Category Archives: Related Media

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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.

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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.

Susan Hiller, The Last Silent Movie, 2007, plate 1 from a series of 25 etchings completed in 2008, ea. 14-1/2 x 16-3/4 in. (37 x 42.5 cm) (artwork © Susan Hiller)

The Voice as Uncanny Index in Susan Hiller’s The Last Silent Movie

In the darkened projection room, the viewer hears twenty-five voices in succession speaking short passages in extinct or endangered languages. Susan Hiller collected the recordings for her twenty-one-minute audiovisual work The Last Silent Movie from a variety of archival sources.

Susan Hiller, The Last Silent Movie, 2007, plate 1 from a series of 25 etchings completed in 2008, ea. 14-1/2 x 16-3/4 in. (37 x 42.5 cm) (artwork © Susan Hiller)

The Voice as Uncanny Index in Susan Hiller’s The Last Silent Movie

In the darkened projection room, the viewer hears twenty-five voices in succession speaking short passages in extinct or endangered languages. Susan Hiller collected the recordings for her twenty-one-minute audiovisual work The Last Silent Movie from a variety of archival sources.

Bhupen Khakhar, Truth Is Beauty and Beauty Is God, first page, 1972, exhibition catalogue, offset printing on paper. Collection Chemould Prescott Road, Mumbai (artwork  © Chemould Prescott Road; photograph by Andrea Pemberton)

Bhupen Khakhar’s “Pop” in India, 1970-72

Bhupen Khakhar self-produced a catalogue to accompany his March 1972 exhibition Truth Is Beauty and Beauty Is God at Gallery Chemould in Bombay. It is reproduced here, in its entirety.

Bhupen Khakhar, Truth Is Beauty and Beauty Is God, first page, 1972, exhibition catalogue, offset printing on paper. Collection Chemould Prescott Road, Mumbai (artwork  © Chemould Prescott Road; photograph by Andrea Pemberton)

Bhupen Khakhar’s “Pop” in India, 1970-72

Bhupen Khakhar self-produced a catalogue to accompany his March 1972 exhibition Truth Is Beauty and Beauty Is God at Gallery Chemould in Bombay. It is reproduced here, in its entirety.

Artist unknown, “Pepper spray cop” meme featuring Eugène Delacroix, Liberty Leading the People, ca. November 2011

Invisible Products

Julia Bryan-Wilson’s essay “Invisible Products” explores a most unusual archive of photographs by Ansel Adams—some seven thousand photographs he took in the mid-1960s on commission from the University of California.

Artist unknown, “Pepper spray cop” meme featuring Eugène Delacroix, Liberty Leading the People, ca. November 2011

Invisible Products

Julia Bryan-Wilson’s essay “Invisible Products” explores a most unusual archive of photographs by Ansel Adams—some seven thousand photographs he took in the mid-1960s on commission from the University of California.

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Women in Downtown Theater: Producing Your Own Work

By Young Jean Lee

The panel discussion in this video took place at the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art on March 11, 2012. I put the public presentation together after receiving numerous e-mails from young female theater-makers who wanted advice on how to get their work produced.

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Women in Downtown Theater: Producing Your Own Work

By Young Jean Lee

The panel discussion in this video took place at the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art on March 11, 2012. I put the public presentation together after receiving numerous e-mails from young female theater-makers who wanted advice on how to get their work produced.

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Outtakes: California Company Town

By Lee Anne Schmitt

I finished the film California Company Town in 2008. The film was a way of looking at the fallibility of history, to be able to depict a process of political thought against the markings it makes on landscape. Most of my work combines official and anecdotal histories.

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Outtakes: California Company Town

By Lee Anne Schmitt

I finished the film California Company Town in 2008. The film was a way of looking at the fallibility of history, to be able to depict a process of political thought against the markings it makes on landscape. Most of my work combines official and anecdotal histories.

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The Hour Blew

By Amy Granat

The digital form still feels new to me, and slightly intangible when I use it. Nevertheless, I use it constantly—though its workings remain unclear. That confusion can be liberating. It creates layers and dimensions I don’t understand and cannot visualize. If I try, I see free-floating motion with no hard edges.

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The Hour Blew

By Amy Granat

The digital form still feels new to me, and slightly intangible when I use it. Nevertheless, I use it constantly—though its workings remain unclear. That confusion can be liberating. It creates layers and dimensions I don’t understand and cannot visualize. If I try, I see free-floating motion with no hard edges.

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Take It to the Air: Radio as Public Art

First staged in the main railroad station in Hamburg in 2002, the Leipzig version of Radio Ballet was performed the following year. Subtitled “Übung in nichtbestimmungsgemäßem Verweilen,” or “Exercise in Lingering Not According to the Rules,” the piece gathered people in the Leipzig station for a group radio listening experience.

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Take It to the Air: Radio as Public Art

First staged in the main railroad station in Hamburg in 2002, the Leipzig version of Radio Ballet was performed the following year. Subtitled “Übung in nichtbestimmungsgemäßem Verweilen,” or “Exercise in Lingering Not According to the Rules,” the piece gathered people in the Leipzig station for a group radio listening experience.

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Excerpts from the Graphic Novel !Women Art Revolution—A Secret History

By Lynn Hershman Leeson

I was a graduate student in Berkeley, California, during the tumultuous 1960s era of the Free Speech Movement. I felt an urgency to capture that moment, so, with a borrowed camera, I shot some of the people who were coming through my living room. Even though they included well-known people such as Timothy Leary, Allen Ginsberg, Jerry Rubin, and Phil Ochs, I concentrated on the stories of the yet-unknown women who were struggling to become artists.

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Excerpts from the Graphic Novel !Women Art Revolution—A Secret History

By Lynn Hershman Leeson

I was a graduate student in Berkeley, California, during the tumultuous 1960s era of the Free Speech Movement. I felt an urgency to capture that moment, so, with a borrowed camera, I shot some of the people who were coming through my living room. Even though they included well-known people such as Timothy Leary, Allen Ginsberg, Jerry Rubin, and Phil Ochs, I concentrated on the stories of the yet-unknown women who were struggling to become artists.

Untitled (Louis Armstrong/Syringe in Mouth), 1940s, photographic print, 13 x 11¼ in. (33 x 28.6 cm) (artworks © Estate of Wallace Berman; photographs provided by Michael Kohn Gallery, Los Angeles)

City of Degenerate Angels: Wallace Berman, Jazz and Semina in Postwar Los Angeles

Ken D. Allan introduces two videos related to “City of Degenerate Angels: Wallace Berman, Jazz and Semina in Postwar Los Angeles,” his contribution to the Spring 2011 issue of Art Journal.

Untitled (Louis Armstrong/Syringe in Mouth), 1940s, photographic print, 13 x 11¼ in. (33 x 28.6 cm) (artworks © Estate of Wallace Berman; photographs provided by Michael Kohn Gallery, Los Angeles)

City of Degenerate Angels: Wallace Berman, Jazz and Semina in Postwar Los Angeles

Ken D. Allan introduces two videos related to “City of Degenerate Angels: Wallace Berman, Jazz and Semina in Postwar Los Angeles,” his contribution to the Spring 2011 issue of Art Journal.

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By Paul Chan

On the occasion of the upcoming release of the multimedia e-book version of Waiting for Godot in New Orleans: A field Guide (co-published by Badlands Unlimited and Creative Time Books), Paul Chan writes about some of the secrets hidden in plain sight within the maps and notes that make up the documentation of this multi-faceted work.

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X jxm vlr rpb pelria ilpb vlr

By Paul Chan

On the occasion of the upcoming release of the multimedia e-book version of Waiting for Godot in New Orleans: A field Guide (co-published by Badlands Unlimited and Creative Time Books), Paul Chan writes about some of the secrets hidden in plain sight within the maps and notes that make up the documentation of this multi-faceted work.