Current Issue: Spring 2017

Spring 2017
Spring 2017

In This Issue

Rebecca M. Brown, Disruption and Disorientation, 7


Nazar Kozak, Art Embedded into Protest: Staging the Ukrainian Maidan, 8

Sherry Buckberrough, Color, Gender, Murder: Delaunay’s Political Drama, 48

Sophie Landres, Indecent and Uncanny: The Case against Charlotte Moorman, 48

Forum: The Politics of Legacy

Rachel Middleman and Anne Monahan, Introduction: The Politics of Legacy, 70

Artist’s Project

Amy Zion and Peter Broda, Martin Wong’s Jackets: Estate as Process, 75

Danh Vo, I M U U R 2, 81

Conversations and Perspectives

Katherine Jentleson and Jane Kallir, From Gallery to Greeting Card: Copyrighting Grandma Moses, 90

Diane Radycki, “What to Do with All the Stuff?” A Conversation between Mrs. Sidney Tillim and the Joan Mitchell Foundation (and the Artists Betty Blayton-Taylor and Jaime Davidovich), 95

Anne Monahan, Flavin Judd, and Rainer Judd, Clear Priorities: Flavin and Rainer Judd on the Judd Foundation, 101

Rachel Middleman and Mira Friedlaender, Touching Things: Mira Friedlaender Unpacks Her Mother’s Legacy, 110

Rachel Middleman and Alla Efimova, Preserving Artists’ Estates: A Professional Perspective, 116

Marcia Reed, From the Archive to Art History, 121

Artist’s Project

Mimi Gross, Puzzling the Legacy, 129

Position Papers

Caroline A. Jones, The Artist-Function and Posthumous Art History, 139

Nancy J. Troy, Copyright as Monopoly, 150

Michael Corris, Immortality Sucks! How the Estate of the Artist Writes History, 158

Renato González Mello, When the State Is the Estate: Copyright and Patrimony in Mexico, 170

Aya Louisa McDonald, The Artist’s Widow Syndrome East and West: The Case of Foujita Kimiyo, 177

Jacqueline Francis, Response to the Forum “The Politics of Legacy”, 189

Artist’s Project

Jill Magid, The Proposal, 194


“The Prehistory of Exhibition History,” an annotated bibliography by grupa o.k. (Julian Myers and Joanna Szupinska)

Mechtild Widrich on Sabine Breitwieser, ed., Carolee Schneemann: Kinetic Painting, the exhibition Carolee Schneemann: Kinetic Painting, and Kenneth White, Carolee Schneemann, and Duncan McCorquodale, eds., Carolee Schneemann: Unforgivable; Harper Montgomery on Mónica Amor, Theories of the Nonobject: Argentina, Brazil,  Venezuela 1944–1969, Irene V. Small, Hélio Oiticica: Folding the Frame, and Elena Shtromberg, Art Systems: Brazil and the 1970s; and Catherine Damman on Meredith Morse Soft Is Fast: Simone Forti in the 1960s and After