Sarah Kanouse brings to a close the Beyond Survival series, which probes the effects of sustained precarity, a diminished funding landscape in the arts, and institutional relations to socio-ecological urgencies.
Huey Copeland reviews Darby English’s 1971: A Year in the Life of Color.
C. C. McKee examines the materiality and significance of salt in Deborah Jack’s art practice and poetry.
Sara Reisman reflects on the ways in which artists and institutions consider (or disregard) how individuals with disabilities access their work.
For the newest installment of Art Journal Open’s Bookshelf series, artist Lenore Chinn shares the books on her shelf.
For the first in Art Journal Open’s new Bookshelf series, Rebecca M. Brown shares what’s on her reading list.
by Mike Maizels
As the first pair of artists in this series examined the semantics of local places, and the second explored the possibility of picturing the world in totality, both artists in the final pairing investigate the question of geographic epistemology—how do the materials facts of the external world become the objects of systematic human understanding?
By Katy Siegel
This issue of Art Journal comes after two issues that tightly revolved around a single concept: the medium of print (Winter 2011) and the Pacific Standard Time initiative (Spring 2012).
By Alex Kitnick
Sometime in the early 1950s, the artist Eduardo Paolozzi began making collages from the covers of Time magazine, cutting them up and putting them back together again in new ways.
Bhupen Khakhar self-produced a catalogue to accompany his March 1972 exhibition Truth Is Beauty and Beauty Is God at Gallery … More
Julia Bryan-Wilson’s essay “Invisible Products” explores a most unusual archive of photographs by Ansel Adams—some seven thousand photographs he took in the mid-1960s on commission from the University of California.
By Jaimey Hamilton
The term nouveau réalisme, or new realism, has long been tied to the specific claims made by the critic Pierre Restany about the Paris-based art group he promoted. Restany convinced Arman, Yves Klein, Jean Tinguely, Daniel Spoerri, Martial Raysse, Jacques de la Villeglé, Raymond Hains, and François Dufrêne to sign on initially, and then added César, Niki de Saint-Phalle, Gérard Deschamps, Mimmo Rotella, and Christo.
By Young Jean Lee
The panel discussion in this video took place at the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art on March 11, 2012. I put the public presentation together after receiving numerous e-mails from young female theater-makers who wanted advice on how to get their work produced.
By Katy Siegel
It can seem as if recent changes in how we learn do little more than facilitate a quantitative randomness. But the centrality of the Internet to intellectual work has made visible one under-recognized and revolutionary truth: the collective nature of creating knowledge.
By Malik Gaines
A marketing triumph, Pacific Standard Time has been responsible for a series of promotional videos, slickly produced, that pair an honored artist with a Southern California celebrity. The shining success among these original works is the pairing of the late design team Ray and Charles Eames with the rapper and actor Ice Cube.
By Jennifer Doyle
Los Angeles mythology is hard to cut through: The city has no center, no sense of history, it has no depth. It is the city that plays itself and the city that forgets itself.
By Lee Anne Schmitt
I finished the film California Company Town in 2008. The film was a way of looking at the fallibility of history, to be able to depict a process of political thought against the markings it makes on landscape. Most of my work combines official and anecdotal histories.
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.
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.
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.
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.
By Miwako Tezuka and Doryun Chong
I specialize in contemporary Japanese art, which basically means post-1945. While doing some ground research, I realized that in the history of post-1945 Japanese art, most research was done on Gutai in the 1950s in the Kansai area, the western region of Japan, and I noticed this gap on the activities in Tokyo.
By Gregory Sholette
The archive, with its icy temperature and motionless repose, may seem like an unlikely place to begin thinking about Occupy Wall Street (OWS), a dynamic and still-unfolding phenomenon whose precise nature appears impossible to determine, let alone file away like a stack of dog-eared documents.
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.
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.
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.
By Robert Slifkin
Roland Barthes’s pithy thesis from his seminal essay “The Reality Effect” (1968) reveals what might be called the vitalist basis of modernist indeterminacy.
By Helen Molesworth and Taylor Davis
This conversation took place at the ICA Boston on April 28, 2010. Jill Medvedow, director of the ICA, asked the artist Taylor Davis to interview the then newly appointed chief curator Helen Molesworth.
Time is passing quickly; as I write this, I realize that I am more than halfway through my tenure as editor-in-chief of Art Journal.
By Rebecca Zorach
In the summer of 1968, as the Democratic National Committee prepared to roll into Chicago, the city’s Museum of Contemporary Art was entering into an unusual partnership—an “experimental friendship”—with an organization called CVL, Inc. What’s remarkable about this organization was that it was the new incarnation of a notorious street gang known as the Vice Lords.
By Sheila Pepe
By the time Rozsika Parker published Subversive Stitch: Embroidery and the Making of the Feminine in 1984, the following overtly feminist “stitched” works had already been made: Faith Wilding’s Womb Room, 1972; Harmony Hammond’s Presence V, also made in 1972; Faith Ringgold’s Zora and Fish, 1975; and Judy Chicago’s monumental Dinner Party, 1979—for which she employed extremely traditional fiber and ceramic craft techniques.
In This Issue Katy Siegel, Something Totally Unpredictable, 5 Features Kerry James Marshall, Adrift, Infinity, or Oblivion, from Dailies, Inside … More
By Lynn Hershman Leeson
I was a graduate student in Berkeley, California, during the tumultuous 1960s era of the Free Speech Movement. I felt an urgency to capture that moment, so, with a borrowed camera, I shot some of the people who were coming through my living room. Even though they included well-known people such as Timothy Leary, Allen Ginsberg, Jerry Rubin, and Phil Ochs, I concentrated on the stories of the yet-unknown women who were struggling to become artists.
By Katy Siegel
This is the first issue of Art Journal published in 2011, CAA’s Centennial year. We will mark the occasion throughout the year, helped by scholars and artists and a grant from the Andy Warhol Foundation. Our website launched in February, in response to the changing nature of art writing and publishing, and to the wish to attend to time-based and new media art.
By Saloni Mathur
A photograph of the living room of the Eames house in the Pacific Palisades neighborhood of Los Angeles has proven rather puzzling to historians of design. It depicts the famous Case Study House as full of exotic collectibles. Hopi kachina dolls, seashells, craft objects, silk textiles from Nepal and Thailand, and elaborately patterned rugs from Mexico and India all crowd and assault their modernist frame.
Ken D. Allan introduces two videos related to “City of Degenerate Angels: Wallace Berman, Jazz and Semina in Postwar Los Angeles,” his contribution to the Spring 2011 issue of Art Journal.
By Michael Corris
The Art Workers’ Coalition (AWC) was formed in New York in 1969 in the wake of an incident in a museum. The Museum of Modern Art, New York (MoMA), mounted an exhibition titled The Machine as Seen at the End of the Mechanical Age. Within the exhibition was a work by the artist Vassilakis Takis.
If the world’s a stage, then Liz Magic Laser becomes its director and all passersby are forced to perform. In 2009 Laser staged chase; the following year she produced Flight: in both works, action was registered on video and video begat action. To produce Interact, this project for Art Journal, Laser and her cast met at the East River Park Amphitheatre on two mornings last autumn: the first time to talk in the bleachers and the second time to relive the first conversation on stage.
By Paul Chan
On the occasion of the upcoming release of the multimedia e-book version of Waiting for Godot in New Orleans: A field Guide (co-published by Badlands Unlimited and Creative Time Books), Paul Chan writes about some of the secrets hidden in plain sight within the maps and notes that make up the documentation of this multi-faceted work.
By Steven Dubin
David Wojnarowicz was thrust into the national spotlight in 1989 when the National Endowment for the Arts rescinded its financial support for the catalogue accompanying the exhibition Witnesses: Against Our Vanishing, curated by Nan Goldin for Artists Space.
By Katy Siegel
The Art Journal Award, CAA’s annual prize for the best article published in the magazine, has been awarded to the current issue’s feature on Land art, a group of essays collected and introduced by Kirsten Swenson.
By David Reed
I was a student at the New York Studio School during the fall of 1966 and spring of 1967. The school was then located in a loft building on the northeast corner of Broadway and Bleecker Street. Draft deferments during the Vietnam War were not granted to students attending an art school, especially an unaccredited one like the Studio School.
By Lauren O’Neill-Butler
“HISTORY DRAGS.” Of the many shrewd observations and witticisms that Lee Lozano (1930–1999) recorded in her notebooks, this one strikes deepest when considering the revival of interest in her work. Of course, we’ll never know her opinion on the widespread, international attention that has been lavished on her art and life over the last decade.
This is the second essay the College Art Association has published entitled “Art Journal at Fifty.” The first, by CAA … More
To complement Howard Singerman’s comprehensive and insightful overview of Art Journal’s rather eccentric history, we’ve asked the editorial board and a few friends to pick their favorite articles, essays, reviews, and artists’ projects from issues past. Some feature familiar names attached to much-cited touchstones, while others, we hope, will come as a surprise.
Features Vera Frenkel with Dot Tuer and Clive Robertson, The Story Is Always Partial: A Conversation with Vera Frenkel, 2 … More
Race and Visual Representation Guest edited by James Smalls and Judith Wilson; portfolio selected by Kenseth Armstead James Smalls, Visualizing … More
From the Editorial Board, 2 Conversation Janet A. Kaplan, The Quiet in the Land: Everyday Life, Contemporary Art, and the … More
The Reception of Christian Devotional Art Editor’s Statement Pamela M. Jones, The Reception of Christian Devotional Art: The Renaissance to … More
In This Issue Janet A. Kaplan, 3 Responses Vasif Kortun and Judith Mastai, 4 Benefit Print Maura Reilly, Notes on … More
In This Issue Janet A. Kaplan, On Translation, 3 Responses Patricia Phillips and Maxine Payne Caulfield, 4 Contemporary Indian Art … More
In This Issue John Alan Farmer, 3 Responses Russell Ferguson and Naomi Sawelson-Gorse, 4 Features Janet A. Kaplan, Deeper and … More
Rethinking Studio Art Education Guest edited by Pamela Wye Program-Wide Initiatives Kate Morrison Catterall and Helen Maria Nugent, W.A.R.P.: A … More
In This Issue Janet A. Kaplan, 3 Responses Bradley Rubenstein, 4 Network Society Gregg Bordowitz, 5 Features Crossing Boundaries in … More
In This Issue Janet A. Kaplan, 3 Features France Morin, The Quiet in the Land: Everyday Life, Contemporary Art, and … More
In This Issue Janet A. Kaplan, 3 Responses Miriam Schapiro, 4 Conversation Janet A. Kaplan with Bracken Hendricks, Geoffrey Hendricks, … More
In This Issue John Alan Farmer, 3 Features Valerie Cassel, France Morin, Apinan Poshyandanda, Mari Carmen Ramírez, Caroline Turner, Igor … More
In This Issue Janet A. Kaplan, 2 Responses Keith Townsend Obadike, 4 Features Joanna Roche, Performing Memory in Moon in … More
In This Issue Janet A. Kaplan, Beyond Words, 3 Responses Ernesto Pujol, 4 Network Society Gregg Bordowitz, 7 Features Mary … More
In This Issue John Alan Farmer Responses Caroline Arscott, 4 Network Society Gregg Bordowitz, 6 Features Connie Butler, Saskia Sassen, … More
In This Issue Janet A. Kaplan and John Alan Farmer, 3 Artist’s Project Ellen Rothenberg, Restless Mobility, 4 Responses Ellen … More
In This Issue Patricia C. Phillips, At This Time, 3 Features and Artists’ Projects Kevin Chua, Simryn Gill and Migration’s … More
In This Issue Janet A. Kaplan, 3 Artist’s Project Ben Katchor, Hotel & Farm, 4 Features Janet A. Kaplan, Johanna … More
In This Issue Janet A. Kaplan, 3 Artist’s Project Doug Fishbone, A Giant Pile of Bananas—Can You Dig It? Features
In This Issue Janet A. Kaplan, 3 Features Rainer Usselmann, 18. Oktober 1977: Gerhard Richter’s Work of Mourning and Its … More
In This Issue Patricia C. Phillips, Why We Should Care, 3 Forum Robin Greeley, Ancient Iraq, Contemporary Crisis, 6 Zainab … More
In This Issue Patricia C. Phillips, Close Encounters, 3 Thematic Investigation: Photography and the Paranormal Paranormal Portfolio, 4 Mark Alice … More
In This Issue Patricia C. Phillips, At Last We Can No Longer Predict the Futuer 3 Features, Interviews, Conversations Antony … More
In This Issue Patricia C. Phillips, In This Issue: Reflections, 3 Thematic Investigation Simon Leung, … and there I am: … More
In This Issue Patricia C. Phillips, Unsettled Imaginations, 3 Feature Raymond Spiteri, Envisioning Surrealism in Histoire de l’œil and La … More
In This Issue Patricia C. Phillips, Art and Risk, 3 Features Alejandro Anreus, The Road to Dystopia: The Paintings of … More
In This Issue Patricia C. Phillips, Questions of Influence: Influence of Questions, 3 Feature Derek Conrad Murray, Hip-Hop vs. High … More
In This Issue Patricia C. Phillips, Aesthetic Practices, 3 Features Janine Mileaf, Between You and Me: Man Ray’s “Object to … More
In This Issue Patricia C. Phillips, Reconciliations: New Views and Re-views, 3 Artist Project Mary Lum, 64 Scenes (with an … More
In This Issue Patricia C. Phillips, Something to Talk About, 3 Artist Project Barbara Bloom, Commemorative Stamps, Art Journal 1929–2005, … More
In This Issue Patricia C. Phillips, Questions of Seeing, 3 Features Peter Erickson, Respeaking Othello in Fred Wilson’s Speak of … More
In This Issue Patricia C. Phillips, Art of Attention, 3 Features Steven Nelson, Transgressive Transcendence in the Photographs of Rotimi … More
In This Issue Patricia C. Phillips, On Locations, 5 Features Simone Osthoff, Elsewhere in Contemporary Art: Topologies of Artists’ Works, … More
In This Issue Judith F. Rodenbeck, Blindsight and Microblindness, 5 Features Jane Blocker, Blink: The Viewer as Blind Man in … More
In This Issue Patricia C. Phillips, Remediations—Re-viewing Art, 5 Features Frazer Ward, Alien Durations: Tehching Hsieh, 1978–99, 6 Anna Hammond, … More
In This Issue Patricia C. Phillips, Art That Insists: Persistence with Urgency, 5 Features Perry Bard,
In This Issue Patricia C. Phillips, Positionings, 5 Features David Raskin, The Shiny Illusionism of Krauss and Judd, 6 Derek … More
In This Issue Judith F. Rodenbeck, Contingency and Engagement, 5 Features Martha Gever, Like TV: On Barbara Kruger’s Twelve, 6 … More
In This Issue Judith F. Rodenbeck, Crossing Memory’s Green Line—Contemporary Art in Beirut, 5 Features Sarah RogersOut of History: Postwar … More
In This Issue Judith F. Rodenbeck, Retooling, 5 Features Joanna Grabski, Urban Claims and Visual Sources in the Making of … More
In This Issue Patricia C. Phillips, The Exquisite and Urgent Importance of Art, 5 Features Matthew Gehring, Words of Art, … More
In This Issue Katy Siegel, War and Other Disasters, 5 Features Kerry James Marshall, P-Van, from Dailies, inside covers Walid … More
In This Issue Katy Siegel, Love Unbound by Time, 5 Features Kerry James Marshall, On the Stroll, Inside Covers Hannah … More
In This Issue Judith F. Rodenbeck, The Shape of Time, 5 Features Qadri Ismail, Bound Together: On a Book of … More
In This Issue Judith F. Rodenbeck, Models and Propositions, 5 Features Hajime Nakatani, Imperious Griffonage: Xu Bing and the Graphic … More
In This Issue Judith F. Rodenbeck, Marking, 5 Features Juliet Bellow, Fashioning Cléopâtre: Sonia Delaunay’s New Woman, 6 Nell Andrew, … More
In This Issue Judith F. Rodenbeck, The Science of the Concrete, 5 Artist’s Project Lane Relyea, Debris and Immobility, 6 … More
In This Issue Judith F. RodenbeckMaterial Experience, 5 Features Kymberly N. Pinder, Unbaled: An Interview with Shinique Smith, 6 Paula … More
In This Issue Judith F. Rodenbeck, Notes on Parrhesia, 5 Forum: I’ll Be Your Mirror, or Why and How Do … More
In This Issue