (2), 2015, bookprint, ink, watercolor, adhesive, from the series Negrophilia (artwork © Damon Davis)

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.

Damon Davis, Untitled (2), 2015, bookprint, ink, watercolor, adhesive, from the series Negrophilia (artwork © Damon Davis)

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.

Installation view at Foster Gardens of Sean Connelly, Thatch Assembly with Rocks  (2060s), 2017 and Lynne Yamamoto, Borrowed Time, 2017 (artwork © Sean Connelly; artwork © Lynne Yamamoto; photograph © Lucretia Knapp)

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.

Installation view at Foster Gardens of Sean Connelly, Thatch Assembly with Rocks  (2060s), 2017 and Lynne Yamamoto, Borrowed Time, 2017 (artwork © Sean Connelly; artwork © Lynne Yamamoto; photograph © Lucretia Knapp)

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.

Ace Lehner's Bookshelf (photograph © Ace Lehner)

Bookshelf: Ace Lehner

By Ace Lehner
Ace Lehner shares their reading list with Art Journal Open.

Ace Lehner's Bookshelf (photograph © Ace Lehner)

Bookshelf: Ace Lehner

By Ace Lehner
Ace Lehner shares their reading list with Art Journal Open.

grupa o.k.'s Critical Bibliography

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.

grupa o.k.'s Critical Bibliography

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.

Lauren Clay, Old Enough to Repaint but Young Enough to Sell (Cubi XVIII), 2011, paper, acrylic, wooden armature, 18⅝ x 11½ x 4½ in (47.3 x 29.2 x 11.4 cm) (artwork © Lauren Clay)

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.

Lauren Clay, Old Enough to Repaint but Young Enough to Sell (Cubi XVIII), 2011, paper, acrylic, wooden armature, 18⅝ x 11½ x 4½ in (47.3 x 29.2 x 11.4 cm) (artwork © Lauren Clay)

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.

Independence Square, Kyiv, February 21, 2014
 (photograph © Borys Harasymiv)

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.

Independence Square, Kyiv, February 21, 2014
 (photograph © Borys Harasymiv)

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.

Kuo_1

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.

Kuo_1

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.

Dore Ashton at the kitchen table in her home on East Eleventh Street, New York, New York, 2011 (photograph © Madeline Djerejian)

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.

Dore Ashton at the kitchen table in her home on East Eleventh Street, New York, New York, 2011 (photograph © Madeline Djerejian)

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.

Installation view of Temporary Collectives, 2016 (photograph © Darryl Lauster)

Temporary Collectives

An update from Temporary Collectives, a dynamic intercollegiate graduate project involving professors and students from six universities in North Texas.

Installation view of Temporary Collectives, 2016 (photograph © Darryl Lauster)

Temporary Collectives

An update from Temporary Collectives, a dynamic intercollegiate graduate project involving professors and students from six universities in North Texas.

Ericka Beckman, You The Better Expanded Study 3, 1984/2014, notebook drawing for You The Better (artwork © Ericka Beckman)

Playing by the Rules: Ericka Beckman in Conversation with Mary L. Coyne

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.

Ericka Beckman, You The Better Expanded Study 3, 1984/2014, notebook drawing for You The Better (artwork © Ericka Beckman)

Playing by the Rules: Ericka Beckman in Conversation with Mary L. Coyne

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.

Sarah Michelson, tournamento, 2015, Walker Art Center, Minneapolis (artwork © Sarah Michelson; photograph by Gene Pittman; photograph provided by Walker Art Center)

Playing by the Rules (Parts I–III)

By Mary L. Coyne
An introduction to Playing by the Rules, a new conversation series by curator and writer Mary L. Coyne.

Sarah Michelson, tournamento, 2015, Walker Art Center, Minneapolis (artwork © Sarah Michelson; photograph by Gene Pittman; photograph provided by Walker Art Center)

Playing by the Rules (Parts I–III)

By Mary L. Coyne
An introduction to Playing by the Rules, a new conversation series by curator and writer Mary L. Coyne.

Noah Purifoy,  No Contest, 1994 (artwork © Noah Purifoy Foundation), which was featured on the cover of  Fall 2016 issue of VoCA Journal

Update from Voices in Contemporary Art

An update from Voices in Contemporary Art (VoCA) on the most recent issue of VoCA Journal.

Noah Purifoy,  No Contest, 1994 (artwork © Noah Purifoy Foundation), which was featured on the cover of  Fall 2016 issue of VoCA Journal

Update from Voices in Contemporary Art

An update from Voices in Contemporary Art (VoCA) on the most recent issue of VoCA Journal.

Alexandra Nitschke's Bookshelf (photograph © Alexandra Nitschke)

Bookshelf: Alexandra Nitschke

By Alexandra Nitschke

Alexandra Nitschke shares what she’s reading with Art Journal Open.

Alexandra Nitschke's Bookshelf (photograph © Alexandra Nitschke)

Bookshelf: Alexandra Nitschke

By Alexandra Nitschke

Alexandra Nitschke shares what she’s reading with Art Journal Open.

Lynn M. Somers’s Bookshelf (photograph © Lynn M. Somers)

Bookshelf: Lynn M. Somers

By Lynn M. Somers

Lynn M. Somers shares her reading list in this new installment of Art Journal Open’s Bookshelf.

Lynn M. Somers’s Bookshelf (photograph © Lynn M. Somers)

Bookshelf: Lynn M. Somers

By Lynn M. Somers

Lynn M. Somers shares her reading list in this new installment of Art Journal Open’s Bookshelf.

Candida Höfer, Untitled from Türken in Deutschland 1979, 1979, color slide projection, 80 slides, approx. 7 min., dimensions variable (artwork © Candida Höfer, Köln/VG Bild-Kunst, Bonn 2016)

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).

Candida Höfer, Untitled from Türken in Deutschland 1979, 1979, color slide projection, 80 slides, approx. 7 min., dimensions variable (artwork © Candida Höfer, Köln/VG Bild-Kunst, Bonn 2016)

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).

Hilary Roberts, ed., Lee Miller: A Woman’s War

Lee Miller, Challenging Convention

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

Hilary Roberts, ed., Lee Miller: A Woman’s War

Lee Miller, Challenging Convention

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

Elise Dodeles’s Bookshelf (photograph © Elise Dodeles)

Bookshelf: Elise Dodeles

By Elise Dodeles
In this new installment of Art Journal Open’s Bookshelf, Elise Dodeles shares what she’s reading.

Elise Dodeles’s Bookshelf (photograph © Elise Dodeles)

Bookshelf: Elise Dodeles

By Elise Dodeles
In this new installment of Art Journal Open’s Bookshelf, Elise Dodeles shares what she’s reading.

Roberto Visani, Travel Fox, 2015, mixed-media collage, 20 x 16 in. (50.8 x 40.6 cm) (artwork © Roberto Visani)

Art Practice beyond the Home Studio: Roberto Visani and Caitlin Masley-Charlet in Conversation

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.

Roberto Visani, Travel Fox, 2015, mixed-media collage, 20 x 16 in. (50.8 x 40.6 cm) (artwork © Roberto Visani)

Art Practice beyond the Home Studio: Roberto Visani and Caitlin Masley-Charlet in Conversation

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.

Lisa Pon's Bookshelf (photograph © Lisa Pon)

Bookshelf: Lisa Pon

By Lisa Pon

Lisa Pon shares her reading list in this new installment of Art Journal Open’s Bookshelf.

Lisa Pon's Bookshelf (photograph © Lisa Pon)

Bookshelf: Lisa Pon

By Lisa Pon

Lisa Pon shares her reading list in this new installment of Art Journal Open’s Bookshelf.

Mario Merz, Fibonacci Santa Giulia, 1968, neon, installation view, Merz home, Turin, 1968 (artwork © Fondazione Merz; photograph © Paolo Mussat Sartor, provided by Archivio Merz, Turin)

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.

Mario Merz, Fibonacci Santa Giulia, 1968, neon, installation view, Merz home, Turin, 1968 (artwork © Fondazione Merz; photograph © Paolo Mussat Sartor, provided by Archivio Merz, Turin)

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.

malina_review

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.”

malina_review

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.”

Joel Tauber, The Sharing Project, installation, University Art Museum, California State Long Beach, 2015 (artwork © Joel Tauber)

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.

Joel Tauber, The Sharing Project, installation, University Art Museum, California State Long Beach, 2015 (artwork © Joel Tauber)

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.

Marco Breuer, Untitled (C-1485), 2014, chromogenic paper, folded/burned/scraped, unique, 19-15/16 x 16-13/16 in (50.6 x 42.7 cm) (artwork © Marco Breuer; provided by the artist and Yossi Milo Gallery)

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.

Marco Breuer, Untitled (C-1485), 2014, chromogenic paper, folded/burned/scraped, unique, 19-15/16 x 16-13/16 in (50.6 x 42.7 cm) (artwork © Marco Breuer; provided by the artist and Yossi Milo Gallery)

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.

Kija Lucas, Bristol 30, 2013, archival pigment print, 20 x 24 in. (50.8 x 60.9 cm), from In Search of Home, (artwork © Kija Lucas)

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 .

Kija Lucas, Bristol 30, 2013, archival pigment print, 20 x 24 in. (50.8 x 60.9 cm), from In Search of Home, (artwork © Kija Lucas)

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 .

Gilberto Esparza, Moscas (Flies), 2010–2014, motor from cellular phone, copper wire, and controller (artwork © Gilberto Esparza; photograph provided by Beall Center for Art + Technology, University of California, Irvine)

Between Negative Dialectics and Biological Aesthesis

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.

Gilberto Esparza, Moscas (Flies), 2010–2014, motor from cellular phone, copper wire, and controller (artwork © Gilberto Esparza; photograph provided by Beall Center for Art + Technology, University of California, Irvine)

Between Negative Dialectics and Biological Aesthesis

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.

Visitors in Patricia Fernández Carcedo’s studio during Headlands’ Fall Open House (photograph by Rebecca Puretz; provided by Headlands Center for the Arts)

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.

Visitors in Patricia Fernández Carcedo’s studio during Headlands’ Fall Open House (photograph by Rebecca Puretz; provided by Headlands Center for the Arts)

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.

Shana Lutker, A handsome confused puppet, 2015, mirrored glass box, fluorescent lights, wood, marble, casters, 49 x 30 x 19 in. (124.4 x 76.2 x 48.2 cm) (artwork © Shana Lutker; photograph by Cathy Carver)

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.

Shana Lutker, A handsome confused puppet, 2015, mirrored glass box, fluorescent lights, wood, marble, casters, 49 x 30 x 19 in. (124.4 x 76.2 x 48.2 cm) (artwork © Shana Lutker; photograph by Cathy Carver)

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.

Trisha Brown, Locus Solo, 2011, performed by Diane Madden in “Performance 11: OnLine/Trisha Brown Dance Company” in conjunction with the exhibition On Line: Drawing through the Twentieth Century, Museum of Modern Art, New York, January 2011 (photographs © Yi-Chun Wu; photographs provided by Museum of Modern Art/Licensed by SCALA/Art Resource, NY)

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.

Trisha Brown, Locus Solo, 2011, performed by Diane Madden in “Performance 11: OnLine/Trisha Brown Dance Company” in conjunction with the exhibition On Line: Drawing through the Twentieth Century, Museum of Modern Art, New York, January 2011 (photographs © Yi-Chun Wu; photographs provided by Museum of Modern Art/Licensed by SCALA/Art Resource, NY)

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.

Nancy Holt, sunlight in Sun Tunnels, 1976, still from Troublemakers (photograph by Nancy Holt © Holt-Smithson Foundation/Licensed by VAGA, New York, provided by Summitridge Pictures and RSJC LLC)

Troubling Troublemakers

By Chris Taylor
Chris Taylor reviews Troublemakers: The Story of Land Art (2015), written and directed by James Crump.

Nancy Holt, sunlight in Sun Tunnels, 1976, still from Troublemakers (photograph by Nancy Holt © Holt-Smithson Foundation/Licensed by VAGA, New York, provided by Summitridge Pictures and RSJC LLC)

Troubling Troublemakers

By Chris Taylor
Chris Taylor reviews Troublemakers: The Story of Land Art (2015), written and directed by James Crump.

Diana Shpungin, detail of A Break in One and Several Places, 2015, graphite pencil, horse hair broom, glazed porcelain and stoneware, 24 x 43 x 14 in. (60.9 x 109.2 x 35.5 cm) (artwork © Diana Shpungin)

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.

Diana Shpungin, detail of A Break in One and Several Places, 2015, graphite pencil, horse hair broom, glazed porcelain and stoneware, 24 x 43 x 14 in. (60.9 x 109.2 x 35.5 cm) (artwork © Diana Shpungin)

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.

Karl Haendel, Long Black Coat, pencil on paper, 92 x 45 in. (233.6 x 114.3 cm), 2012 (artwork © Karl Haendel)

Knight’s Heritage: Karl Haendel and the Legacy of Appropriation, Episode Three, 2013

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.”

Karl Haendel, Long Black Coat, pencil on paper, 92 x 45 in. (233.6 x 114.3 cm), 2012 (artwork © Karl Haendel)

Knight’s Heritage: Karl Haendel and the Legacy of Appropriation, Episode Three, 2013

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.”

Karl Haendel, Man, 2010, pencil on paper, 92 x 45 in. (233.6 x 114.3 cm) (artwork © Karl Haendel)

Response to Natilee Harren’s “Knight’s Heritage: Karl Haendel and the Legacy of Appropriation, Episode Three, 2013”

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.”

Karl Haendel, Man, 2010, pencil on paper, 92 x 45 in. (233.6 x 114.3 cm) (artwork © Karl Haendel)

Response to Natilee Harren’s “Knight’s Heritage: Karl Haendel and the Legacy of Appropriation, Episode Three, 2013”

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.”

Isaac Julien, Western Union: Small Boats, 2007, three-screen projection, 35mm color film, DVD/HD transfer, 5.1 SR sound, 18 min. 22 sec., edition of 5, installation view, Metro Pictures, New York, 2007 (artwork © Isaac Julien; photograph provided by Metro Pictures, New York)

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.

Isaac Julien, Western Union: Small Boats, 2007, three-screen projection, 35mm color film, DVD/HD transfer, 5.1 SR sound, 18 min. 22 sec., edition of 5, installation view, Metro Pictures, New York, 2007 (artwork © Isaac Julien; photograph provided by Metro Pictures, New York)

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.

James Walsh's Critical Bibliography

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.

James Walsh's Critical Bibliography

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.

Karl Haendel, Knight #2, 2010, pencil on paper, 103 x 74 in. (261.6 x 187.9 cm) (artwork © Karl Haendel)

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.

Karl Haendel, Knight #2, 2010, pencil on paper, 103 x 74 in. (261.6 x 187.9 cm) (artwork © Karl Haendel)

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.

Penelope Umbrico, Sunset Portraits, 2011, images from Flickr (artwork © Penelope Umbrico)

Response to Natilee Harren’s “Knight’s Heritage: Karl Haendel and the Legacy of Appropriation, Episode Two, 2012”

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.”

Penelope Umbrico, Sunset Portraits, 2011, images from Flickr (artwork © Penelope Umbrico)

Response to Natilee Harren’s “Knight’s Heritage: Karl Haendel and the Legacy of Appropriation, Episode Two, 2012”

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.”

A training session at the Art+Feminism Wikipedia Edit-a-thon. Four sessions led by experienced Wikipedians were offered throughout the day. (photograph © Chelsea Spengemann)

Wikipedia Needs You, But Do You Need Wikipedia?

By Chelsea Spengemann

Chelsea Spengemann on the Art+Feminism Wikipedia Edit-a-thon held at the Museum of Modern Art on March 5, 2016.

A training session at the Art+Feminism Wikipedia Edit-a-thon. Four sessions led by experienced Wikipedians were offered throughout the day. (photograph © Chelsea Spengemann)

Wikipedia Needs You, But Do You Need Wikipedia?

By Chelsea Spengemann

Chelsea Spengemann on the Art+Feminism Wikipedia Edit-a-thon held at the Museum of Modern Art on March 5, 2016.

Jongwoo Jeremy Kim's Bookshelf (photograph © Jongwoo Jeremy Kim)

Bookshelf: Jongwoo Jeremy Kim

For this new installment of Art Journal Open Bookshelf, Jongwoo Jeremy Kim shares his reading list.

Jongwoo Jeremy Kim's Bookshelf (photograph © Jongwoo Jeremy Kim)

Bookshelf: Jongwoo Jeremy Kim

For this new installment of Art Journal Open Bookshelf, Jongwoo Jeremy Kim shares his reading list.

Elodie Evers, Magdalena Holzhey, and Gregor Jansen, eds., Leben mit Pop

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.

Elodie Evers, Magdalena Holzhey, and Gregor Jansen, eds., Leben mit Pop

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.

Gert Jan Kocken, Depictions of Berlin, 1933–1945, 2010, C-print, 118⅛ x 169⅜ in. (300 x 430 cm), installation view, Rijksakademie Open Studios, Netherlands, 2011 (artwork © Gert Jan Kocken; photograph provided by the artist)

Against Infographics

By Daniel Rosenberg

When design is excellent, graphics reveal data, writes the infographics guru Edward Tufte. Good information graphics allow the reader to see relationships not apparent in data without visual form. In principle, such graphics do not impose interpretations but, by showing relationships, make interpretations possible.

Gert Jan Kocken, Depictions of Berlin, 1933–1945, 2010, C-print, 118⅛ x 169⅜ in. (300 x 430 cm), installation view, Rijksakademie Open Studios, Netherlands, 2011 (artwork © Gert Jan Kocken; photograph provided by the artist)

Against Infographics

By Daniel Rosenberg

When design is excellent, graphics reveal data, writes the infographics guru Edward Tufte. Good information graphics allow the reader to see relationships not apparent in data without visual form. In principle, such graphics do not impose interpretations but, by showing relationships, make interpretations possible.

Karl Haendel working in his studio, 2001 (photograph © Florian Maier-Aichen)

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.

Karl Haendel working in his studio, 2001 (photograph © Florian Maier-Aichen)

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.

Karl Haendel, Knight’s Heritage, 1963, from the series For/After Anne Truitt,
2001, acrylic on wood, 60-1/2 x 60-1/2 x 12 in. (153.7 x 153.7 x 30.5 cm) (artwork © Karl Haendel)

Response to Natilee Harren’s “Knight’s Heritage: Karl Haendel and the Legacy of Appropriation, Episode One, 2000”

By Nate Harrison

Nate Harrison responds to “Knight’s Heritage: Karl Haendel and the Legacy of Appropriation, Episode One” by Natilee Harren.

Karl Haendel, Knight’s Heritage, 1963, from the series For/After Anne Truitt,
2001, acrylic on wood, 60-1/2 x 60-1/2 x 12 in. (153.7 x 153.7 x 30.5 cm) (artwork © Karl Haendel)

Response to Natilee Harren’s “Knight’s Heritage: Karl Haendel and the Legacy of Appropriation, Episode One, 2000”

By Nate Harrison

Nate Harrison responds to “Knight’s Heritage: Karl Haendel and the Legacy of Appropriation, Episode One” by Natilee Harren.

Christopher Reed's books (photograph © Christopher Reed)

Bookshelf: Christopher Reed

Christopher Reed shares what he’s reading in this new installment of Art Journal Open’s Bookshelf series.

Christopher Reed's books (photograph © Christopher Reed)

Bookshelf: Christopher Reed

Christopher Reed shares what he’s reading in this new installment of Art Journal Open’s Bookshelf series.

Sociological Art Collective (from left to right: Fred Forest, Hervé Fischer, Jean-Paul Thénot) at the 37th Biennale di Venezia, 1976  (photo © Sociological Art Collective, archives: Hervé Fischer)

Update from the European Postwar and Contemporary Art Forum

European Postwar and Contemporary Art Forum shares a News & Notes update on their recent activities.

Sociological Art Collective (from left to right: Fred Forest, Hervé Fischer, Jean-Paul Thénot) at the 37th Biennale di Venezia, 1976  (photo © Sociological Art Collective, archives: Hervé Fischer)

Update from the European Postwar and Contemporary Art Forum

European Postwar and Contemporary Art Forum shares a News & Notes update on their recent activities.

Queer Caucus for Art's new website.

Update from the Queer Caucus for Art

New in News & Notes: An update from the Queer Caucus for Art.

Queer Caucus for Art's new website.

Update from the Queer Caucus for Art

New in News & Notes: An update from the Queer Caucus for Art.

Derek Conrad Murray's Bookshelf (photograph © Derek Conrad Murray)

Bookshelf: Derek Conrad Murray

Derek Conrad Murray shares his reading list in this week’s Art Journal Open Bookshelf.

Derek Conrad Murray's Bookshelf (photograph © Derek Conrad Murray)

Bookshelf: Derek Conrad Murray

Derek Conrad Murray shares his reading list in this week’s Art Journal Open Bookshelf.

Photo of panelists at the Society of Contemporary Art Historian's panel, Histories and Economies of Contemporary Art, which was held  at the College Art Association 103rd Annual Conference in New York, on February 11, 2015 (photograph by Bradley Marks)

Report on the Society of Contemporary Art Historians

The newest installment of News & Notes is a report on the Society of Contemporary Art Historians.

Photo of panelists at the Society of Contemporary Art Historian's panel, Histories and Economies of Contemporary Art, which was held  at the College Art Association 103rd Annual Conference in New York, on February 11, 2015 (photograph by Bradley Marks)

Report on the Society of Contemporary Art Historians

The newest installment of News & Notes is a report on the Society of Contemporary Art Historians.

Center for Land Use Interpretation and the Institute for Marking and Measuring, Centers of the USA, 2013, field west of Twin Tops Mountain, South Dakota (photograph by CLUI published under a Creative Commons A-NC-SA license, creativecommons.org/licenses/by-nc-sa/3.0/us/legalcode)
The site is calculated to be the present geographic center of the United States. Other centers marked in the project include a spot in Kansas that is the center of the forty-eight contiguous states, the town of Plato, Missouri, that is the population center of the United States, a lake in North Dakota that is calculated to be the geographic center of North America, and a field in Wisconsin that lies at the intersection of 45° North and 90° West and is thus the center of the northwest quadrant of the globe. http://clui.org/page/center-continguous-united-states

Rewilding: An Emerging History of Common Field

By James McAnally

Common Field was born of a singular moment, a shared time of simmering scarcity matched with an abundance of artist-centric models springing up globally. The emergent network is quickly becoming a central figure within a spectrum of new alternative forms increasingly coming to define a deflated decade.

Center for Land Use Interpretation and the Institute for Marking and Measuring, Centers of the USA, 2013, field west of Twin Tops Mountain, South Dakota (photograph by CLUI published under a Creative Commons A-NC-SA license, creativecommons.org/licenses/by-nc-sa/3.0/us/legalcode)
The site is calculated to be the present geographic center of the United States. Other centers marked in the project include a spot in Kansas that is the center of the forty-eight contiguous states, the town of Plato, Missouri, that is the population center of the United States, a lake in North Dakota that is calculated to be the geographic center of North America, and a field in Wisconsin that lies at the intersection of 45° North and 90° West and is thus the center of the northwest quadrant of the globe. http://clui.org/page/center-continguous-united-states

Rewilding: An Emerging History of Common Field

By James McAnally

Common Field was born of a singular moment, a shared time of simmering scarcity matched with an abundance of artist-centric models springing up globally. The emergent network is quickly becoming a central figure within a spectrum of new alternative forms increasingly coming to define a deflated decade.

Parul Dave-Mukherji, Naman P. Ahuja, and Kavita Singh, eds., InFlux: Contemporary Art in Asia

Barbarians at the Gates: Contemporary Art and Globalization in Asia

By Sonal Khullar
Sonal Khullar reviews InFlux: Contemporary Art in Asia edited by Parul Dave-Mukherji, Naman P. Ahuja, and Kavita Singh.

Parul Dave-Mukherji, Naman P. Ahuja, and Kavita Singh, eds., InFlux: Contemporary Art in Asia

Barbarians at the Gates: Contemporary Art and Globalization in Asia

By Sonal Khullar
Sonal Khullar reviews InFlux: Contemporary Art in Asia edited by Parul Dave-Mukherji, Naman P. Ahuja, and Kavita Singh.

Math Bass, Installation view of Math Bass: Off the Clock, MoMA PS1, New York, 2015 (artwork © Math Bass, photograph by Pablo Enriquez)

The Body is a Location: Math Bass in Conversation with Mia Locks

By Mia Locks

Curator Mia Locks speaks with artist Math Bass about ambiguity, body movement, and the recent exhibition of Bass’s work that Locks curated, Math Bass: Off the Clock, which was on view at MoMA PS1 from May 3 to September 7, 2015.

Math Bass, Installation view of Math Bass: Off the Clock, MoMA PS1, New York, 2015 (artwork © Math Bass, photograph by Pablo Enriquez)

The Body is a Location: Math Bass in Conversation with Mia Locks

By Mia Locks

Curator Mia Locks speaks with artist Math Bass about ambiguity, body movement, and the recent exhibition of Bass’s work that Locks curated, Math Bass: Off the Clock, which was on view at MoMA PS1 from May 3 to September 7, 2015.

Suzanne Preston Blier's Bookshelf (image © Suzanne Preston Blier)

Bookshelf: Suzanne Preston Blier

In the newest installment of Art Journal Open’s Bookshelf project, Suzanne Preston Blier shares what she’s been reading.

Suzanne Preston Blier's Bookshelf (image © Suzanne Preston Blier)

Bookshelf: Suzanne Preston Blier

In the newest installment of Art Journal Open’s Bookshelf project, Suzanne Preston Blier shares what she’s been reading.

Lareese Hall's "Work" Bookshelf (photograph © Lareese Hall)

Bookshelf: Lareese Hall

Lareese Hall shares her “work” and “life” bookshelves in this installment of Art Journal Open’s Bookshelf series.

Lareese Hall's "Work" Bookshelf (photograph © Lareese Hall)

Bookshelf: Lareese Hall

Lareese Hall shares her “work” and “life” bookshelves in this installment of Art Journal Open’s Bookshelf series.

From “Neatline: Syllabus as Interactive Visualization”  by Caroline Bruzelius and Hannah Jacobs. Introduction to Art History, Unit 2, Lecture 1: Prehistory: Paleolithic. Lectures contain readings, dates, spatial coverage, lecture slides, maps providing historical context, and other relevant information (image created by Wired! Lab at Duke University)

How Have New Technologies Shaped the Introductory Art History Classroom? Why Does It Matter? An Update from Art Historians Interested in Pedagogy and Technology

Art Journal Open’s News & Notes section launches with an update from Art Historians Interested in Pedagogy and Technology.

From “Neatline: Syllabus as Interactive Visualization”  by Caroline Bruzelius and Hannah Jacobs. Introduction to Art History, Unit 2, Lecture 1: Prehistory: Paleolithic. Lectures contain readings, dates, spatial coverage, lecture slides, maps providing historical context, and other relevant information (image created by Wired! Lab at Duke University)

How Have New Technologies Shaped the Introductory Art History Classroom? Why Does It Matter? An Update from Art Historians Interested in Pedagogy and Technology

Art Journal Open’s News & Notes section launches with an update from Art Historians Interested in Pedagogy and Technology.

Paul A. Ranogajec's Bookshelf

Bookshelf: Paul A. Ranogajec

Paul A. Ranogajec shares his reading list in this installment of Art Journal Open’s Bookshelf series.

Paul A. Ranogajec's Bookshelf

Bookshelf: Paul A. Ranogajec

Paul A. Ranogajec shares his reading list in this installment of Art Journal Open’s Bookshelf series.

Giuliana Bruno,  Surface: Matters of Aesthetics, Materiality, and Media

Superficial Thinking: Screen Practices and Screen Architectures

By Swagato Chakravorty
Swagato Chakravorty reviews Surface: Matters of Aesthetics, Materiality, and Media by Giuliana Bruno.

Giuliana Bruno,  Surface: Matters of Aesthetics, Materiality, and Media

Superficial Thinking: Screen Practices and Screen Architectures

By Swagato Chakravorty
Swagato Chakravorty reviews Surface: Matters of Aesthetics, Materiality, and Media by Giuliana Bruno.

robbinschilds, Construction IV: Olive Room, 2011, two-channel digital video and audio installation, 15 min. (artwork © robbinschilds)

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.

robbinschilds, Construction IV: Olive Room, 2011, two-channel digital video and audio installation, 15 min. (artwork © robbinschilds)

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.

Judith Rodenbeck's Bookshelf (photograph © Judith Rodenbeck)

Bookshelf: Judith Rodenbeck

Judith Rodenbeck shares her summer reading in the newest installment of Art Journal Open’s Bookshelf series.

Judith Rodenbeck's Bookshelf (photograph © Judith Rodenbeck)

Bookshelf: Judith Rodenbeck

Judith Rodenbeck shares her summer reading in the newest installment of Art Journal Open’s Bookshelf series.

The library at the Artsy offices, New York (photograph © Matthew Israel)

Bookshelf: Matthew Israel

In this week’s Bookshelf, Matthew Israel shares what he’s reading.

The library at the Artsy offices, New York (photograph © Matthew Israel)

Bookshelf: Matthew Israel

In this week’s Bookshelf, Matthew Israel shares what he’s reading.

Steven Nelson's Bookshelf

Bookshelf: Steven Nelson

Steven Nelson shares what’s on his bookshelf.

Steven Nelson's Bookshelf

Bookshelf: Steven Nelson

Steven Nelson shares what’s on his bookshelf.

Carolee Schneemann, Kitch’s Last Meal, 1973–76, Super 8mm film, double projection, vertical, sound on cassette, ca. 5 hrs., two installation views (artwork © Carolee Schneemann; photographs provided by the artist)

“The Cat Is My Medium”: Notes on the Writing and Art of Carolee Schneemann

By Thyrza Nichols Goodeve

For several years, Carolee Schneemann has presented an ever-evolving performative lecture about her work, starting with drawings she made at the ages of four and seven. I first saw it in 2009 at St. Mark’s Church.

Carolee Schneemann, Kitch’s Last Meal, 1973–76, Super 8mm film, double projection, vertical, sound on cassette, ca. 5 hrs., two installation views (artwork © Carolee Schneemann; photographs provided by the artist)

“The Cat Is My Medium”: Notes on the Writing and Art of Carolee Schneemann

By Thyrza Nichols Goodeve

For several years, Carolee Schneemann has presented an ever-evolving performative lecture about her work, starting with drawings she made at the ages of four and seven. I first saw it in 2009 at St. Mark’s Church.

Sharon Kivland 's Freud on Holiday books

Not Getting There Is Half the Fun: Holidays with Freud

By Elizabeth Legge

Elizabeth Legge reviews Sharon Kivland’s Freud on Holiday series.

Sharon Kivland 's Freud on Holiday books

Not Getting There Is Half the Fun: Holidays with Freud

By Elizabeth Legge

Elizabeth Legge reviews Sharon Kivland’s Freud on Holiday series.

Megan A. Sullivan's Bookshelf (photograph © Megan A. Sullivan)

Bookshelf: Megan A. Sullivan

Megan A. Sullivan shares her summer reading list in this week’s Bookshelf.

Megan A. Sullivan's Bookshelf (photograph © Megan A. Sullivan)

Bookshelf: Megan A. Sullivan

Megan A. Sullivan shares her summer reading list in this week’s Bookshelf.

Rudy Lemcke, Foscarnet, 1989, graphite on Fabriano Roma paper, 26.5 x 19.5 in. (67.31 x 49.53 cm.) (artwork © Rudy Lemcke)

Immemorial: The Poetics of AIDS; A Conversation with Rudy Lemcke

By Tina Takemoto
Tina Takemoto and artist Rudy Lemcke discuss his artistic practice and the poetics and politics of AIDS.

Rudy Lemcke, Foscarnet, 1989, graphite on Fabriano Roma paper, 26.5 x 19.5 in. (67.31 x 49.53 cm.) (artwork © Rudy Lemcke)

Immemorial: The Poetics of AIDS; A Conversation with Rudy Lemcke

By Tina Takemoto
Tina Takemoto and artist Rudy Lemcke discuss his artistic practice and the poetics and politics of AIDS.

Kate Gilmore, gallery installation view of Like This, Before, 2013, video, wood, glass, paint (artwork © Kate Gilmore;  image courtesy of Clements Photography and Design)

Broken Dishes: Kate Gilmore in Conversation with Dina Deitsch

By Dina Deitsch
For the second installment of her conversation series, curator Dina Deitsch speaks with artist Kate Gilmore about Gilmore’s process of creating Like This, Before (2013), and the importance of breaking things and laughing about it.

Kate Gilmore, gallery installation view of Like This, Before, 2013, video, wood, glass, paint (artwork © Kate Gilmore;  image courtesy of Clements Photography and Design)

Broken Dishes: Kate Gilmore in Conversation with Dina Deitsch

By Dina Deitsch
For the second installment of her conversation series, curator Dina Deitsch speaks with artist Kate Gilmore about Gilmore’s process of creating Like This, Before (2013), and the importance of breaking things and laughing about it.

Posed photograph of members of Homeward Bound Community Services at Homeless: The Street and Other Venues, 1989 (photographer unknown; photograph provided by Martha Rosler)

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.

Posed photograph of members of Homeward Bound Community Services at Homeless: The Street and Other Venues, 1989 (photographer unknown; photograph provided by Martha Rosler)

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.

Claire F. Fox, Making Art Panamerican: Cultural Policy and the Cold War

Transnational Fields and the Blindness of the Archive

By Dorota Biczel

Dorota Biczel reviews Making Art Panamerican: Cultural Policy and the Cold War by Claire F. Fox.

Claire F. Fox, Making Art Panamerican: Cultural Policy and the Cold War

Transnational Fields and the Blindness of the Archive

By Dorota Biczel

Dorota Biczel reviews Making Art Panamerican: Cultural Policy and the Cold War by Claire F. Fox.

Reviews 4

Primal Matter: An Annotated Bibliography for Ceramics

By Brian Molanphy

This introductory selection of texts on ceramics includes books that offer general foundations as well as essays that exemplify specific investigations.

Reviews 4

Primal Matter: An Annotated Bibliography for Ceramics

By Brian Molanphy

This introductory selection of texts on ceramics includes books that offer general foundations as well as essays that exemplify specific investigations.

Huey Copeland, Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America

Objects Made Black

by Sampada Aranke

Sampada Aranke reviews Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America by Huey Copeland.

Huey Copeland, Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America

Objects Made Black

by Sampada Aranke

Sampada Aranke reviews Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America by Huey Copeland.

Roberto Jacoby, 1968: El culo te abrocho (1968: I Do Your Ass), 2008, two of a series of 28 inkjet and silkscreen prints on cotton linters papers, 35½ x 27½ in. (90 x 70 cm) (artwork © Roberto Jacoby; photograph provided by the artist)

Dead Boars, Viruses, and Zombies: Roberto Jacoby’s Art History

By Daniel R. Quiles
The subtlest of deceptions lies in wait in a “1000 Words” feature on Roberto Jacoby in the March 2011 issue of Artforum.

Roberto Jacoby, 1968: El culo te abrocho (1968: I Do Your Ass), 2008, two of a series of 28 inkjet and silkscreen prints on cotton linters papers, 35½ x 27½ in. (90 x 70 cm) (artwork © Roberto Jacoby; photograph provided by the artist)

Dead Boars, Viruses, and Zombies: Roberto Jacoby’s Art History

By Daniel R. Quiles
The subtlest of deceptions lies in wait in a “1000 Words” feature on Roberto Jacoby in the March 2011 issue of Artforum.

Shawn Brixey, Epicycle (2000). (© Shawn Brixey)

The New Geography: Earth Music and Land Art, Version 2.0; Comparison #2

By Mike Maizels
Mike Maizels examines Shawn Brixey’s Epicycle (2000) and Robert Smithson’s Pointless Vanishing Point (1967) in the second installment of The New Geography: Earth Music and Land Art, Version 2.0.

Shawn Brixey, Epicycle (2000). (© Shawn Brixey)

The New Geography: Earth Music and Land Art, Version 2.0; Comparison #2

By Mike Maizels
Mike Maizels examines Shawn Brixey’s Epicycle (2000) and Robert Smithson’s Pointless Vanishing Point (1967) in the second installment of The New Geography: Earth Music and Land Art, Version 2.0.

Karen L. Schiff, Agnes Martin, El País, 21 December 2004, II, 2005, graphite and stylus on vellum, 17 x 12 inches (artwork © Karen L. Schiff)

Imprinting Agnes Martin

By Karen L. Schiff

In the early 1990s I saw a conference presentation about Agnes Martin’s grid paintings, and their rigor and sensitivity was imprinted on me: I felt motivated to return to making art. When Martin (1912–2004) passed away, I started making artworks to reflect on her work and life, often through printed texts.

Karen L. Schiff, Agnes Martin, El País, 21 December 2004, II, 2005, graphite and stylus on vellum, 17 x 12 inches (artwork © Karen L. Schiff)

Imprinting Agnes Martin

By Karen L. Schiff

In the early 1990s I saw a conference presentation about Agnes Martin’s grid paintings, and their rigor and sensitivity was imprinted on me: I felt motivated to return to making art. When Martin (1912–2004) passed away, I started making artworks to reflect on her work and life, often through printed texts.

Tamarin Norwood, Line Describing a Curve iii, 2014, adhesive vinyl peeled from Line Describing a Curve (ii),  sequence of 14 b/w digital photographs (180mm x 120mm), (artwork © Tamarin Norwood)

A Fine Line: Drawing and the Digital Ground in the Work of Tamarin Norwood

By Becky Huff Hunter
Becky Huff Hunter and Tamarin Norwood discuss video’s relationship with drawing, negotiating digital and analogue forms, pursing a research-based PhD in Fine Art, and more.

Tamarin Norwood, Line Describing a Curve iii, 2014, adhesive vinyl peeled from Line Describing a Curve (ii),  sequence of 14 b/w digital photographs (180mm x 120mm), (artwork © Tamarin Norwood)

A Fine Line: Drawing and the Digital Ground in the Work of Tamarin Norwood

By Becky Huff Hunter
Becky Huff Hunter and Tamarin Norwood discuss video’s relationship with drawing, negotiating digital and analogue forms, pursing a research-based PhD in Fine Art, and more.

Spring 2014, Vol. 73, No. 1

Artist’s Project Karen L. Schiff, Counter to Type Drawings appear on the front and back covers of this issue, on pages 2-3, on pages 5–11 with the artist’s essay, “Connecting the Dots/Hijacking Typography,” and in the Reviews section, pages 76–85.

Spring 2014, Vol. 73, No. 1

Artist’s Project Karen L. Schiff, Counter to Type Drawings appear on the front and back covers of this issue, on pages 2-3, on pages 5–11 with the artist’s essay, “Connecting the Dots/Hijacking Typography,” and in the Reviews section, pages 76–85.

Pedro Vizcaíno, cartel “Todos Estrellas” / poster “All Stars,” 1989, impreso en / printed at Taller de Serigrafía René Portocarrero, Havana (artwork © Pedro Vizcaíno)

Nueve entradas en 1989

By Tamara Díaz Bringas
Playball, habría dicho el umpire para iniciar aquel partido de béisbol con tantos artistas y ningún pelotero. Playball, habrían oído los jugadores, sospechando tal vez que el juego había empezado en verdad mucho antes de aquel 24 de septiembre de 1989.

Pedro Vizcaíno, cartel “Todos Estrellas” / poster “All Stars,” 1989, impreso en / printed at Taller de Serigrafía René Portocarrero, Havana (artwork © Pedro Vizcaíno)

Nueve entradas en 1989

By Tamara Díaz Bringas
Playball, habría dicho el umpire para iniciar aquel partido de béisbol con tantos artistas y ningún pelotero. Playball, habrían oído los jugadores, sospechando tal vez que el juego había empezado en verdad mucho antes de aquel 24 de septiembre de 1989.

Nudo [Eduardo Marin y Vladimir Llaguno], cartel “La plástica joven se dedica al béisbol” / poster “Young Artists Take Up Baseball,” 1989, impreso en / printed at Taller de Serigrafía René Portocarrero, Havana (artwork © Nudo)

Nine Innings in 1989

By Tamara Díaz Bringas
“Play ball!” the umpire would have said to start that baseball game with so many artists and not a single ballplayer. “Play ball!” the players would have heard, perhaps suspecting that the game had really begun long before that 24th of September in 1989.

Nudo [Eduardo Marin y Vladimir Llaguno], cartel “La plástica joven se dedica al béisbol” / poster “Young Artists Take Up Baseball,” 1989, impreso en / printed at Taller de Serigrafía René Portocarrero, Havana (artwork © Nudo)

Nine Innings in 1989

By Tamara Díaz Bringas
“Play ball!” the umpire would have said to start that baseball game with so many artists and not a single ballplayer. “Play ball!” the players would have heard, perhaps suspecting that the game had really begun long before that 24th of September in 1989.

John Luther Adams, The Place Where You Go to Listen, 2008, sound and light environment, installation view, Museum of the North, University of Alaska Fairbanks, 2008–present (artwork © John Luther Adams; photograph by Barry McWayne provided by Museum of the North)

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.

John Luther Adams, The Place Where You Go to Listen, 2008, sound and light environment, installation view, Museum of the North, University of Alaska Fairbanks, 2008–present (artwork © John Luther Adams; photograph by Barry McWayne provided by Museum of the North)

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.

Winter 2012, Vol. 71, No. 4

In This Issue Katy Siegel, Shaping the Glass, 5 Artist’s Project Tomma Abts, Untitled, 8 Features Christine Mehring, Richter’s Willkür, 20 Carrie Moyer, Zero to the Bone: Louise Fishman Speaks with Carrie Moyer, 36 Elyse Speaks, The Terms of Craft

Winter 2012, Vol. 71, No. 4

In This Issue Katy Siegel, Shaping the Glass, 5 Artist’s Project Tomma Abts, Untitled, 8 Features Christine Mehring, Richter’s Willkür, 20 Carrie Moyer, Zero to the Bone: Louise Fishman Speaks with Carrie Moyer, 36 Elyse Speaks, The Terms of Craft

Summer 2013, Vol. 72, No. 2

Features Alexandra M. Kokoli, The Voice as Uncanny Index in Susan Hiller’s The Last Silent Movie, 6 Kristen Olds, “Gay Life Artists”: Les Petites Bonbons and Camp Performativity in the 1970s, 16 Forum: Conversations on Queer Affect and Queer Archives

Summer 2013, Vol. 72, No. 2

Features Alexandra M. Kokoli, The Voice as Uncanny Index in Susan Hiller’s The Last Silent Movie, 6 Kristen Olds, “Gay Life Artists”: Les Petites Bonbons and Camp Performativity in the 1970s, 16 Forum: Conversations on Queer Affect and Queer Archives

Spring 2013, Vol. 72, No.1

Editor’s Note Lane Relyea, 5 Features Peggy Wang, Art Critics as Middlemen: Navigating State and Market in Contemporary Chinese Art, 1980s–1990s, 6 Michael Jay McClure, If It Need Be Termed Surrender: Trisha Donnelly’s Subjunctive Case, 20 Artist’s Project Moyra Davey,

Spring 2013, Vol. 72, No.1

Editor’s Note Lane Relyea, 5 Features Peggy Wang, Art Critics as Middlemen: Navigating State and Market in Contemporary Chinese Art, 1980s–1990s, 6 Michael Jay McClure, If It Need Be Termed Surrender: Trisha Donnelly’s Subjunctive Case, 20 Artist’s Project Moyra Davey,

Heather Cassils, After, 2014, 2,000-pound clay bash, remnant sculpture from the performance Becoming an Image, Buddies in Bad Times, Toronto, 2014

Winter 2013, Vol. 72, No. 4

Artist’s Project Jeanne Dunning,Tom Thumb, the New Oedipus, 5 Features Forum: Sexing Sculpture: New Approaches to Theorizing the Object Jillian Hernandez and Susan Richmond, Introduction, 27 Rachel Lachowicz, Portfolio: Material Specificity and the Index of the Feminine, 30 Rachel Middleman,Rethinking

Heather Cassils, After, 2014, 2,000-pound clay bash, remnant sculpture from the performance Becoming an Image, Buddies in Bad Times, Toronto, 2014

Winter 2013, Vol. 72, No. 4

Artist’s Project Jeanne Dunning,Tom Thumb, the New Oedipus, 5 Features Forum: Sexing Sculpture: New Approaches to Theorizing the Object Jillian Hernandez and Susan Richmond, Introduction, 27 Rachel Lachowicz, Portfolio: Material Specificity and the Index of the Feminine, 30 Rachel Middleman,Rethinking

Chuck Smith,  Forrest Bess: The Key to the Riddle

The Aesthetic Gold of a Ravished Spouse of the Godhead

By Elisabeth Kley

Although mystery has surrounded the life of Forrest Bess since he died in 1977, quite a bit of the cloud is dispelled in Chuck Smith’s new book, Forrest Bess: Key to the Riddle. A follow-up to a film Smith made in 1999, it is an ideal combination of monograph and biography.

Chuck Smith,  Forrest Bess: The Key to the Riddle

The Aesthetic Gold of a Ravished Spouse of the Godhead

By Elisabeth Kley

Although mystery has surrounded the life of Forrest Bess since he died in 1977, quite a bit of the cloud is dispelled in Chuck Smith’s new book, Forrest Bess: Key to the Riddle. A follow-up to a film Smith made in 1999, it is an ideal combination of monograph and biography.

Schiff2

Counter to Type

By Karen L. Schiff

In the Spring 2014 issue of Art Journal, Karen L. Schiff created an artists’s project, Counter to Type. Working from the typography on the covers and selected interior pages of the journal, she used colored pencils to draw on transparent overlays.

Schiff2

Counter to Type

By Karen L. Schiff

In the Spring 2014 issue of Art Journal, Karen L. Schiff created an artists’s project, Counter to Type. Working from the typography on the covers and selected interior pages of the journal, she used colored pencils to draw on transparent overlays.

Nell Andrew, Sophie Taueber-Arp, Free Vertical-Horizontal Rhythms (Rythmes verticaux-horizontaux libres), 1919, gouache, 11 15⁄16 x 8 9⁄16 in. (30.3 x 21.8 cm). Stiftung Hans Arp und Sophie Taeuber Arp e.V., inv. 003.205 (artwork in the public domain; photograph provided by Stiftung Hans Arp und Sophie Taeuber Arp)

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.

Nell Andrew, Sophie Taueber-Arp, Free Vertical-Horizontal Rhythms (Rythmes verticaux-horizontaux libres), 1919, gouache, 11 15⁄16 x 8 9⁄16 in. (30.3 x 21.8 cm). Stiftung Hans Arp und Sophie Taeuber Arp e.V., inv. 003.205 (artwork in the public domain; photograph provided by Stiftung Hans Arp und Sophie Taeuber Arp)

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.

Senga Nengudi, R.S.V.P. 1, 1977/2003,  nylon mesh and sand, 10 pieces, dimensions variable. Museum of Modern Art, New York (artwork © Senga Nengudi; photograph provided by Thomas Erben Gallery, New York)

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?

Senga Nengudi, R.S.V.P. 1, 1977/2003,  nylon mesh and sand, 10 pieces, dimensions variable. Museum of Modern Art, New York (artwork © Senga Nengudi; photograph provided by Thomas Erben Gallery, New York)

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?

Reviews 3 Rivers Johnson TOC

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.

Reviews 3 Rivers Johnson TOC

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.

Sara Greenberger Rafferty, PDF Hoarding, 2014, photographs, 10 x 8¼ in. (25.4 x 21 cm)

Fall 2013, Vol. 73, No. 3

Karin Higa: A Collage of Remembrances, 5 Artist’s Project Sara Greenberger Rafferty, Grabs, 1, 47, 64, 82, 91, 104 Features Matthew Goulish, “A Clear Day and No Memories”: Neurology, Philosophy, and Analogy in Kerry Tribe’s H.M., 12 Atreyee Gupta, In

Sara Greenberger Rafferty, PDF Hoarding, 2014, photographs, 10 x 8¼ in. (25.4 x 21 cm)

Fall 2013, Vol. 73, No. 3

Karin Higa: A Collage of Remembrances, 5 Artist’s Project Sara Greenberger Rafferty, Grabs, 1, 47, 64, 82, 91, 104 Features Matthew Goulish, “A Clear Day and No Memories”: Neurology, Philosophy, and Analogy in Kerry Tribe’s H.M., 12 Atreyee Gupta, In

Veronica Friedman, Pages from monthly planners, 1980 and 1981. Veronica Friedman Papers, Gay, Lesbian, Bisexual, Transgender Historical Society, San Francisco (photograph © Barbara McBane).

Summer 2013, Vol. 72, No. 2

Features Alexandra M. Kokoli, The Voice as Uncanny Index in Susan Hiller’s The Last Silent Movie, 6 Kirsten Olds, “Gay Life Artists”: Les Petites Bonbons and Camp Performativity in the 1970s, 16 Forum: Conversations on Queer Affect and Queer Archives

Veronica Friedman, Pages from monthly planners, 1980 and 1981. Veronica Friedman Papers, Gay, Lesbian, Bisexual, Transgender Historical Society, San Francisco (photograph © Barbara McBane).

Summer 2013, Vol. 72, No. 2

Features Alexandra M. Kokoli, The Voice as Uncanny Index in Susan Hiller’s The Last Silent Movie, 6 Kirsten Olds, “Gay Life Artists”: Les Petites Bonbons and Camp Performativity in the 1970s, 16 Forum: Conversations on Queer Affect and Queer Archives

Catherine Opie, Karin, 2009,  inkjet print, 11 x 11 in. (27.9 x 27.9 cm) (photograph © Catherine Opie, provided by Regen Projects, Los Angeles)

Karin Higa: A Collage of Remembrances

Well before I met Karin Higa, I knew of her as a curator of Asian American art, a prominent voice in the contemporary art world, and an author whose writings I frequently assigned to students.

Catherine Opie, Karin, 2009,  inkjet print, 11 x 11 in. (27.9 x 27.9 cm) (photograph © Catherine Opie, provided by Regen Projects, Los Angeles)

Karin Higa: A Collage of Remembrances

Well before I met Karin Higa, I knew of her as a curator of Asian American art, a prominent voice in the contemporary art world, and an author whose writings I frequently assigned to students.

Eadward Muybridge, Pi-Wi-Ack, Valley of the Yosemite (Shower of Stars), “Vernal Fall,” 400 Feet Fall, No. 29, 1872, wet-plate collodion photograph (photograph in the public domain)

“A Clear Day and No Memories”: Neurology, Philosophy, and Analogy in Kerry Tribe’s H.M.

By Matthew Goulish

In order to begin I must tell a horror story. I will try to mitigate the horror, through accuracy of telling, through facts, and through a degree of humility before them. Yet I will acknowledge it. I mean I already have. Horror is not fact.

Eadward Muybridge, Pi-Wi-Ack, Valley of the Yosemite (Shower of Stars), “Vernal Fall,” 400 Feet Fall, No. 29, 1872, wet-plate collodion photograph (photograph in the public domain)

“A Clear Day and No Memories”: Neurology, Philosophy, and Analogy in Kerry Tribe’s H.M.

By Matthew Goulish

In order to begin I must tell a horror story. I will try to mitigate the horror, through accuracy of telling, through facts, and through a degree of humility before them. Yet I will acknowledge it. I mean I already have. Horror is not fact.

Jacqueline Francis. Making Race: Modernism and “Racial Art” in America

Modernism, Essentialism, and “Racial Art” in America

By Amy Lyford

It is exciting to read two books that demonstrate the power, impact, and necessity of art history’s engagement with critical race studies—especially in the context of scholarship on modernist American art.

Jacqueline Francis. Making Race: Modernism and “Racial Art” in America

Modernism, Essentialism, and “Racial Art” in America

By Amy Lyford

It is exciting to read two books that demonstrate the power, impact, and necessity of art history’s engagement with critical race studies—especially in the context of scholarship on modernist American art.