This roundtable conversation among Iranian gallerists, available in English and in Persian, explores the politics and particularities of gallery ownership in Tehran.
Sophia Powers reviews the 2018 exhibition India/Contemporary Photographic and New Media Art, and its accompanying catalogue by the same name.
Amy K. Hamlin offers fifteen propositions for “thinking otherwise”—a text that serves as a kind of imaginary syllabus asking what the future of art history might look like.
Noah Simblist presents a parafictional story about a small American town and the frontier culture of manifest destiny.
Artist and museum educator Kerry Downey reflects on making space for queerness within and outside of institutions through participatory art making.
Maria Porges presents Shortest Stories, an ongoing series that joins collage from found material with abbreviated fiction that functions in dialogue with the images.
The collective BFAMFAPhD presents the Making and Being Card Game, a pedagogical tool created for Art Journal Open that encourages students to approach their projects holistically, looking at their own learning goals and the life and death of their projects in relation to their social and emotional needs.
Stephanie Sparling Williams reviews Uri McMillan’s Embodied Avatars: Genealogies of Black Feminist Art and Performance, and Malik Gaines’s Black Performance on the Outskirts of the Left: A History of the Impossible.
Gail Hastings executes a close formal reading of Donald Judd’s sculpture Untitled (DSS 33), as well as the “unity that Judd’s space champions in us.”
Ana María León inaugurates Art Journal Open‘s new Pedagogies series, presenting her findings in the communal production and dissemination of knowledge through reading groups and digitally crowdsourced syllabi and reading lists.
Three decades into the long culture wars, how are artists, scholars, and cultural organizations navigating shifting political, community, and financial tides? Art Journal Open presents a collection of responses to this pressing question from twenty-three artists, curators, scholars, writers, and cultural workers, with an introduction from Sarah Kanouse.
In a new essay, Winston Kyan considers the extensive body of work of artist Zhang Huan within the histories of Chinese Buddhism, the American art market, durational performance work, and “existence as suffering.”