Current Issue: Fall-Winter 2017

Heidi Cho, Deirdre Logue, Allyson Mitchell, and Morgan Sea, #silence=violence, 2017, detail (artwork © Heidi Cho, Deirdre Logue, Allyson Mitchell, and Morgan Sea; photographs by Cat O’Neil). Research and concept collaboration: Mandi Gray. Further consultation: Ellie Ade Kur and an anonymous lawyer.
Gavin Jantjes, Freedom Hunters, 1977, screenprint with collage, 27 x 39.5 in. (68.8 x 100.2 cm). Prints, Drawings and Paintings Collection, Victoria and Albert Museum, London, E.333-1982 (artwork © Gavin Jantjes; photograph provided by the artist).
Gabriel Orozco, Light Through Leaves, 1996, iris computer print, archival and water-based ink on paper (500g/m2 Somerset Satin 100% cotton rag), 20 x 32 in. (50.8 x 81.2 cm), produced by Cone Laumont Editions, New York, edition of sixty for Parkett 48 (artwork © Gabriel Orozco; photograph provided by Marian Goodman Gallery, New York).
Aaron McPeake, Gongs, 2007-10, installation view, Sweet Gongs Vibrating, curated by Amanda Cachia, San Diego Art Institute, 2016 (artwork © Aaron McPeake; photograph by Ryan Gambrell).
Fayen d’Evie, Troy McConnell, Sophie Takách, and Prue Lang, […] {…} […] handovers + translations, 2016, image composition and description: conversational exchange between Fayen d’Evie and Sophie Takách, Work(s) in Transition. LH: choreographic objects oriented through blindness // how does a straight line feel? (artwork © the artists; photographs by Pippa Samaya and Sophie Takách
Christine Sun Kim, Future with Certified Sign Language Interpreters, 2016, charcoal on paper, 11.75 x 15.75 in. (30 x 40 cm) (artwork © Christine Sun Kim; photographs provided by White Space Beijing).
”Cripping the Arts” symposium, Tangled Art + Disability, Toronto, April 2016 (photographs by Jonathan Balazs, provided by Tangled Art + Disability).
Carmen Papalia, For A New Accessibility, 2016, performance, New York City, July 23, 2016 (photograph by George Bolster and William Furio).
Mowry Baden, Seat Belt with Concrete Block, 1969-70, video still, Flesh of the World, University of Toronto Art Centre, June 2015 (artwork © Mowry Baden; photographs by Toni Hafkenscheid).
Nadia Myre, For those who can not speak: the land, the water, the animals and the future generations, 2013, installation view, National Gallery of Canada, Ottawa, 2013 (artwork © Nadia Myre; photographs by Brian Gardiner, provided by Art Mûr gallery).
Firelei Báez, A river in which time quenches its thirst, 2015, gouache, colored pencil, and ink on paper; 70.5 x 61.5 in. (156.2 x 179.1 cm) (artwork © Firelei Báez; photograph provided by Gallery Wendi Norris, San Francisco).
Installation view, The Shadows Took Shape, Studio Museum in Harlem, November 14, 2013-March 9, 2014, curated by Naima J. Keith (photograph by Adam Reich).
Gender/Power, Composition IV, 2016, stills from performance, Smack Mellon, New York City, April 2016 (artwork © Maya Ciarrocchi and Kris Grey; photographs by Julieta Cervantes).
Matt Smith, When All Is Equal, 2016, black porcelain, 12 ¼ x 7 7/8 x 7 7/8 in. (31 x 20 x 20 cm) (artwork © Matt Smith; photograph by Stephan Deleu, provided by Matt Smith). The artist produced the piece during his 2015-16 residency at the V&A.
”On Social Reproduction,” 2015, panel discussion and performance (photograph by Christian Luebbert. From left, Pablo Pakula, Emma Dowling, Dawn Foster, Larne Abse Gogarty, Marissa Begonia (out of frame), and Nic Beurat (on Skype), Institute of Contemporary Arts, London, as part of “Now You Can Go,” December 5, 2015.
Missouri Pettway, Blocks and Strips work-clothes quilt, 1932; Quinnie Pettway, Housetop quilt, ca. 1975; Loretta Pettway, String-pieced quilt, 1963; Loretta Pettway, Two-sided quilt: rectangular blocks and “bricklayer” variation, ca. 1975, installation view, The Keeper New Museum, New York, 2016 (artworks © the artists and Estate of Missouri Pettway; photograph by Maris Hutchinson/EPW Studio).
Production still of The Tuba Thieves (2013-present), dir. Alison O'Daniel, public filming of the scene "The Sex Life of Mushrooms" with actors Ian Hutton and Nyke Prince, musician SK Kakraba, sign-language interpreters, and film crew, courtyard of The Hammer Museum, Los Angeles, 2016, for the exhibition In Real Life: 100 Days of Film and Performance, September 13, 2016-January 25, 2017.
Charlotte Moorman performing on Nam June Paik’s TV Cello wearing TV Glasses, Bonino Gallery, New York City, 1971 (artworks © Estate of Nam June Paik; photograph © Takahiko Iimura).
Lynn Hershman Leeson, Self Portrait as Another Person, 1965, installation view, Lynn Hershman Leeson: Civic Radar, Yerba Buena Center for the Arts, San Francisco, 2017 (artwork © Lynn Hershman Leeson, photograph by Charlie Villyard, provided by Yerba Buena Center for the Arts).
Paul B. Preciado, Teresa Grandas, and Anne Dressen. The Passion according to Carol Rama/La passione secondo Carol Rama. English exh. cat. Barcelona: Museu d’Art Contemporani de Barcelona, 2015, and Italian exh. cat. Milan: Silvana Editoriale, 2016. 272 pp., 138 color ills., 72 b/w. $45
 

In This Issue

Rebecca M. Brown
Tropes, Variants, Openings, Possibilities, 6

Features

Huey Copeland and Krista Thompson
Afrotropes: A User’s Guide, 7

Allison K. Young
Visualizing Apartheid Abroad: Gavin Jantjes’s Screenprints of the 1970s, 10

Tim Stott
How Things Grow: Gabriel Orozco’s The Samurai Tree: Invariants (2005), 32

Forum
Curating New Openings: Rethinking Diversity in the Gallery

Amanda Cachia
Curating New Openings: Rethinking Diversity in the Gallery, 48

Fayen d’Evie
The Radical Potential of Blindness, 51

Artwork: Christine Sun Kim
Introduced by Matana Roberts, 54

Eliza Chandler
Reflections on Cripping the Arts in Canada, 56

Sara Reisman
Health as a Means of Access, 60

Amanda Cachia
The Flesh of the World: An Empirical Turn toward Complex Embodiment, 68

Artwork: Nadia Myre

Introduced by Rhonda L. Meier, 76

Artwork: Firelei Báez
Introduced by Franklin Sirmans, 78

Amanda Cachia and Naima J. Keith
Curating California: Expanding African American Art, 80

Artwork: Gender/Power
Introduced by Kris Grey and Maya Ciarrocchi, 86

Jonathan D. Katz

Why I Hate Diversity, 88

Matt Smith and Catherine Flood
Disobedient Curating: Matt Smith Speaks with Catherine Flood, 92

Helena Reckitt
Generating Feminisms: Italian Feminisms and the “Now You Can Go” Program, 101

Amanda Cachia and Massimiliano Gioni
Curating Loose Definitions: Inspiration “outside” the Canon, 112

Artwork: Alison O’Daniel
Introduced by Anne Ellegood, 120

Artists’ Project
Deirdre Logue and Allyson Mitchell, with Heidi Cho and Morgan Sea
#silence=violence, 122

Reviews

“Naturalcultural Wonders to Anthropocene Disasters: A Bibliography for Possibility Aesthetics,” by Andrew Yang, 126

Nicole L. Woods on Lisa G. Corrin and Corinne Granof, eds., A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s–1980s, and the exhibition A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s–1980s; Robert Slifkin on Peter Weibel, ed., Lynn Hershman Leeson: Civic Radar, and the exhibition Lynn Hershman Leeson: Civic Radar; and Jennifer Griffiths on Paul B. Preciado, Teresa Grandas, and Anne Dressen, The Passion according to Carol Rama/La passione secondo Carol Rama