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Trisha Donnelly, Untitled, 2008, plaster, horse hair, paint, pillow, belts, lamp, two parts, ea. 36 x 60 x 22-3/4 in. (91.4 x 152.4 x 57.8 cm), installation view, The Quick and the Dead, Walker Art Center, 2009 (artwork © Trisha Donnelly; photograph provided by Casey Kaplan, New York)
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If It Need Be Termed Surrender: Trisha Donnelly’s Subjunctive Case Michael Jay McClure

A thought expressed in the optative has been replaced by a representation in the present tense. —Sigmund Freud Subjunctive Allow for a problem within contemporary art, a problem concerning emptiness. After experiencing and writing on installations that, say, immersed me … READ MORE

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Monira Al Qadiri, still from Wa Waila (Oh Torment), 2008, film, 10 min. 4 sec.(artwork © Monira Al Qadiri)
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Precarious Symbolism: When the Political Sphere Overshadows Art History Maymanah Farhat

The Fertile Crescent: Gender, Art, and Society. Exhibitions organized by Judith K. Brodsky and Ferris Olin. Mason Gross Galleries, Rutgers University, New Brunswick, NJ, August 13–September 9, 2012; Princeton University Art Museum, Princeton, NJ, August 18, 2012–January 13, 2013; Bernstein … READ MORE

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Gerhard Richter, from Elbe, 1957, linocut ink on paper. Kunstmuseum Winterthur, Switzerland, longterm loan from a private collection (artwork © 2012 Gerhard Richter; photographs provided by Kunstmuseum Winterthur).
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Shaping the Glass Katy Siegel

Life is not an idea, but ideas are part of life. Thinking is the only way out of our enmities and miseries. Vision—seeing better and more freshly, with less habit and personal bias—awakens us to life. The point of waking … READ MORE

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The Shame machine, Tecopa, California, March 2011 (photograph © Josephine Halvorson)
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Shame: The One That Got Away Josephine Halvorson

Five gravestones—a family named Wilmott—are mounted side by side facing east in a cemetery south of London.[1] Acid rain has eroded the words. Lichens, like Van Gogh blooms in orange and yellow, cling to the mauve stone. I try to … READ MORE

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We Are Pop People Joshua Shannon

Hal Foster. The First Pop Age: Painting and Subjectivity in the Art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha. Princeton: Princeton University Press, 2012. 338 pp., 77 color ill., 80 b/w. $29.95 Anyone seeking a crisp argument for the importance … READ MORE

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Attention Deficit katy Siegel

Perhaps minor among reasons to celebrate the fact that the world did not end as predicted on 12.12.12 is that Art Journal is a little behind in its publication schedule. The apocalyptic reprieve buys us time to get out the … READ MORE

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Planet of the Apes: John Szarkowski, My Lai, and The Animals Chris Balaschak

The reasons for their problems are not difficult to guess: they are under-employed and overly-sociable; they are deprived of the chance of both success and failure, and receive their food, their shelter, and their mates as welfare handouts; their relationship … READ MORE

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Reviews 3 NEW Schiff on Martin
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Agnes Martin, Under New Auspices Karen Schiff

Lynne Cooke, Karen Kelly, and Barbara Schröder, editors. Agnes Martin. New York: Dia Art Foundation and New Haven/London: Yale University Press, 2011. 268 pp., 78 color ills, 27 b/w. $40 Finally—a book of criticism about Agnes Martin. No other book … READ MORE

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Cover: Ansel Adams, Class Change, Berkeley, ca. 1965 (photograph © 1967  The Regents of the University of California. All rights reserved). Back cover: Fatima Sbeih and Geoffrey Wildanger, Rally, UC Davis, November 21, 2011, 2011 (photograph © Fatima Sbeih and Geoffrey Wildanger).
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What Are You Working On? Katy Siegel

This issue of Art Journal comes after two issues that tightly revolved around a single concept: the medium of print (Winter 2011) and the Pacific Standard Time initiative (Spring 2012). Most of the essays, reviews, and artists’ projects in those … READ MORE

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Eduardo Paolozzi, One Man Track Team, 1953, collage, 10¾ x 8⅛ in. (27.3 x 20.8 cm). Tate, London (artwork © Trustees of the Paolozzi Foundation)
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Another Time Alex Kitnick

Sometime in the early 1950s, the artist Eduardo Paolozzi began making collages from the covers of Time magazine, cutting them up and putting them back together again in new ways.[1] Founded in 1923, in the wake of World War I, … READ MORE

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