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.

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.

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.

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.

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.

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.

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.