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)
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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. Though Karin would eventually pursue … READ MORE

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

I delivered a version of this essay as a lecture in Utrecht, on May 26, 2011, for the Performance & Philosophy working group’s panel “Enacting Pasts & Presents in Philosophy & Performance” at the Performance Studies international conference #17: Camillo … READ MORE

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Modernism, Essentialism, and “Racial Art” in America Amy Lyford

Jacqueline Francis. Making Race: Modernism and “Racial Art” in America. Seattle: University of Washington Press, 2012. 256 pp., 12 color ills., 47 b/w. $40 paper ShiPu Wang. Becoming American? The Art and Identity Crisis of Yasuo Kuniyoshi. Honolulu: University of … READ MORE

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

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Tammy Rae Carland, Galz Living Room, MWMF, from Outpost, 2004, color photograph, 20 x 24 in. (50.8 x 61cm) (artwork © Tammy Rae Carland)
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Sharing an Archive of Feelings: A Conversation Tammy Rae Carland and Ann Cvetkovich

Tammy Rae Carland: 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 … READ MORE

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Where Do We Come From? What Are We? Where Are We Going? 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, … READ MORE

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Front cover with detail of Moyra Davey, Dedication, 2012, photograph (artwork © Moyra Davey)
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Editors note Lane Relyea

At the suggestion of a few colleagues I wrote a letter back on March 25, 2011, to the College Art Association asking to be considered for the position of editor-in-chief of Art Journal. I wouldn’t have thought of seeking the … READ MORE

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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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