Posts Tagged: Art Journal

Candida Höfer, Untitled from Türken in Deutschland 1979, 1979, color slide projection, 80 slides, approx. 7 min., dimensions variable (artwork © Candida Höfer, Köln/VG Bild-Kunst, Bonn 2016)

Candida Höfer’s Türken in Deutschland as “Counter-publicity”

By Amy A. DaPonte

Millions of Turkish immigrants settled in Germany after World War II to answer the call of politicians who needed to refresh the labor force after the war. Images of Turks at work or leisure in the parks, homes, markets, shops, and bars of 1970s West German cities populate Candida Höfer’s large, multiformat series entitled Türken in Deutschland (Turks in Germany, 1972–79).

Candida Höfer, Untitled from Türken in Deutschland 1979, 1979, color slide projection, 80 slides, approx. 7 min., dimensions variable (artwork © Candida Höfer, Köln/VG Bild-Kunst, Bonn 2016)

Candida Höfer’s Türken in Deutschland as “Counter-publicity”

By Amy A. DaPonte

Millions of Turkish immigrants settled in Germany after World War II to answer the call of politicians who needed to refresh the labor force after the war. Images of Turks at work or leisure in the parks, homes, markets, shops, and bars of 1970s West German cities populate Candida Höfer’s large, multiformat series entitled Türken in Deutschland (Turks in Germany, 1972–79).

Hilary Roberts, ed., Lee Miller: A Woman’s War

Lee Miller, Challenging Convention

By Lauren Richman

Lauren Richman reviews Hilary Roberts, ed., Lee Miller: A Woman’s War, and the exhibition Lee Miller: A Woman’s War, and Walter Moser and Klaus Albrecht Schröder, eds., Lee Miller, and the exhibition Lee Miller, aka Lee Miller—Photographs and The Indestructible Lee Miller

Hilary Roberts, ed., Lee Miller: A Woman’s War

Lee Miller, Challenging Convention

By Lauren Richman

Lauren Richman reviews Hilary Roberts, ed., Lee Miller: A Woman’s War, and the exhibition Lee Miller: A Woman’s War, and Walter Moser and Klaus Albrecht Schröder, eds., Lee Miller, and the exhibition Lee Miller, aka Lee Miller—Photographs and The Indestructible Lee Miller

Mario Merz, Fibonacci Santa Giulia, 1968, neon, installation view, Merz home, Turin, 1968 (artwork © Fondazione Merz; photograph © Paolo Mussat Sartor, provided by Archivio Merz, Turin)

Solitary/Solidary: Mario Merz’s Autonomous Artist

By Elizabeth Mangini

In 1968, while demonstrating students occupied university buildings less than a mile away, the Italian artist Mario Merz hung a handful of neon lights bent into the numerals 1, 1, 2, 3, and 5 above the kitchen stove in his home on Via Santa Giulia in Turin. It wasn’t yet an artwork, just something to think about in the place where he and his wife, fellow artist Marisa Merz, gathered to talk with each other and with friends.

Mario Merz, Fibonacci Santa Giulia, 1968, neon, installation view, Merz home, Turin, 1968 (artwork © Fondazione Merz; photograph © Paolo Mussat Sartor, provided by Archivio Merz, Turin)

Solitary/Solidary: Mario Merz’s Autonomous Artist

By Elizabeth Mangini

In 1968, while demonstrating students occupied university buildings less than a mile away, the Italian artist Mario Merz hung a handful of neon lights bent into the numerals 1, 1, 2, 3, and 5 above the kitchen stove in his home on Via Santa Giulia in Turin. It wasn’t yet an artwork, just something to think about in the place where he and his wife, fellow artist Marisa Merz, gathered to talk with each other and with friends.

malina_review

Art-Science: An Annotated Bibliography

By Roger F. Malina

We are witnessing a resurgence of creative and scholarly work that seeks to bridge science and engineering with the arts, design, and the humanities. These practices connect both the arts and sciences, hence the term art-science, and the arts and the engineering sciences and technology, hence the term “art and technology.”

malina_review

Art-Science: An Annotated Bibliography

By Roger F. Malina

We are witnessing a resurgence of creative and scholarly work that seeks to bridge science and engineering with the arts, design, and the humanities. These practices connect both the arts and sciences, hence the term art-science, and the arts and the engineering sciences and technology, hence the term “art and technology.”

pv_1_for-ajo

no water, Athens, Greece, 2015: Twenty-four hours with nothing to eat or drink, only smelling the jasmine

By Penelope Vlassopoulou

Penelope Vlassopoulou began her Metamorphosis series in her home city of Athens. The series evolved in multidisciplinary dialogue with diverse urban environments including Berlin, Belgrade, and Chicago. In March 2015, Metamorphosis returned to its point of origin with no water tracing a link between Greece’s historical past and the country’s current predicament.

pv_1_for-ajo

no water, Athens, Greece, 2015: Twenty-four hours with nothing to eat or drink, only smelling the jasmine

By Penelope Vlassopoulou

Penelope Vlassopoulou began her Metamorphosis series in her home city of Athens. The series evolved in multidisciplinary dialogue with diverse urban environments including Berlin, Belgrade, and Chicago. In March 2015, Metamorphosis returned to its point of origin with no water tracing a link between Greece’s historical past and the country’s current predicament.

Trisha Brown, Locus Solo, 2011, performed by Diane Madden in “Performance 11: OnLine/Trisha Brown Dance Company” in conjunction with the exhibition On Line: Drawing through the Twentieth Century, Museum of Modern Art, New York, January 2011 (photographs © Yi-Chun Wu; photographs provided by Museum of Modern Art/Licensed by SCALA/Art Resource, NY)

Space Travel: Trisha Brown’s Locus

By Amanda Jane Graham

In 1974 the choreographer Trisha Brown moved to 541 Broadway in SoHo, New York City. The cast-iron “nexus” for postmodern dance, commonly referred to as “the dance building,” had what the former Brown company dancer Elizabeth Garren describes as a “communal atmosphere.” Purchased and renovated by the Fluxus founder George Maciunas “with dancers in mind,” 541 was wider than the majority of the standard buildings in the neighborhood, and more important, it contained no interior pillars, making it an ideal choreographic work space.

Trisha Brown, Locus Solo, 2011, performed by Diane Madden in “Performance 11: OnLine/Trisha Brown Dance Company” in conjunction with the exhibition On Line: Drawing through the Twentieth Century, Museum of Modern Art, New York, January 2011 (photographs © Yi-Chun Wu; photographs provided by Museum of Modern Art/Licensed by SCALA/Art Resource, NY)

Space Travel: Trisha Brown’s Locus

By Amanda Jane Graham

In 1974 the choreographer Trisha Brown moved to 541 Broadway in SoHo, New York City. The cast-iron “nexus” for postmodern dance, commonly referred to as “the dance building,” had what the former Brown company dancer Elizabeth Garren describes as a “communal atmosphere.” Purchased and renovated by the Fluxus founder George Maciunas “with dancers in mind,” 541 was wider than the majority of the standard buildings in the neighborhood, and more important, it contained no interior pillars, making it an ideal choreographic work space.

Nancy Holt, sunlight in Sun Tunnels, 1976, still from Troublemakers (photograph by Nancy Holt © Holt-Smithson Foundation/Licensed by VAGA, New York, provided by Summitridge Pictures and RSJC LLC)

Troubling Troublemakers

By Chris Taylor
Chris Taylor reviews Troublemakers: The Story of Land Art (2015), written and directed by James Crump.

Nancy Holt, sunlight in Sun Tunnels, 1976, still from Troublemakers (photograph by Nancy Holt © Holt-Smithson Foundation/Licensed by VAGA, New York, provided by Summitridge Pictures and RSJC LLC)

Troubling Troublemakers

By Chris Taylor
Chris Taylor reviews Troublemakers: The Story of Land Art (2015), written and directed by James Crump.

Isaac Julien, Western Union: Small Boats, 2007, three-screen projection, 35mm color film, DVD/HD transfer, 5.1 SR sound, 18 min. 22 sec., edition of 5, installation view, Metro Pictures, New York, 2007 (artwork © Isaac Julien; photograph provided by Metro Pictures, New York)

Small Boats, Slave Ship; or, Isaac Julien and the Beauty of Implied Catastrophe

By Emma Chubb

Three horizontal screens stretch across two gallery walls, suspended from the ceiling and hung in a slight arc. At first, the two flanking screens remain dark and only the center screen is illuminated. It shows an expanse of blue water, waves rippling with gold and reflecting the setting sun as they gently curl forward onto a barely visible beach.

Isaac Julien, Western Union: Small Boats, 2007, three-screen projection, 35mm color film, DVD/HD transfer, 5.1 SR sound, 18 min. 22 sec., edition of 5, installation view, Metro Pictures, New York, 2007 (artwork © Isaac Julien; photograph provided by Metro Pictures, New York)

Small Boats, Slave Ship; or, Isaac Julien and the Beauty of Implied Catastrophe

By Emma Chubb

Three horizontal screens stretch across two gallery walls, suspended from the ceiling and hung in a slight arc. At first, the two flanking screens remain dark and only the center screen is illuminated. It shows an expanse of blue water, waves rippling with gold and reflecting the setting sun as they gently curl forward onto a barely visible beach.

James Walsh's Critical Bibliography

The Arctic Plants of New York City: An Annotated Bibliography

By James Walsh

I’ve been working since 2008 on a long, complex project centered on plants that grow in both the arctic (I always use the lowercase) and New York City, of which there are a surprising number. Along with identifying and pressing these plants, I’ve been reading eighteenth-century herbals and floras and more recent works on edible plants and botany generally, and have had a particular interest in mental travel and in writers who combine botany and literature.

James Walsh's Critical Bibliography

The Arctic Plants of New York City: An Annotated Bibliography

By James Walsh

I’ve been working since 2008 on a long, complex project centered on plants that grow in both the arctic (I always use the lowercase) and New York City, of which there are a surprising number. Along with identifying and pressing these plants, I’ve been reading eighteenth-century herbals and floras and more recent works on edible plants and botany generally, and have had a particular interest in mental travel and in writers who combine botany and literature.

Elodie Evers, Magdalena Holzhey, and Gregor Jansen, eds., Leben mit Pop

Leaving Düsseldorf

By Godfre Leung

Godfre Leung reviews Sabine Breitwieser, Laura J. Hoptman, Michael Darling, and Jeffrey D. Grove, Isa Genzken: Retrospective, and the exhibition Isa Genzken: Retrospective; Kathy Halbreich, ed., Alibis: Sigmar Polke, 1963–2010, and the exhibition Alibis: Sigmar Polke, 1963–2010; and Elodie Evers, Magdalena Holzhey, and Gregor Jansen, eds., Leben mit Pop and the exhibition Leben mit Pop.

Elodie Evers, Magdalena Holzhey, and Gregor Jansen, eds., Leben mit Pop

Leaving Düsseldorf

By Godfre Leung

Godfre Leung reviews Sabine Breitwieser, Laura J. Hoptman, Michael Darling, and Jeffrey D. Grove, Isa Genzken: Retrospective, and the exhibition Isa Genzken: Retrospective; Kathy Halbreich, ed., Alibis: Sigmar Polke, 1963–2010, and the exhibition Alibis: Sigmar Polke, 1963–2010; and Elodie Evers, Magdalena Holzhey, and Gregor Jansen, eds., Leben mit Pop and the exhibition Leben mit Pop.

Gert Jan Kocken, Depictions of Berlin, 1933–1945, 2010, C-print, 118⅛ x 169⅜ in. (300 x 430 cm), installation view, Rijksakademie Open Studios, Netherlands, 2011 (artwork © Gert Jan Kocken; photograph provided by the artist)

Against Infographics

By Daniel Rosenberg

When design is excellent, graphics reveal data, writes the infographics guru Edward Tufte. Good information graphics allow the reader to see relationships not apparent in data without visual form. In principle, such graphics do not impose interpretations but, by showing relationships, make interpretations possible.

Gert Jan Kocken, Depictions of Berlin, 1933–1945, 2010, C-print, 118⅛ x 169⅜ in. (300 x 430 cm), installation view, Rijksakademie Open Studios, Netherlands, 2011 (artwork © Gert Jan Kocken; photograph provided by the artist)

Against Infographics

By Daniel Rosenberg

When design is excellent, graphics reveal data, writes the infographics guru Edward Tufte. Good information graphics allow the reader to see relationships not apparent in data without visual form. In principle, such graphics do not impose interpretations but, by showing relationships, make interpretations possible.

Center for Land Use Interpretation and the Institute for Marking and Measuring, Centers of the USA, 2013, field west of Twin Tops Mountain, South Dakota (photograph by CLUI published under a Creative Commons A-NC-SA license, creativecommons.org/licenses/by-nc-sa/3.0/us/legalcode)
The site is calculated to be the present geographic center of the United States. Other centers marked in the project include a spot in Kansas that is the center of the forty-eight contiguous states, the town of Plato, Missouri, that is the population center of the United States, a lake in North Dakota that is calculated to be the geographic center of North America, and a field in Wisconsin that lies at the intersection of 45° North and 90° West and is thus the center of the northwest quadrant of the globe. http://clui.org/page/center-continguous-united-states

Rewilding: An Emerging History of Common Field

By James McAnally

Common Field was born of a singular moment, a shared time of simmering scarcity matched with an abundance of artist-centric models springing up globally. The emergent network is quickly becoming a central figure within a spectrum of new alternative forms increasingly coming to define a deflated decade.

Center for Land Use Interpretation and the Institute for Marking and Measuring, Centers of the USA, 2013, field west of Twin Tops Mountain, South Dakota (photograph by CLUI published under a Creative Commons A-NC-SA license, creativecommons.org/licenses/by-nc-sa/3.0/us/legalcode)
The site is calculated to be the present geographic center of the United States. Other centers marked in the project include a spot in Kansas that is the center of the forty-eight contiguous states, the town of Plato, Missouri, that is the population center of the United States, a lake in North Dakota that is calculated to be the geographic center of North America, and a field in Wisconsin that lies at the intersection of 45° North and 90° West and is thus the center of the northwest quadrant of the globe. http://clui.org/page/center-continguous-united-states

Rewilding: An Emerging History of Common Field

By James McAnally

Common Field was born of a singular moment, a shared time of simmering scarcity matched with an abundance of artist-centric models springing up globally. The emergent network is quickly becoming a central figure within a spectrum of new alternative forms increasingly coming to define a deflated decade.

Parul Dave-Mukherji, Naman P. Ahuja, and Kavita Singh, eds., InFlux: Contemporary Art in Asia

Barbarians at the Gates: Contemporary Art and Globalization in Asia

By Sonal Khullar
Sonal Khullar reviews InFlux: Contemporary Art in Asia edited by Parul Dave-Mukherji, Naman P. Ahuja, and Kavita Singh.

Parul Dave-Mukherji, Naman P. Ahuja, and Kavita Singh, eds., InFlux: Contemporary Art in Asia

Barbarians at the Gates: Contemporary Art and Globalization in Asia

By Sonal Khullar
Sonal Khullar reviews InFlux: Contemporary Art in Asia edited by Parul Dave-Mukherji, Naman P. Ahuja, and Kavita Singh.

Giuliana Bruno,  Surface: Matters of Aesthetics, Materiality, and Media

Superficial Thinking: Screen Practices and Screen Architectures

By Swagato Chakravorty
Swagato Chakravorty reviews Surface: Matters of Aesthetics, Materiality, and Media by Giuliana Bruno.

Giuliana Bruno,  Surface: Matters of Aesthetics, Materiality, and Media

Superficial Thinking: Screen Practices and Screen Architectures

By Swagato Chakravorty
Swagato Chakravorty reviews Surface: Matters of Aesthetics, Materiality, and Media by Giuliana Bruno.

Carolee Schneemann, Kitch’s Last Meal, 1973–76, Super 8mm film, double projection, vertical, sound on cassette, ca. 5 hrs., two installation views (artwork © Carolee Schneemann; photographs provided by the artist)

“The Cat Is My Medium”: Notes on the Writing and Art of Carolee Schneemann

By Thyrza Nichols Goodeve

For several years, Carolee Schneemann has presented an ever-evolving performative lecture about her work, starting with drawings she made at the ages of four and seven. I first saw it in 2009 at St. Mark’s Church.

Carolee Schneemann, Kitch’s Last Meal, 1973–76, Super 8mm film, double projection, vertical, sound on cassette, ca. 5 hrs., two installation views (artwork © Carolee Schneemann; photographs provided by the artist)

“The Cat Is My Medium”: Notes on the Writing and Art of Carolee Schneemann

By Thyrza Nichols Goodeve

For several years, Carolee Schneemann has presented an ever-evolving performative lecture about her work, starting with drawings she made at the ages of four and seven. I first saw it in 2009 at St. Mark’s Church.

Sharon Kivland 's Freud on Holiday books

Not Getting There Is Half the Fun: Holidays with Freud

By Elizabeth Legge

Elizabeth Legge reviews Sharon Kivland’s Freud on Holiday series.

Sharon Kivland 's Freud on Holiday books

Not Getting There Is Half the Fun: Holidays with Freud

By Elizabeth Legge

Elizabeth Legge reviews Sharon Kivland’s Freud on Holiday series.

Posed photograph of members of Homeward Bound Community Services at Homeless: The Street and Other Venues, 1989 (photographer unknown; photograph provided by Martha Rosler)

In, Around, and Afterthoughts (On Participation): Photography and Agency in Martha Rosler’s Collaboration with Homeward Bound

By Adair Rounthwaite

It seems obvious to state that photographs play a central role in our ability to study participatory art. Art historians, however, have largely bracketed this as an issue that might be important for how we conceive the politics and aesthetics of participation.

Posed photograph of members of Homeward Bound Community Services at Homeless: The Street and Other Venues, 1989 (photographer unknown; photograph provided by Martha Rosler)

In, Around, and Afterthoughts (On Participation): Photography and Agency in Martha Rosler’s Collaboration with Homeward Bound

By Adair Rounthwaite

It seems obvious to state that photographs play a central role in our ability to study participatory art. Art historians, however, have largely bracketed this as an issue that might be important for how we conceive the politics and aesthetics of participation.

Claire F. Fox, Making Art Panamerican: Cultural Policy and the Cold War

Transnational Fields and the Blindness of the Archive

By Dorota Biczel

Dorota Biczel reviews Making Art Panamerican: Cultural Policy and the Cold War by Claire F. Fox.

Claire F. Fox, Making Art Panamerican: Cultural Policy and the Cold War

Transnational Fields and the Blindness of the Archive

By Dorota Biczel

Dorota Biczel reviews Making Art Panamerican: Cultural Policy and the Cold War by Claire F. Fox.

Reviews 4

Primal Matter: An Annotated Bibliography for Ceramics

By Brian Molanphy

This introductory selection of texts on ceramics includes books that offer general foundations as well as essays that exemplify specific investigations.

Reviews 4

Primal Matter: An Annotated Bibliography for Ceramics

By Brian Molanphy

This introductory selection of texts on ceramics includes books that offer general foundations as well as essays that exemplify specific investigations.

Huey Copeland, Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America

Objects Made Black

by Sampada Aranke

Sampada Aranke reviews Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America by Huey Copeland.

Huey Copeland, Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America

Objects Made Black

by Sampada Aranke

Sampada Aranke reviews Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America by Huey Copeland.

Roberto Jacoby, 1968: El culo te abrocho (1968: I Do Your Ass), 2008, two of a series of 28 inkjet and silkscreen prints on cotton linters papers, 35½ x 27½ in. (90 x 70 cm) (artwork © Roberto Jacoby; photograph provided by the artist)

Dead Boars, Viruses, and Zombies: Roberto Jacoby’s Art History

By Daniel R. Quiles
The subtlest of deceptions lies in wait in a “1000 Words” feature on Roberto Jacoby in the March 2011 issue of Artforum.

Roberto Jacoby, 1968: El culo te abrocho (1968: I Do Your Ass), 2008, two of a series of 28 inkjet and silkscreen prints on cotton linters papers, 35½ x 27½ in. (90 x 70 cm) (artwork © Roberto Jacoby; photograph provided by the artist)

Dead Boars, Viruses, and Zombies: Roberto Jacoby’s Art History

By Daniel R. Quiles
The subtlest of deceptions lies in wait in a “1000 Words” feature on Roberto Jacoby in the March 2011 issue of Artforum.

Pedro Vizcaíno, cartel “Todos Estrellas” / poster “All Stars,” 1989, impreso en / printed at Taller de Serigrafía René Portocarrero, Havana (artwork © Pedro Vizcaíno)

Nueve entradas en 1989

By Tamara Díaz Bringas
Playball, habría dicho el umpire para iniciar aquel partido de béisbol con tantos artistas y ningún pelotero. Playball, habrían oído los jugadores, sospechando tal vez que el juego había empezado en verdad mucho antes de aquel 24 de septiembre de 1989.

Pedro Vizcaíno, cartel “Todos Estrellas” / poster “All Stars,” 1989, impreso en / printed at Taller de Serigrafía René Portocarrero, Havana (artwork © Pedro Vizcaíno)

Nueve entradas en 1989

By Tamara Díaz Bringas
Playball, habría dicho el umpire para iniciar aquel partido de béisbol con tantos artistas y ningún pelotero. Playball, habrían oído los jugadores, sospechando tal vez que el juego había empezado en verdad mucho antes de aquel 24 de septiembre de 1989.

Nudo [Eduardo Marin y Vladimir Llaguno], cartel “La plástica joven se dedica al béisbol” / poster “Young Artists Take Up Baseball,” 1989, impreso en / printed at Taller de Serigrafía René Portocarrero, Havana (artwork © Nudo)

Nine Innings in 1989

By Tamara Díaz Bringas
“Play ball!” the umpire would have said to start that baseball game with so many artists and not a single ballplayer. “Play ball!” the players would have heard, perhaps suspecting that the game had really begun long before that 24th of September in 1989.

Nudo [Eduardo Marin y Vladimir Llaguno], cartel “La plástica joven se dedica al béisbol” / poster “Young Artists Take Up Baseball,” 1989, impreso en / printed at Taller de Serigrafía René Portocarrero, Havana (artwork © Nudo)

Nine Innings in 1989

By Tamara Díaz Bringas
“Play ball!” the umpire would have said to start that baseball game with so many artists and not a single ballplayer. “Play ball!” the players would have heard, perhaps suspecting that the game had really begun long before that 24th of September in 1989.

Chuck Smith,  Forrest Bess: The Key to the Riddle

The Aesthetic Gold of a Ravished Spouse of the Godhead

By Elisabeth Kley

Although mystery has surrounded the life of Forrest Bess since he died in 1977, quite a bit of the cloud is dispelled in Chuck Smith’s new book, Forrest Bess: Key to the Riddle. A follow-up to a film Smith made in 1999, it is an ideal combination of monograph and biography.

Chuck Smith,  Forrest Bess: The Key to the Riddle

The Aesthetic Gold of a Ravished Spouse of the Godhead

By Elisabeth Kley

Although mystery has surrounded the life of Forrest Bess since he died in 1977, quite a bit of the cloud is dispelled in Chuck Smith’s new book, Forrest Bess: Key to the Riddle. A follow-up to a film Smith made in 1999, it is an ideal combination of monograph and biography.

Nell Andrew, Sophie Taueber-Arp, Free Vertical-Horizontal Rhythms (Rythmes verticaux-horizontaux libres), 1919, gouache, 11 15⁄16 x 8 9⁄16 in. (30.3 x 21.8 cm). Stiftung Hans Arp und Sophie Taeuber Arp e.V., inv. 003.205 (artwork in the public domain; photograph provided by Stiftung Hans Arp und Sophie Taeuber Arp)

Dada Dance: Sophie Taeuber’s Visceral Abstraction

By Nell Andrew

In a recent landmark exhibition on the intersection of art and dance, Danser sa vie, the Centre Georges Pompidou displayed an enigmatic photograph identified as the artist Sophie Taeuber dancing at the Cabaret Voltaire in 1916. It is not uncommon for a photograph to stand in as an icon of a live event and offer what we hope is access to some present now passed, but for decades scholars have disagreed on the date and location of the Taeuber photograph.

Nell Andrew, Sophie Taueber-Arp, Free Vertical-Horizontal Rhythms (Rythmes verticaux-horizontaux libres), 1919, gouache, 11 15⁄16 x 8 9⁄16 in. (30.3 x 21.8 cm). Stiftung Hans Arp und Sophie Taeuber Arp e.V., inv. 003.205 (artwork in the public domain; photograph provided by Stiftung Hans Arp und Sophie Taeuber Arp)

Dada Dance: Sophie Taeuber’s Visceral Abstraction

By Nell Andrew

In a recent landmark exhibition on the intersection of art and dance, Danser sa vie, the Centre Georges Pompidou displayed an enigmatic photograph identified as the artist Sophie Taeuber dancing at the Cabaret Voltaire in 1916. It is not uncommon for a photograph to stand in as an icon of a live event and offer what we hope is access to some present now passed, but for decades scholars have disagreed on the date and location of the Taeuber photograph.

Reviews 3 Rivers Johnson TOC

Through the Looking-Glass, Darkly

By Tina Rivers

When H. H. Arnason published the first edition of his 1968 book The History of Modern Art, it ended with a one-page entry on “Psychedelic Art.” Positioning the inchoate movement as a bridge between the modern and contemporary periods, the entry was a blueprint for a future that would never come to pass, and was expunged from all further editions, helping to relegate psychedelia to the proverbial dustbin of history.

Reviews 3 Rivers Johnson TOC

Through the Looking-Glass, Darkly

By Tina Rivers

When H. H. Arnason published the first edition of his 1968 book The History of Modern Art, it ended with a one-page entry on “Psychedelic Art.” Positioning the inchoate movement as a bridge between the modern and contemporary periods, the entry was a blueprint for a future that would never come to pass, and was expunged from all further editions, helping to relegate psychedelia to the proverbial dustbin of history.

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)

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.

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)

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.

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)

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

By Matthew Goulish

In order to begin I must tell a horror story. I will try to mitigate the horror, through accuracy of telling, through facts, and through a degree of humility before them. Yet I will acknowledge it. I mean I already have. Horror is not fact.

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)

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

By Matthew Goulish

In order to begin I must tell a horror story. I will try to mitigate the horror, through accuracy of telling, through facts, and through a degree of humility before them. Yet I will acknowledge it. I mean I already have. Horror is not fact.

Jacqueline Francis. Making Race: Modernism and “Racial Art” in America

Modernism, Essentialism, and “Racial Art” in America

By Amy Lyford

It is exciting to read two books that demonstrate the power, impact, and necessity of art history’s engagement with critical race studies—especially in the context of scholarship on modernist American art.

Jacqueline Francis. Making Race: Modernism and “Racial Art” in America

Modernism, Essentialism, and “Racial Art” in America

By Amy Lyford

It is exciting to read two books that demonstrate the power, impact, and necessity of art history’s engagement with critical race studies—especially in the context of scholarship on modernist American art.

Tammy Rae Carland, Galz Living Room, MWMF, from Outpost, 2004, color photograph, 20 x 24 in. (50.8 x 61cm) (artwork © Tammy Rae Carland)

Sharing an Archive of Feelings: A Conversation

By Tammy Rae Carland and Ann Cvetkovich

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 be deployed, which is the way I think about it, to my first teaching job in the middle of Indiana.

Tammy Rae Carland, Galz Living Room, MWMF, from Outpost, 2004, color photograph, 20 x 24 in. (50.8 x 61cm) (artwork © Tammy Rae Carland)

Sharing an Archive of Feelings: A Conversation

By Tammy Rae Carland and Ann Cvetkovich

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 be deployed, which is the way I think about it, to my first teaching job in the middle of Indiana.

090_CAA_SU13

Where Do We Come From? What Are We? Where Are We Going?

By 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, present, and future of the research university, an invention of stunningly recent vintage and yet of remarkable structural resilience?

090_CAA_SU13

Where Do We Come From? What Are We? Where Are We Going?

By 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, present, and future of the research university, an invention of stunningly recent vintage and yet of remarkable structural resilience?

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)

If It Need Be Termed Surrender: Trisha Donnelly’s Subjunctive Case

By Michael Jay McClure

Allow for a problem within contemporary art, a problem concerning emptiness. After experiencing and writing on installations that, say, immersed me in cave systems, faux-hospitals, or forests, after navigating landscapes of fur or video labyrinths, I found myself, often, elsewhere. A group of contemporary installations seemed overwhelmingly spare, a few small objects, and I began to wonder what such a shift of spatial tenancy meant.

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)

If It Need Be Termed Surrender: Trisha Donnelly’s Subjunctive Case

By Michael Jay McClure

Allow for a problem within contemporary art, a problem concerning emptiness. After experiencing and writing on installations that, say, immersed me in cave systems, faux-hospitals, or forests, after navigating landscapes of fur or video labyrinths, I found myself, often, elsewhere. A group of contemporary installations seemed overwhelmingly spare, a few small objects, and I began to wonder what such a shift of spatial tenancy meant.

Monira Al Qadiri, still from Wa Waila (Oh Torment), 2008, film, 10 min. 4 sec.(artwork © Monira Al Qadiri)

Precarious Symbolism: When the Political Sphere Overshadows Art History

By Maymanah Farha

As the methodical beat of a handheld drum begins to pound, a bearded, turbaned figure is shown lying on a bare floor. Overcome by emotional agony, he moves as though waking from a trance. A mane of dark hair frames his painted face as the camera zooms in and his melodic eulogy to lost love commences.

Monira Al Qadiri, still from Wa Waila (Oh Torment), 2008, film, 10 min. 4 sec.(artwork © Monira Al Qadiri)

Precarious Symbolism: When the Political Sphere Overshadows Art History

By Maymanah Farha

As the methodical beat of a handheld drum begins to pound, a bearded, turbaned figure is shown lying on a bare floor. Overcome by emotional agony, he moves as though waking from a trance. A mane of dark hair frames his painted face as the camera zooms in and his melodic eulogy to lost love commences.

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).

Shaping the Glass

By 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.

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).

Shaping the Glass

By 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.

Gerhard Richter, Konstruktion (Construction, Werkübersicht 389), 1976, oil on canvas, 8 ft. 2½ in. x 9 ft. 10⅛ in. (250 x 300 cm). Staatliches Museum für Kunst und Design, Nuremberg, Germany (artwork © 2012 Gerhard Richter; photograph provided by Atelier Gerhard Richter, Cologne, Germany)

Richter’s Willkür

By Christine Mehring

Following on the heels of his signature photorealist blurs, Gerhard Richter’s abstract paintings have long exemplified a “permanent break in style as principle of style,” as Klaus Honnef noted in the artist’s first retrospective catalogue in 1969.

Gerhard Richter, Konstruktion (Construction, Werkübersicht 389), 1976, oil on canvas, 8 ft. 2½ in. x 9 ft. 10⅛ in. (250 x 300 cm). Staatliches Museum für Kunst und Design, Nuremberg, Germany (artwork © 2012 Gerhard Richter; photograph provided by Atelier Gerhard Richter, Cologne, Germany)

Richter’s Willkür

By Christine Mehring

Following on the heels of his signature photorealist blurs, Gerhard Richter’s abstract paintings have long exemplified a “permanent break in style as principle of style,” as Klaus Honnef noted in the artist’s first retrospective catalogue in 1969.

Louise Fishman, Zero at the Bone, 2010, oil on linen, 70 x 60 in. (177.8 x 152.4 cm). Private collection (artwork © Louise Fishman; photograph provided by Cheim and Read, New York)

Zero at the Bone: Louise Fishman Speaks with Carrie Moyer

By Louise Fishman and Carrie Moyer

This all came to me in the last couple of weeks. In the late 1980s, early 1990s, my partner and I had gone to Madrid to see the big Velázquez retrospective. I’d never been to the Prado. I spent a lot of time looking at the Velázquez and wandering around the museum. Eventually I found Goya’s Black Paintings.

Louise Fishman, Zero at the Bone, 2010, oil on linen, 70 x 60 in. (177.8 x 152.4 cm). Private collection (artwork © Louise Fishman; photograph provided by Cheim and Read, New York)

Zero at the Bone: Louise Fishman Speaks with Carrie Moyer

By Louise Fishman and Carrie Moyer

This all came to me in the last couple of weeks. In the late 1980s, early 1990s, my partner and I had gone to Madrid to see the big Velázquez retrospective. I’d never been to the Prado. I spent a lot of time looking at the Velázquez and wandering around the museum. Eventually I found Goya’s Black Paintings.

Ugo Mulas, Studio of Lee Bontecou, 1964, photographs (photographs © Ugo Mulas Heirs; all rights reserved)

The Terms of Craft and Other Means of Making: Lee Bontecou’s Hybrid Trajectory

By Elyse Speaks

In 1958 Lee Bontecou began experimenting with a technique for making sculpture based on binding fabric to thin steel frames or armatures. Executed first on a small scale that oscillated between the form of the model and the form of tabletop sculpture, the works were emphatic in their distance from the shape and tenor of the dominant field of welded metal sculpture.

Ugo Mulas, Studio of Lee Bontecou, 1964, photographs (photographs © Ugo Mulas Heirs; all rights reserved)

The Terms of Craft and Other Means of Making: Lee Bontecou’s Hybrid Trajectory

By Elyse Speaks

In 1958 Lee Bontecou began experimenting with a technique for making sculpture based on binding fabric to thin steel frames or armatures. Executed first on a small scale that oscillated between the form of the model and the form of tabletop sculpture, the works were emphatic in their distance from the shape and tenor of the dominant field of welded metal sculpture.

The Shame machine, Tecopa, California, March 2011 (photograph © Josephine Halvorson)

Shame: The One That Got Away

By Josephine Halvorson
The nineteenth-century painter Samuel Palmer lived within two hundred yards of the cemetery, making drawings, notes, and paintings in what he called the Valley of Visions in an effort to “bring up a mystic glimmer.” Sinclair, London Orbital Acid rain has eroded the words. Lichens, like Van Gogh blooms in orange and yellow, cling to the mauve stone.

The Shame machine, Tecopa, California, March 2011 (photograph © Josephine Halvorson)

Shame: The One That Got Away

By Josephine Halvorson
The nineteenth-century painter Samuel Palmer lived within two hundred yards of the cemetery, making drawings, notes, and paintings in what he called the Valley of Visions in an effort to “bring up a mystic glimmer.” Sinclair, London Orbital Acid rain has eroded the words. Lichens, like Van Gogh blooms in orange and yellow, cling to the mauve stone.

Cosima von Bonin, Bubbles (Loop #4), 2010, wool, cotton, 66⅞ x 55⅛ in. (170 x 140 cm) (artwork © Cosima von Bonin; photography provided by Petzel, New York)

Ground Control: Painting in the Work of Cosima von Bonin

By Gregory H. Williams

During the past decade a steady flow of critical writing on contemporary painting has appeared, much of it seeking to define changes to the practice that have taken place since 1990. In several often-cited essays, a shared theme has emerged in which late-twentieth-century painting is described as undergoing a crisis of containment.

Cosima von Bonin, Bubbles (Loop #4), 2010, wool, cotton, 66⅞ x 55⅛ in. (170 x 140 cm) (artwork © Cosima von Bonin; photography provided by Petzel, New York)

Ground Control: Painting in the Work of Cosima von Bonin

By Gregory H. Williams

During the past decade a steady flow of critical writing on contemporary painting has appeared, much of it seeking to define changes to the practice that have taken place since 1990. In several often-cited essays, a shared theme has emerged in which late-twentieth-century painting is described as undergoing a crisis of containment.