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Author: Emily Eliza Scott

A large-scale installation resembling the Hollywood sign but spelling out “INDIANLAND,” by artist Nicholas Galanin, installed among boulders with desert mountains in the background.

X Marks the Land

Emily Eliza Scott reviews the outdoor exhibition Desert X

By Emily Eliza Scott on March 1st, 2022 in Texts + Documents
Photograph of a screening room with an image on screen of a close up face of a person with a tear falling from one eye, looking directly outward.

A Syllabus on Transgender and Nonbinary Methods for Art and Art History

Recent texts in trans studies

By David J. Getsy and Che Gossett on February 4th, 2022 in Contemporary Projects, From Art Journal, Pedagogies, Texts + Documents
Cover image for Kelly Baum and Randall Griffey's exhibition catalog, titled Alice Neel: People Come First

Portraits (and) Matter

Siona Wilson reviews the exhibition Alice Neel: People Come First as well as Kelly Baum and Randall Griffey’s catalog

By Siona Wilson on January 13th, 2022 in From Art Journal portraiture, Voices in Contemporary Art
How has the past year's quarantine affected your professional life?

The Quarantine Question

AJO readers respond to the pandemic in words, sound, and images

By Dana E. Katz and Lisa Pon, Guest Editors on December 21st, 2021 in Contemporary Projects, Conversations, Texts + Documents artandpandemics, artandthenovelcoronavirus, covid, Dana E. Katz, Lisa Pon
A gender-nonconforming person, standing, and a nonbinary person (the artist), sitting with one leg outstretched, are on a rooftop in Mexico City. A bike held up by the gender-nonconforming person balances on the wall of the rooftop.

Transiting in Anti-Patriarchal Worlds: The Queer Photography of Fernando Fuentes

Brian Whitener on the art of collective transformation

By Brian Whitener on November 18th, 2021 in Contemporary Projects, Conversations
a screenshot of a Twitter post

A Call to Artists

Writing and artwork by Cauleen Smith, Charles Gaines, Edgar Arceneaux, Howardena Pindell, Michael Ray Charles, and Glenn Ligon

By Jordana Moore Saggese, Cauleen Smith, Charles Gaines, Edgar Arceneaux, Howardena Pindell, Michael Ray Charles, Glenn Ligon on October 26th, 2021 in From Art Journal

With Each Other

Nijah Cunningham reviews Nicole R. Fleetwood’s Marking Time: Art in the Age of Mass Incarceration

By Nijah Cunningham on October 14th, 2021 in From Art Journal Black studies, carceral aesthetics
Detailed view of the top of a blue, hexagonal ceramic rattle with a wooden handle, revealing the image of a line drawing of a coiled snake on the top of the rattle.

One day I will make a mace, but for now I have a mouth

Elana Mann makes protective talismans for our truth-challenged times

By Elana Mann on September 30th, 2021 in Contemporary Projects ElanaMann, feministart, protestart
On the left, a woman in three-quarters view with crossed wrists holds a roll of toilet paper. She wears a toilet paper headdress and make-up to resemble Bernhard Strigel's Portrait of Martha Thannstetter. On the right is Strigel's actual painting, showing a woman in three-quarters view with crossed wrists holds a scroll. She wears a cloth headdress that covers her hair.

The Art of the COVID Copy

The practice of re-creating masterworks goes viral

By Dana E. Katz on August 12th, 2021 in Texts + Documents artandthenovelcoronavirus, instaart, re-creations, Renaissanceart
Thumbnail of an iframe that links out to a dynamic digital project by Jeremiah Barber. Primary image is a full-color collage of the Transamerica Building in San Francisco entwined / taken over by a termite mound, with a mouse cursor hovering over it, revealing a pop-up video of two fingers pressing a lever.

Feral Intimacies, Part II—our homes are inedible

What we can learn from termites on surviving hostile conditions

By Jeremiah Barber, Curated by Thea Quiray Tagle on July 19th, 2021 in Contemporary Projects artandthenovelcoronavirus, environmentalism, FeralIntimacies, interactiveart, JeremiahBarber, videoart
Detail of a sticker sheet featuring various images to be posted around one's institution, including the following: A trophy that reads "#1 Racist," a heart reading "yuck.," a banner that reads "White Fragility," a banner that reads "Cultural Appropriation," and an image of an eye with crystal tears that reads "YT Tears."

How Internalized White Supremacy Manifests for My BIPOC Students in Art School

Fighting microaggressions in the classroom

By Aram Han Sifuentes on July 8th, 2021 in From Art Journal AramHanSifuentes, arthistorypedagogy, CallOutYourInstitutions, PWIs
Cover of the book "Drawing from Life: Sketching and Socialist Realism in the People's Republic of China" by Christine I. Ho. The background shows a painting of red cliffs with a red-roofed houe perched atop, along with black-and-white trees and Chinese characters.

Red Windows on the World

Jennifer Dorothy Lee reviews Drawing from Life by Christine I. Ho

By Jennifer Dorothy Lee on July 8th, 2021 in From Art Journal chineseart, ChristineIHo, JenniferDorothyLee, massarts

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