In the first entry in a series of contributions, Hannah Star Rogers convenes reflections from Leena Valkeapää, Saara Hannula, and Erich Berger on the 2018 convening of the Helsinki-based Bioart Society.
Noah Simblist presents a parafictional story about a small American town and the frontier culture of manifest destiny.
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.
Art Journal Open presents Terra Forma, an immersive, interactive digital project and scholarly text by Andrew Yang. Following a 2017 trip to the Sanriku coast of Japan, Yang traces the area’s recovery and rebuilding efforts after the devastation of the 2011 earthquake and tsunami. Yang explores the terraforming of the coast, “a kind of garden-making on a planetary scale,” pressuring the categories of “natural” and “man-made” in our landscapes.
Zach Kaiser presents his app CitationBomb, as well as his theory and practice of scrambling and hacking the contemporary metrics of academic success. In “overflowing the commodity market for citations,” Kaiser questions the value systems we assign to knowledge production and consumption.
By Nick Herman
Art Journal Open presents Medias Res by artist Nick Herman, which features Herman’s exploration of his artworks and texts related to his interests in static, rastering, layering, and other transmission processes. These interests have led Herman to create two new works to be viewed on Art Journal Open: Comm 1 (2017), which takes the shape of a unique and experimental pop-up GIF experience, and MERROR ERROR TERRIOR (2017), a downloadable image. “Static or noise as a record of transmission becomes its own reward, reflecting its innate complexity and, in the process, some greater truth about its origin.” Herman writes, “To me, the GIF does something similar, capturing the unpredictable rhythms and constituent raster of their source.”
By Ryan Kuo
Art Journal Open presents an interactive artist’s project by Ryan Kuo.
By Anna Craycroft
In “To Record, to Interpret, to Comment,” Brookyn–based artist Anna Craycroft asks readers to reconsider how we come to know what we think we know about the history of modernist photography and the photographer Berenice Abbott, which draws from Craycroft’s extensive research into Abbott’s writings, photographs, letters, inventions, and other archival materials.
By Nick Herman
In Edges of Action (2016), Los Angeles–based artist Nick Herman finds a distinctive method of framing his practice, blending the studied delivery of a public artist’s talk with the conversational pace of an intimate studio visit. This is the first installment of a unique three-part artist’s project Herman has created for Art Journal Open.
By Gloria Sutton
Art Journal Open is pleased to present Edges of Action by artist Nick Herman.
By Kate Costello
The Los Angeles–based artist Kate Costello has created a unique animation of her limited edition book, P&P. P&P conveys Costello’s examination and subjective cataloging of vernacular languages active within contemporary visual culture.
By Gloria Sutton
Art Journal Open is pleased to present a new Contemporary Project by artist Kate Costello.
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.
By Karl Haendel
Artist Karl Haendel has been creating an archive of 35mm slides since 2000, composed of found images and photographs. The approximately 10,000 slides are organized into more than 250 categories and subcategories (from the W section: Wedding Geometry, Weapons, White House, World War I), and some of these slides become the basis for his drawings. Though this archive exists in analogue form, Haendel recognized that the popular GIF format functions in a similar manner to that of the slide projector, and thus created a digital slideshow experience of these source images for Art Journal Open. To view Oral Sadism & The Vegetarian Personality (Approximately), click on the image inside this post to launch the project.
By Karen L. Schiff
In the early 1990s I saw a conference presentation about Agnes Martin’s grid paintings, and their rigor and sensitivity was imprinted on me: I felt motivated to return to making art. When Martin (1912–2004) passed away, I started making artworks to reflect on her work and life, often through printed texts.