Category Archives: Contemporary Projects

Citation Bombing: Tactical and Symbolic Subversion of Academic Metrification

Zach Kaiser presents his app CitationBomb, as well as his theory and practice of scrambling and hacking the contemporary metrics of academic success. In “overflowing the commodity market for citations,” Kaiser questions the value systems we assign to knowledge production and consumption.

Citation Bombing: Tactical and Symbolic Subversion of Academic Metrification

Zach Kaiser presents his app CitationBomb, as well as his theory and practice of scrambling and hacking the contemporary metrics of academic success. In “overflowing the commodity market for citations,” Kaiser questions the value systems we assign to knowledge production and consumption.

Scripting A Smeary Spot

By A.K. Burns and Melissa Ragain

In this annotated commentary, artist A.K. Burns and art historian and critic Melissa Ragain explore the script, performances, and citations in Burn’s video installation A Smeary Spot (2015), which is the first episode in her five-part Negative Space film cycle.

Scripting A Smeary Spot

By A.K. Burns and Melissa Ragain

In this annotated commentary, artist A.K. Burns and art historian and critic Melissa Ragain explore the script, performances, and citations in Burn’s video installation A Smeary Spot (2015), which is the first episode in her five-part Negative Space film cycle.

Medias Res

By Nick Herman

Art Journal Open presents Medias Res by artist Nick Herman, which features Herman’s exploration of his artworks and texts related to his interests in static, rastering, layering, and other transmission processes. These interests have led Herman to create two new works to be viewed on Art Journal Open: Comm 1 (2017), which takes the shape of a unique and experimental pop-up GIF experience, and MERROR ERROR TERRIOR (2017), a downloadable image. “Static or noise as a record of transmission becomes its own reward, reflecting its innate complexity and, in the process, some greater truth about its origin.” Herman writes, “To me, the GIF does something similar, capturing the unpredictable rhythms and constituent raster of their source.”

Medias Res

By Nick Herman

Art Journal Open presents Medias Res by artist Nick Herman, which features Herman’s exploration of his artworks and texts related to his interests in static, rastering, layering, and other transmission processes. These interests have led Herman to create two new works to be viewed on Art Journal Open: Comm 1 (2017), which takes the shape of a unique and experimental pop-up GIF experience, and MERROR ERROR TERRIOR (2017), a downloadable image. “Static or noise as a record of transmission becomes its own reward, reflecting its innate complexity and, in the process, some greater truth about its origin.” Herman writes, “To me, the GIF does something similar, capturing the unpredictable rhythms and constituent raster of their source.”

Tables of Content

By Ryan Kuo

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

Tables of Content

By Ryan Kuo

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

To Record, to Interpret, to Comment

By Anna Craycroft

In “To Record, to Interpret, to Comment,” Brookyn–based artist Anna Craycroft asks readers to reconsider how we come to know what we think we know about the history of modernist photography and the photographer Berenice Abbott, which draws from Craycroft’s extensive research into Abbott’s writings, photographs, letters, inventions, and other archival materials.

To Record, to Interpret, to Comment

By Anna Craycroft

In “To Record, to Interpret, to Comment,” Brookyn–based artist Anna Craycroft asks readers to reconsider how we come to know what we think we know about the history of modernist photography and the photographer Berenice Abbott, which draws from Craycroft’s extensive research into Abbott’s writings, photographs, letters, inventions, and other archival materials.

Art Journal Open Presents “To Record, to Interpret, to Comment” by Anna Craycroft

By Gloria Sutton

Art Journal Open presents “To Record, to Interpret, to Comment” by Anna Craycroft.

Art Journal Open Presents “To Record, to Interpret, to Comment” by Anna Craycroft

By Gloria Sutton

Art Journal Open presents “To Record, to Interpret, to Comment” by Anna Craycroft.

Edges of Action

By Nick Herman

In Edges of Action (2016), Los Angeles–based artist Nick Herman finds a distinctive method of framing his practice, blending the studied delivery of a public artist’s talk with the conversational pace of an intimate studio visit. This is the first installment of a unique three-part artist’s project Herman has created for Art Journal Open.

Edges of Action

By Nick Herman

In Edges of Action (2016), Los Angeles–based artist Nick Herman finds a distinctive method of framing his practice, blending the studied delivery of a public artist’s talk with the conversational pace of an intimate studio visit. This is the first installment of a unique three-part artist’s project Herman has created for Art Journal Open.

Art Journal Open Presents Edges of Action by Nick Herman

By Gloria Sutton

Art Journal Open is pleased to present Edges of Action by artist Nick Herman.

Art Journal Open Presents Edges of Action by Nick Herman

By Gloria Sutton

Art Journal Open is pleased to present Edges of Action by artist Nick Herman.

P&P

By Kate Costello

The Los Angeles–based artist Kate Costello has created a unique animation of her limited edition book, P&P. P&P conveys Costello’s examination and subjective cataloging of vernacular languages active within contemporary visual culture.

P&P

By Kate Costello

The Los Angeles–based artist Kate Costello has created a unique animation of her limited edition book, P&P. P&P conveys Costello’s examination and subjective cataloging of vernacular languages active within contemporary visual culture.

Art Journal Open Presents P&P by Kate Costello

By Gloria Sutton

Art Journal Open is pleased to present a new Contemporary Project by artist Kate Costello.

Art Journal Open Presents P&P by Kate Costello

By Gloria Sutton

Art Journal Open is pleased to present a new Contemporary Project by artist Kate Costello.

no water, Athens, Greece, 2015: Twenty-four hours with nothing to eat or drink, only smelling the jasmine

By Penelope Vlassopoulou

Penelope Vlassopoulou began her Metamorphosis series in her home city of Athens. The series evolved in multidisciplinary dialogue with diverse urban environments including Berlin, Belgrade, and Chicago. In March 2015, Metamorphosis returned to its point of origin with no water tracing a link between Greece’s historical past and the country’s current predicament.

no water, Athens, Greece, 2015: Twenty-four hours with nothing to eat or drink, only smelling the jasmine

By Penelope Vlassopoulou

Penelope Vlassopoulou began her Metamorphosis series in her home city of Athens. The series evolved in multidisciplinary dialogue with diverse urban environments including Berlin, Belgrade, and Chicago. In March 2015, Metamorphosis returned to its point of origin with no water tracing a link between Greece’s historical past and the country’s current predicament.

Oral Sadism & The Vegetarian Personality (Approximately)

By Karl Haendel

Artist Karl Haendel has been creating an archive of 35mm slides since 2000, composed of found images and photographs. The approximately 10,000 slides are organized into more than 250 categories and subcategories (from the W section: Wedding Geometry, Weapons, White House, World War I), and some of these slides become the basis for his drawings. Though this archive exists in analogue form, Haendel recognized that the popular GIF format functions in a similar manner to that of the slide projector, and thus created a digital slideshow experience of these source images for Art Journal Open. To view Oral Sadism & The Vegetarian Personality (Approximately), click on the image inside this post to launch the project.

Oral Sadism & The Vegetarian Personality (Approximately)

By Karl Haendel

Artist Karl Haendel has been creating an archive of 35mm slides since 2000, composed of found images and photographs. The approximately 10,000 slides are organized into more than 250 categories and subcategories (from the W section: Wedding Geometry, Weapons, White House, World War I), and some of these slides become the basis for his drawings. Though this archive exists in analogue form, Haendel recognized that the popular GIF format functions in a similar manner to that of the slide projector, and thus created a digital slideshow experience of these source images for Art Journal Open. To view Oral Sadism & The Vegetarian Personality (Approximately), click on the image inside this post to launch the project.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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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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.

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.