Category Archives: Archive

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.

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.

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.

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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.

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?

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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.

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.

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.

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

Introduction

By Tirza True Latimer

More than a repository of objects or texts, the archive is the very process of selecting, ordering, and preserving the past—in short, of making history. Artists, scholars, and activists have been rethinking the politics of what archives preserve, demonstrating that the piecing together of cultural memory is not a neutral pursuit.

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

Introduction

By Tirza True Latimer

More than a repository of objects or texts, the archive is the very process of selecting, ordering, and preserving the past—in short, of making history. Artists, scholars, and activists have been rethinking the politics of what archives preserve, demonstrating that the piecing together of cultural memory is not a neutral pursuit.

Tammy Rae Carland, Galz Living Room, MWMF, from Outpost, 2004, color photograph, 20 x 24 in. (50.8 x 61cm) (artwork © Tammy Rae Carland)

Sharing an Archive of Feelings: A Conversation

By Tammy Rae Carland and Ann Cvetkovich

As I remember, we met in 1995 in Portland, Oregon, through our musician girlfriends. I had just finished graduate school and had gone to New York, to the Whitney Independent Study Program, and I was about to be deployed, which is the way I think about it, to my first teaching job in the middle of Indiana.

Tammy Rae Carland, Galz Living Room, MWMF, from Outpost, 2004, color photograph, 20 x 24 in. (50.8 x 61cm) (artwork © Tammy Rae Carland)

Sharing an Archive of Feelings: A Conversation

By Tammy Rae Carland and Ann Cvetkovich

As I remember, we met in 1995 in Portland, Oregon, through our musician girlfriends. I had just finished graduate school and had gone to New York, to the Whitney Independent Study Program, and I was about to be deployed, which is the way I think about it, to my first teaching job in the middle of Indiana.

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Where Do We Come From? What Are We? Where Are We Going?

By Sarah Betzer

Spurred by global economic contractions, by the attention of politicians, legislators, and pundits, and certainly also by the historical curiosity and critical orientation of its ranks, the academy at present is in the thrall of self-scrutiny. What is the past, present, and future of the research university, an invention of stunningly recent vintage and yet of remarkable structural resilience?

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Where Do We Come From? What Are We? Where Are We Going?

By Sarah Betzer

Spurred by global economic contractions, by the attention of politicians, legislators, and pundits, and certainly also by the historical curiosity and critical orientation of its ranks, the academy at present is in the thrall of self-scrutiny. What is the past, present, and future of the research university, an invention of stunningly recent vintage and yet of remarkable structural resilience?

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)

If It Need Be Termed Surrender: Trisha Donnelly’s Subjunctive Case

By Michael Jay McClure

Allow for a problem within contemporary art, a problem concerning emptiness. After experiencing and writing on installations that, say, immersed me in cave systems, faux-hospitals, or forests, after navigating landscapes of fur or video labyrinths, I found myself, often, elsewhere. A group of contemporary installations seemed overwhelmingly spare, a few small objects, and I began to wonder what such a shift of spatial tenancy meant.

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)

If It Need Be Termed Surrender: Trisha Donnelly’s Subjunctive Case

By Michael Jay McClure

Allow for a problem within contemporary art, a problem concerning emptiness. After experiencing and writing on installations that, say, immersed me in cave systems, faux-hospitals, or forests, after navigating landscapes of fur or video labyrinths, I found myself, often, elsewhere. A group of contemporary installations seemed overwhelmingly spare, a few small objects, and I began to wonder what such a shift of spatial tenancy meant.

Monira Al Qadiri, still from Wa Waila (Oh Torment), 2008, film, 10 min. 4 sec.(artwork © Monira Al Qadiri)

Precarious Symbolism: When the Political Sphere Overshadows Art History

By Maymanah Farha

As the methodical beat of a handheld drum begins to pound, a bearded, turbaned figure is shown lying on a bare floor. Overcome by emotional agony, he moves as though waking from a trance. A mane of dark hair frames his painted face as the camera zooms in and his melodic eulogy to lost love commences.

Monira Al Qadiri, still from Wa Waila (Oh Torment), 2008, film, 10 min. 4 sec.(artwork © Monira Al Qadiri)

Precarious Symbolism: When the Political Sphere Overshadows Art History

By Maymanah Farha

As the methodical beat of a handheld drum begins to pound, a bearded, turbaned figure is shown lying on a bare floor. Overcome by emotional agony, he moves as though waking from a trance. A mane of dark hair frames his painted face as the camera zooms in and his melodic eulogy to lost love commences.

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).

Shaping the Glass

By 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.

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).

Shaping the Glass

By 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.

Gerhard Richter, Konstruktion (Construction, Werkübersicht 389), 1976, oil on canvas, 8 ft. 2½ in. x 9 ft. 10⅛ in. (250 x 300 cm). Staatliches Museum für Kunst und Design, Nuremberg, Germany (artwork © 2012 Gerhard Richter; photograph provided by Atelier Gerhard Richter, Cologne, Germany)

Richter’s Willkür

By Christine Mehring

Following on the heels of his signature photorealist blurs, Gerhard Richter’s abstract paintings have long exemplified a “permanent break in style as principle of style,” as Klaus Honnef noted in the artist’s first retrospective catalogue in 1969.

Gerhard Richter, Konstruktion (Construction, Werkübersicht 389), 1976, oil on canvas, 8 ft. 2½ in. x 9 ft. 10⅛ in. (250 x 300 cm). Staatliches Museum für Kunst und Design, Nuremberg, Germany (artwork © 2012 Gerhard Richter; photograph provided by Atelier Gerhard Richter, Cologne, Germany)

Richter’s Willkür

By Christine Mehring

Following on the heels of his signature photorealist blurs, Gerhard Richter’s abstract paintings have long exemplified a “permanent break in style as principle of style,” as Klaus Honnef noted in the artist’s first retrospective catalogue in 1969.

Louise Fishman, Zero at the Bone, 2010, oil on linen, 70 x 60 in. (177.8 x 152.4 cm). Private collection (artwork © Louise Fishman; photograph provided by Cheim and Read, New York)

Zero at the Bone: Louise Fishman Speaks with Carrie Moyer

By Louise Fishman and Carrie Moyer

This all came to me in the last couple of weeks. In the late 1980s, early 1990s, my partner and I had gone to Madrid to see the big Velázquez retrospective. I’d never been to the Prado. I spent a lot of time looking at the Velázquez and wandering around the museum. Eventually I found Goya’s Black Paintings.

Louise Fishman, Zero at the Bone, 2010, oil on linen, 70 x 60 in. (177.8 x 152.4 cm). Private collection (artwork © Louise Fishman; photograph provided by Cheim and Read, New York)

Zero at the Bone: Louise Fishman Speaks with Carrie Moyer

By Louise Fishman and Carrie Moyer

This all came to me in the last couple of weeks. In the late 1980s, early 1990s, my partner and I had gone to Madrid to see the big Velázquez retrospective. I’d never been to the Prado. I spent a lot of time looking at the Velázquez and wandering around the museum. Eventually I found Goya’s Black Paintings.

Ugo Mulas, Studio of Lee Bontecou, 1964, photographs (photographs © Ugo Mulas Heirs; all rights reserved)

The Terms of Craft and Other Means of Making: Lee Bontecou’s Hybrid Trajectory

By Elyse Speaks

In 1958 Lee Bontecou began experimenting with a technique for making sculpture based on binding fabric to thin steel frames or armatures. Executed first on a small scale that oscillated between the form of the model and the form of tabletop sculpture, the works were emphatic in their distance from the shape and tenor of the dominant field of welded metal sculpture.

Ugo Mulas, Studio of Lee Bontecou, 1964, photographs (photographs © Ugo Mulas Heirs; all rights reserved)

The Terms of Craft and Other Means of Making: Lee Bontecou’s Hybrid Trajectory

By Elyse Speaks

In 1958 Lee Bontecou began experimenting with a technique for making sculpture based on binding fabric to thin steel frames or armatures. Executed first on a small scale that oscillated between the form of the model and the form of tabletop sculpture, the works were emphatic in their distance from the shape and tenor of the dominant field of welded metal sculpture.

The Shame machine, Tecopa, California, March 2011 (photograph © Josephine Halvorson)

Shame: The One That Got Away

By Josephine Halvorson
The nineteenth-century painter Samuel Palmer lived within two hundred yards of the cemetery, making drawings, notes, and paintings in what he called the Valley of Visions in an effort to “bring up a mystic glimmer.” Sinclair, London Orbital Acid rain has eroded the words. Lichens, like Van Gogh blooms in orange and yellow, cling to the mauve stone.

The Shame machine, Tecopa, California, March 2011 (photograph © Josephine Halvorson)

Shame: The One That Got Away

By Josephine Halvorson
The nineteenth-century painter Samuel Palmer lived within two hundred yards of the cemetery, making drawings, notes, and paintings in what he called the Valley of Visions in an effort to “bring up a mystic glimmer.” Sinclair, London Orbital Acid rain has eroded the words. Lichens, like Van Gogh blooms in orange and yellow, cling to the mauve stone.

Fabian Marcaccio, Paintant Stories, 2000, pigment inks, oil, acrylic, silicone, and polymer on vinyl, wood, and metal structure, approx. 13 ft. 1½ in. x 328 ft. (4 x 100 m). Collection Davos Latin-America, Zurich (artwork © Fabian Marcaccio)

Pigment vs. Pixel: Painting in an Era of Light-Based Images

By Luke Smythe

Copied from a small and fuzzy photograph clipped from a newspaper in 2003, Gerhard Richter’s Silikat paintings depict a honeycomb array of silicate particles, modeled on the structure of a butterfly wing.

Fabian Marcaccio, Paintant Stories, 2000, pigment inks, oil, acrylic, silicone, and polymer on vinyl, wood, and metal structure, approx. 13 ft. 1½ in. x 328 ft. (4 x 100 m). Collection Davos Latin-America, Zurich (artwork © Fabian Marcaccio)

Pigment vs. Pixel: Painting in an Era of Light-Based Images

By Luke Smythe

Copied from a small and fuzzy photograph clipped from a newspaper in 2003, Gerhard Richter’s Silikat paintings depict a honeycomb array of silicate particles, modeled on the structure of a butterfly wing.

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We Are Pop People

By Joshua Shannon

Anyone seeking a crisp argument for the importance of contemporary art history should welcome the introduction of Hal Foster’s latest book, The First Pop Age. Foster justifies his careful look back at five key Pop artists by persuasively arguing that their work reveals and investigates a new stage, ascendant in the early 1960s, in the history of capitalist culture.

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We Are Pop People

By Joshua Shannon

Anyone seeking a crisp argument for the importance of contemporary art history should welcome the introduction of Hal Foster’s latest book, The First Pop Age. Foster justifies his careful look back at five key Pop artists by persuasively arguing that their work reveals and investigates a new stage, ascendant in the early 1960s, in the history of capitalist culture.

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This Land Is Their Land

By Suzaan Boettger

Ends of the Earth: Land Art to 1974, the bold title of the exhibition and catalogue organized by the Museum of Contemporary Art, Los Angeles, and on view there in 2012 and later at Munich’s Haus der Kunst, evokes the grand ambitions of artists’ environmental imaginations in the early 1970s.

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This Land Is Their Land

By Suzaan Boettger

Ends of the Earth: Land Art to 1974, the bold title of the exhibition and catalogue organized by the Museum of Contemporary Art, Los Angeles, and on view there in 2012 and later at Munich’s Haus der Kunst, evokes the grand ambitions of artists’ environmental imaginations in the early 1970s.

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Lights, Camera, Action!

By Mechtild Widrich

Should we judge a book by its cover? The image on the front of the massive new publication on a taboo-breaking group of Austrian postwar artists shows a crowd of people gazing, some with obvious disapproval, into the camera. Among them we see policemen —something has happened or is about to, a crime perhaps—but we cannot see what has given rise to the incident.

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Lights, Camera, Action!

By Mechtild Widrich

Should we judge a book by its cover? The image on the front of the massive new publication on a taboo-breaking group of Austrian postwar artists shows a crowd of people gazing, some with obvious disapproval, into the camera. Among them we see policemen —something has happened or is about to, a crime perhaps—but we cannot see what has given rise to the incident.

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Reign of Error

By Barry Schwabsky

John Roberts is one of the more original and independent thinkers among contemporary art historians, and his wide-ranging reflections often take him well outside the boundaries of the discipline. In fact, he sometimes seems at pains to obscure what might be called the art-historical use-value of his work in order to underline its broader implications; he prefers to be seen, it appears, as a sort of unlicensed philosopher.

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Reign of Error

By Barry Schwabsky

John Roberts is one of the more original and independent thinkers among contemporary art historians, and his wide-ranging reflections often take him well outside the boundaries of the discipline. In fact, he sometimes seems at pains to obscure what might be called the art-historical use-value of his work in order to underline its broader implications; he prefers to be seen, it appears, as a sort of unlicensed philosopher.

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Administered Occupation: Art and Politics at the 7th Berlin Biennale

By Olga Kopenkina

In one of his best-known videos, the artist Artur Zmijewski is seen trying to persuade a former Nazi concentration camp prisoner to “renew” the number tattooed on the man’s forearm. In another film, Berek, naked adults play a game of tag in the gas chamber. But it is not the controversy about Zmijewski’s works that prompted his appointment as curator of the 7th Berlin Biennale, which took place at the KW Institute of Contemporary Art (Kunst Werke) and various locations in Berlin April 27–July 1, 2012.

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Administered Occupation: Art and Politics at the 7th Berlin Biennale

By Olga Kopenkina

In one of his best-known videos, the artist Artur Zmijewski is seen trying to persuade a former Nazi concentration camp prisoner to “renew” the number tattooed on the man’s forearm. In another film, Berek, naked adults play a game of tag in the gas chamber. But it is not the controversy about Zmijewski’s works that prompted his appointment as curator of the 7th Berlin Biennale, which took place at the KW Institute of Contemporary Art (Kunst Werke) and various locations in Berlin April 27–July 1, 2012.

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Attention Deficit

By 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.

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Attention Deficit

By 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.

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

By Chris Balaschak

In 1969 Winogrand published The Animals alongside an exhibition of the same name at the Museum of Modern Art, New York (MoMA). Though it has never been seen as such, it was a timely project, and represents a satire of American society during the height of a war “unassimilable” by popular culture.

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

By Chris Balaschak

In 1969 Winogrand published The Animals alongside an exhibition of the same name at the Museum of Modern Art, New York (MoMA). Though it has never been seen as such, it was a timely project, and represents a satire of American society during the height of a war “unassimilable” by popular culture.

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Agnes Martin, Under New Auspices

By Karen L. Schiff

Finally—a book of criticism about Agnes Martin. No other book of writing about this singular, revered artist has been in print for many years. And though Martin (1912–2004) has been an esteemed presence in the art world since at least the early 1960s, there exists no monograph, no biography, no previous collection of criticism.

Reviews 3 NEW Schiff on Martin

Agnes Martin, Under New Auspices

By Karen L. Schiff

Finally—a book of criticism about Agnes Martin. No other book of writing about this singular, revered artist has been in print for many years. And though Martin (1912–2004) has been an esteemed presence in the art world since at least the early 1960s, there exists no monograph, no biography, no previous collection of criticism.

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).

What Are You Working On?

By 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).

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).

What Are You Working On?

By 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).

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)

Another Time

By 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.

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)

Another Time

By 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.

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.

Jill Carrick. Nouveau Réalisme, 1960s France, and the Neo-avant-garde: Topographies of Chance and Return. Burlington: Ashgate, 2010. 184 pp., 30 b/w ills. $104.95

New Realisms in the 1960s

By Jaimey Hamilton

The term nouveau réalisme, or new realism, has long been tied to the specific claims made by the critic Pierre Restany about the Paris-based art group he promoted. Restany convinced Arman, Yves Klein, Jean Tinguely, Daniel Spoerri, Martial Raysse, Jacques de la Villeglé, Raymond Hains, and François Dufrêne to sign on initially, and then added César, Niki de Saint-Phalle, Gérard Deschamps, Mimmo Rotella, and Christo.

Jill Carrick. Nouveau Réalisme, 1960s France, and the Neo-avant-garde: Topographies of Chance and Return. Burlington: Ashgate, 2010. 184 pp., 30 b/w ills. $104.95

New Realisms in the 1960s

By Jaimey Hamilton

The term nouveau réalisme, or new realism, has long been tied to the specific claims made by the critic Pierre Restany about the Paris-based art group he promoted. Restany convinced Arman, Yves Klein, Jean Tinguely, Daniel Spoerri, Martial Raysse, Jacques de la Villeglé, Raymond Hains, and François Dufrêne to sign on initially, and then added César, Niki de Saint-Phalle, Gérard Deschamps, Mimmo Rotella, and Christo.

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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.

Allen Ruppersberg, PST: Before and After, 2012 (artwork © Allen Ruppersberg; cover photograph copyright © 1947, Los Angeles Times, reprinted with permission; interior background images published under fair use)

Art, History, and Criticism

By Katy Siegel

It can seem as if recent changes in how we learn do little more than facilitate a quantitative randomness. But the centrality of the Internet to intellectual work has made visible one under-recognized and revolutionary truth: the collective nature of creating knowledge.

Allen Ruppersberg, PST: Before and After, 2012 (artwork © Allen Ruppersberg; cover photograph copyright © 1947, Los Angeles Times, reprinted with permission; interior background images published under fair use)

Art, History, and Criticism

By Katy Siegel

It can seem as if recent changes in how we learn do little more than facilitate a quantitative randomness. But the centrality of the Internet to intellectual work has made visible one under-recognized and revolutionary truth: the collective nature of creating knowledge.

Ice Cube Celebrates the Eames, poster, 2011, (artwork © J. Paul Getty Trust)

City after Fifty Years’ Living: L.A.’s Differences in Relation

By Malik Gaines

A marketing triumph, Pacific Standard Time has been responsible for a series of promotional videos, slickly produced, that pair an honored artist with a Southern California celebrity. The shining success among these original works is the pairing of the late design team Ray and Charles Eames with the rapper and actor Ice Cube.

Ice Cube Celebrates the Eames, poster, 2011, (artwork © J. Paul Getty Trust)

City after Fifty Years’ Living: L.A.’s Differences in Relation

By Malik Gaines

A marketing triumph, Pacific Standard Time has been responsible for a series of promotional videos, slickly produced, that pair an honored artist with a Southern California celebrity. The shining success among these original works is the pairing of the late design team Ray and Charles Eames with the rapper and actor Ice Cube.

Elissa Auther and Adam Lerner, eds. West of Center: Art and the Counterculture Experiment in America, 1965–1977. Minneapolis: University of Minnesota Press, 2011. 448 pp., 92 color ills. $120, $39.95 paper

City of Angles

By Jennifer Doyle

Los Angeles mythology is hard to cut through: The city has no center, no sense of history, it has no depth. It is the city that plays itself and the city that forgets itself.

Elissa Auther and Adam Lerner, eds. West of Center: Art and the Counterculture Experiment in America, 1965–1977. Minneapolis: University of Minnesota Press, 2011. 448 pp., 92 color ills. $120, $39.95 paper

City of Angles

By Jennifer Doyle

Los Angeles mythology is hard to cut through: The city has no center, no sense of history, it has no depth. It is the city that plays itself and the city that forgets itself.

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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.

Cover: Matthew Brannon, Pressing the “Delete” button, not pressing the “Are you  sure you want to delete?” button, 2012, covers: paper collage and screenprint. © Matthew Brannon.

In Print

By Katy Siegel

At my first meeting as editor-in-chief, the Art Journal Editorial Board learned that due to fallout from the financial crisis of 2008–9, CAA could not afford to publish the journal as a quarterly—there would only be three issues in 2010, with reduced color and page count. It turns out that printing a magazine is, as these things go, a luxury.

Cover: Matthew Brannon, Pressing the “Delete” button, not pressing the “Are you  sure you want to delete?” button, 2012, covers: paper collage and screenprint. © Matthew Brannon.

In Print

By Katy Siegel

At my first meeting as editor-in-chief, the Art Journal Editorial Board learned that due to fallout from the financial crisis of 2008–9, CAA could not afford to publish the journal as a quarterly—there would only be three issues in 2010, with reduced color and page count. It turns out that printing a magazine is, as these things go, a luxury.

Josh Kline, Fashion PR’s Hand with Blackberry (Cynthia Leung), 2011, pigmented silicone, 3 x 4¾ x 6¾ in. (7.6 x 12 x 17.1 cm), edition of 5 (artwork © Josh Kline; photograph by Joerg Lohse, provided by 47 Canal, New York)

The Binder and the Server

By Triple Canopy

At first a convenience, then quickly a conundrum: Of course we would publish on the internet. We came of age with the medium, it was our generation’s default. Plus, financially speaking, it remained—and remains, for now—a wheat-paste endeavor: nine dollars a month to hold down a domain name.

Josh Kline, Fashion PR’s Hand with Blackberry (Cynthia Leung), 2011, pigmented silicone, 3 x 4¾ x 6¾ in. (7.6 x 12 x 17.1 cm), edition of 5 (artwork © Josh Kline; photograph by Joerg Lohse, provided by 47 Canal, New York)

The Binder and the Server

By Triple Canopy

At first a convenience, then quickly a conundrum: Of course we would publish on the internet. We came of age with the medium, it was our generation’s default. Plus, financially speaking, it remained—and remains, for now—a wheat-paste endeavor: nine dollars a month to hold down a domain name.

Hiroko Ikegami. The Great Migrator: Robert Rauschenberg and the Global Rise of American Art. Cambridge, MA: MIT Press, 2010. 288 pp., 87 color ills. $29.95

Fête in Venice

By Seth McCormick

Hiroko Ikegami’s The Great Migrator, which toward the end quotes Homi Bhabha on the subjects of postcolonial mimicry and hybridization, is itself something of a hybrid: part traditional monograph, part Foucauldian genealogy of contemporary art in the age of globalization.

Hiroko Ikegami. The Great Migrator: Robert Rauschenberg and the Global Rise of American Art. Cambridge, MA: MIT Press, 2010. 288 pp., 87 color ills. $29.95

Fête in Venice

By Seth McCormick

Hiroko Ikegami’s The Great Migrator, which toward the end quotes Homi Bhabha on the subjects of postcolonial mimicry and hybridization, is itself something of a hybrid: part traditional monograph, part Foucauldian genealogy of contemporary art in the age of globalization.

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Mining the Postwar Japanese Vanguard: Miwako Tezuka Speaks with Doryun Chong

By Miwako Tezuka and Doryun Chong

I specialize in contemporary Japanese art, which basically means post-1945. While doing some ground research, I realized that in the history of post-1945 Japanese art, most research was done on Gutai in the 1950s in the Kansai area, the western region of Japan, and I noticed this gap on the activities in Tokyo.

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Mining the Postwar Japanese Vanguard: Miwako Tezuka Speaks with Doryun Chong

By Miwako Tezuka and Doryun Chong

I specialize in contemporary Japanese art, which basically means post-1945. While doing some ground research, I realized that in the history of post-1945 Japanese art, most research was done on Gutai in the 1950s in the Kansai area, the western region of Japan, and I noticed this gap on the activities in Tokyo.

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OCCUPOLOGY, SWARMOLOGY, WHATEVEROLOGY: the city of (dis)order versus the people’s archive

By Gregory Sholette

The archive, with its icy temperature and motionless repose, may seem like an unlikely place to begin thinking about Occupy Wall Street (OWS), a dynamic and still-unfolding phenomenon whose precise nature appears impossible to determine, let alone file away like a stack of dog-eared documents.

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OCCUPOLOGY, SWARMOLOGY, WHATEVEROLOGY: the city of (dis)order versus the people’s archive

By Gregory Sholette

The archive, with its icy temperature and motionless repose, may seem like an unlikely place to begin thinking about Occupy Wall Street (OWS), a dynamic and still-unfolding phenomenon whose precise nature appears impossible to determine, let alone file away like a stack of dog-eared documents.

Kitadai Shōzō, mask of Harlequin as worn by Kanze Hisao, 1955, painted wood (photograph © Kitadai Shōzō; photograph provided by Taro Okamoto Museum of Art, Kawasaki)

Reconstruction

By Katy Siegel

For several days in 2000, William Pope.L sat enthroned on a towering toilet, contemplating and quite literally consuming The Wall Street Journal, dusted with white powder and surrounded by the great American fluids—milk and ketchup. This performance grew from an earlier 1991 version, staged on the street, and the artist has reenacted the performance several times since, most recently at the New Museum in New York in 2010.

Kitadai Shōzō, mask of Harlequin as worn by Kanze Hisao, 1955, painted wood (photograph © Kitadai Shōzō; photograph provided by Taro Okamoto Museum of Art, Kawasaki)

Reconstruction

By Katy Siegel

For several days in 2000, William Pope.L sat enthroned on a towering toilet, contemplating and quite literally consuming The Wall Street Journal, dusted with white powder and surrounded by the great American fluids—milk and ketchup. This performance grew from an earlier 1991 version, staged on the street, and the artist has reenacted the performance several times since, most recently at the New Museum in New York in 2010.

Kitadai Shōzō, drawing for the masks of Harlequin, 1955, ink on paper, 12-1/8 x 16-1/2 in. (30.7 x 41.9 cm) (artwork © Kitadai Shōzō; photograph provided by Taro Okamoto Museum of Art, Kawasaki)

Experimentation and Tradition: The Avant-Garde Play Pierrot Lunaire by Jikken Kōbō and Takechi Tetsuji

By Miwako Tezuka

During the 1950s, after the devastating defeat in World War II, Japan exerted itself to regain political and economic confidence. Arts and culture played a key role in the country’s recovery: the image of a belligerent nation in the recent past needed to be replaced by a new impression of Japan as a peaceful nation of culture; the people were yearning for a return of their cultural life, or simply, entertainments; and, released from the straitjacket that suppressed free expression, artists quickly resumed their creative activities.

Kitadai Shōzō, drawing for the masks of Harlequin, 1955, ink on paper, 12-1/8 x 16-1/2 in. (30.7 x 41.9 cm) (artwork © Kitadai Shōzō; photograph provided by Taro Okamoto Museum of Art, Kawasaki)

Experimentation and Tradition: The Avant-Garde Play Pierrot Lunaire by Jikken Kōbō and Takechi Tetsuji

By Miwako Tezuka

During the 1950s, after the devastating defeat in World War II, Japan exerted itself to regain political and economic confidence. Arts and culture played a key role in the country’s recovery: the image of a belligerent nation in the recent past needed to be replaced by a new impression of Japan as a peaceful nation of culture; the people were yearning for a return of their cultural life, or simply, entertainments; and, released from the straitjacket that suppressed free expression, artists quickly resumed their creative activities.

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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.

Harald Falckenberg and Peter Weibel, eds. Paul Thek: Artist’s Artist. Cambridge, MA: MIT Press, 2009. 640 pp., 300 color ills., 200 b/w. $75

Thek’s “As If”

By Robert Slifkin

Roland Barthes’s pithy thesis from his seminal essay “The Reality Effect” (1968) reveals what might be called the vitalist basis of modernist indeterminacy.

Harald Falckenberg and Peter Weibel, eds. Paul Thek: Artist’s Artist. Cambridge, MA: MIT Press, 2009. 640 pp., 300 color ills., 200 b/w. $75

Thek’s “As If”

By Robert Slifkin

Roland Barthes’s pithy thesis from his seminal essay “The Reality Effect” (1968) reveals what might be called the vitalist basis of modernist indeterminacy.

Three Questions: Helen Molesworth Speaks with Taylor Davis

By Helen Molesworth and Taylor Davis

This conversation took place at the ICA Boston on April 28, 2010. Jill Medvedow, director of the ICA, asked the artist Taylor Davis to interview the then newly appointed chief curator Helen Molesworth.

Three Questions: Helen Molesworth Speaks with Taylor Davis

By Helen Molesworth and Taylor Davis

This conversation took place at the ICA Boston on April 28, 2010. Jill Medvedow, director of the ICA, asked the artist Taylor Davis to interview the then newly appointed chief curator Helen Molesworth.

Cover:

Making Time

Time is passing quickly; as I write this, I realize that I am more than halfway through my tenure as editor-in-chief of Art Journal.

Cover:

Making Time

Time is passing quickly; as I write this, I realize that I am more than halfway through my tenure as editor-in-chief of Art Journal.

*Jackie Hetherington working on plans for the Art & Soul cultural center, Chicago, 1968* (photograph © Ann Zelle)

Art & Soul: An Experimental Friendship between the Street and a Museum

By Rebecca Zorach

In the summer of 1968, as the Democratic National Committee prepared to roll into Chicago, the city’s Museum of Contemporary Art was entering into an unusual partnership—an “experimental friendship”—with an organization called CVL, Inc. What’s remarkable about this organization was that it was the new incarnation of a notorious street gang known as the Vice Lords.

*Jackie Hetherington working on plans for the Art & Soul cultural center, Chicago, 1968* (photograph © Ann Zelle)

Art & Soul: An Experimental Friendship between the Street and a Museum

By Rebecca Zorach

In the summer of 1968, as the Democratic National Committee prepared to roll into Chicago, the city’s Museum of Contemporary Art was entering into an unusual partnership—an “experimental friendship”—with an organization called CVL, Inc. What’s remarkable about this organization was that it was the new incarnation of a notorious street gang known as the Vice Lords.

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Craft Class

By Sheila Pepe

By the time Rozsika Parker published Subversive Stitch: Embroidery and the Making of the Feminine in 1984, the following overtly feminist “stitched” works had already been made: Faith Wilding’s Womb Room, 1972; Harmony Hammond’s Presence V, also made in 1972; Faith Ringgold’s Zora and Fish, 1975; and Judy Chicago’s monumental Dinner Party, 1979—for which she employed extremely traditional fiber and ceramic craft techniques.

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Craft Class

By Sheila Pepe

By the time Rozsika Parker published Subversive Stitch: Embroidery and the Making of the Feminine in 1984, the following overtly feminist “stitched” works had already been made: Faith Wilding’s Womb Room, 1972; Harmony Hammond’s Presence V, also made in 1972; Faith Ringgold’s Zora and Fish, 1975; and Judy Chicago’s monumental Dinner Party, 1979—for which she employed extremely traditional fiber and ceramic craft techniques.

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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.

Paul Sietsema, Untitled Composition, 2011 (front cover), (artworks © Paul Sietsema)

Race to the Finish

By Katy Siegel

This is the first issue of Art Journal published in 2011, CAA’s Centennial year. We will mark the occasion throughout the year, helped by scholars and artists and a grant from the Andy Warhol Foundation. Our website launched in February, in response to the changing nature of art writing and publishing, and to the wish to attend to time-based and new media art.

Paul Sietsema, Untitled Composition, 2011 (front cover), (artworks © Paul Sietsema)

Race to the Finish

By Katy Siegel

This is the first issue of Art Journal published in 2011, CAA’s Centennial year. We will mark the occasion throughout the year, helped by scholars and artists and a grant from the Andy Warhol Foundation. Our website launched in February, in response to the changing nature of art writing and publishing, and to the wish to attend to time-based and new media art.

Eames House interior, Los Angeles, 1994 (photograph by Timothy Street-Porter, © Eames Office, LLC)

Charles and Ray Eames in India

By Saloni Mathur

A photograph of the living room of the Eames house in the Pacific Palisades neighborhood of Los Angeles has proven rather puzzling to historians of design. It depicts the famous Case Study House as full of exotic collectibles. Hopi kachina dolls, seashells, craft objects, silk textiles from Nepal and Thailand, and elaborately patterned rugs from Mexico and India all crowd and assault their modernist frame.

Eames House interior, Los Angeles, 1994 (photograph by Timothy Street-Porter, © Eames Office, LLC)

Charles and Ray Eames in India

By Saloni Mathur

A photograph of the living room of the Eames house in the Pacific Palisades neighborhood of Los Angeles has proven rather puzzling to historians of design. It depicts the famous Case Study House as full of exotic collectibles. Hopi kachina dolls, seashells, craft objects, silk textiles from Nepal and Thailand, and elaborately patterned rugs from Mexico and India all crowd and assault their modernist frame.

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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The Poverty of Poetry
Julia Bryan-Wilson, Art Workers: Radical Practice in the Vietnam War Era

By Michael Corris

The Art Workers’ Coalition (AWC) was formed in New York in 1969 in the wake of an incident in a museum. The Museum of Modern Art, New York (MoMA), mounted an exhibition titled The Machine as Seen at the End of the Mechanical Age. Within the exhibition was a work by the artist Vassilakis Takis.

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The Poverty of Poetry
Julia Bryan-Wilson, Art Workers: Radical Practice in the Vietnam War Era

By Michael Corris

The Art Workers’ Coalition (AWC) was formed in New York in 1969 in the wake of an incident in a museum. The Museum of Modern Art, New York (MoMA), mounted an exhibition titled The Machine as Seen at the End of the Mechanical Age. Within the exhibition was a work by the artist Vassilakis Takis.

Liz Magic Laser, Flight, 2010, performance, MoMA PS1, Long Island City, April 10, 2010 (artwork © Liz Magic Laser; photograph by Mia Tramz, provided by Derek Eller Gallery). The performance was developed in collaboration with actors Lindsey Andersen, Nic Grelli, Elizabeth Hodur, Michael Wiener, Max Woertendyke, and Lia Woertendyke.

InterAct: a reenacted interview

If the world’s a stage, then Liz Magic Laser becomes its director and all passersby are forced to perform. In 2009 Laser staged chase; the following year she produced Flight: in both works, action was registered on video and video begat action. To produce Interact, this project for Art Journal, Laser and her cast met at the East River Park Amphitheatre on two mornings last autumn: the first time to talk in the bleachers and the second time to relive the first conversation on stage.

Liz Magic Laser, Flight, 2010, performance, MoMA PS1, Long Island City, April 10, 2010 (artwork © Liz Magic Laser; photograph by Mia Tramz, provided by Derek Eller Gallery). The performance was developed in collaboration with actors Lindsey Andersen, Nic Grelli, Elizabeth Hodur, Michael Wiener, Max Woertendyke, and Lia Woertendyke.

InterAct: a reenacted interview

If the world’s a stage, then Liz Magic Laser becomes its director and all passersby are forced to perform. In 2009 Laser staged chase; the following year she produced Flight: in both works, action was registered on video and video begat action. To produce Interact, this project for Art Journal, Laser and her cast met at the East River Park Amphitheatre on two mornings last autumn: the first time to talk in the bleachers and the second time to relive the first conversation on stage.

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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.

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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.

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David Wojnarowicz: Against His Vanishing

By Steven Dubin

David Wojnarowicz was thrust into the national spotlight in 1989 when the National Endowment for the Arts rescinded its financial support for the catalogue accompanying the exhibition Witnesses: Against Our Vanishing, curated by Nan Goldin for Artists Space.

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David Wojnarowicz: Against His Vanishing

By Steven Dubin

David Wojnarowicz was thrust into the national spotlight in 1989 when the National Endowment for the Arts rescinded its financial support for the catalogue accompanying the exhibition Witnesses: Against Our Vanishing, curated by Nan Goldin for Artists Space.

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Something Totally Unpredictable

By Katy Siegel

The Art Journal Award, CAA’s annual prize for the best article published in the magazine, has been awarded to the current issue’s feature on Land art, a group of essays collected and introduced by Kirsten Swenson.

winter_2010_cover

Something Totally Unpredictable

By Katy Siegel

The Art Journal Award, CAA’s annual prize for the best article published in the magazine, has been awarded to the current issue’s feature on Land art, a group of essays collected and introduced by Kirsten Swenson.

1. Philip Guston, series title TK, date(s) TK, medium TK, installation view, Woodstock, New York (artwork © The Estate of Philip Guston; photograph provided by McKee Gallery, New York)

Soul-Beating

By David Reed

I was a student at the New York Studio School during the fall of 1966 and spring of 1967. The school was then located in a loft building on the northeast corner of Broadway and Bleecker Street. Draft deferments during the Vietnam War were not granted to students attending an art school, especially an unaccredited one like the Studio School.

1. Philip Guston, series title TK, date(s) TK, medium TK, installation view, Woodstock, New York (artwork © The Estate of Philip Guston; photograph provided by McKee Gallery, New York)

Soul-Beating

By David Reed

I was a student at the New York Studio School during the fall of 1966 and spring of 1967. The school was then located in a loft building on the northeast corner of Broadway and Bleecker Street. Draft deferments during the Vietnam War were not granted to students attending an art school, especially an unaccredited one like the Studio School.

lozano

Lee Lozano, Lee Lozano: Notebooks 1967–70

By Lauren O’Neill-Butler

“HISTORY DRAGS.” Of the many shrewd observations and witticisms that Lee Lozano (1930–1999) recorded in her notebooks, this one strikes deepest when considering the revival of interest in her work. Of course, we’ll never know her opinion on the widespread, international attention that has been lavished on her art and life over the last decade.

lozano

Lee Lozano, Lee Lozano: Notebooks 1967–70

By Lauren O’Neill-Butler

“HISTORY DRAGS.” Of the many shrewd observations and witticisms that Lee Lozano (1930–1999) recorded in her notebooks, this one strikes deepest when considering the revival of interest in her work. Of course, we’ll never know her opinion on the widespread, international attention that has been lavished on her art and life over the last decade.

aj-mess-270

Art Journal at Fifty

This is the second essay the College Art Association has published entitled “Art Journal at Fifty.” The first, by CAA president Ruth Weisberg, was published in the magazine in the winter of 1991. The present essay is partly about how

aj-mess-270

Art Journal at Fifty

This is the second essay the College Art Association has published entitled “Art Journal at Fifty.” The first, by CAA president Ruth Weisberg, was published in the magazine in the winter of 1991. The present essay is partly about how

bakers

A Baker’s Dozen from the Archives

To complement Howard Singerman’s comprehensive and insightful overview of Art Journal’s rather eccentric history, we’ve asked the editorial board and a few friends to pick their favorite articles, essays, reviews, and artists’ projects from issues past. Some feature familiar names attached to much-cited touchstones, while others, we hope, will come as a surprise.

bakers

A Baker’s Dozen from the Archives

To complement Howard Singerman’s comprehensive and insightful overview of Art Journal’s rather eccentric history, we’ve asked the editorial board and a few friends to pick their favorite articles, essays, reviews, and artists’ projects from issues past. Some feature familiar names attached to much-cited touchstones, while others, we hope, will come as a surprise.