María Laura Rosa on how Alicia D’Amico’s images of female desire reflect “dissident and destabilizing identities in the heteronormative visual imaginary.” (In English and Spanish.)
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.
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.”
As the latest addition to the Afrotropes series, Krista Thompson reflects on the extensive photographic and cultural legacy of Ivanhoe “Rhygin” Martin and the circulation of images in Jamaica and beyond.
Sara Reisman reflects on the ways in which artists and institutions consider (or disregard) how individuals with disabilities access their work.
Huey Copeland and Krista Thompson sketch the concept of the afrotrope, a term they have developed over the past decade to describe “those recurrent visual forms that have emerged within and become central to the formation of African diasporic culture and identity.”
Andrew Yang shares a “transdisciplinary cluster” of works that engage the concept of the Anthropocene. When it comes to climate change, Yang asks, “Which we is responsible, or most at risk? What sorts of people, organisms, and entities does we invite or exclude?”
By Marie Watt
Marie Watt first encountered Joseph Beuys’s work as a college student studying abroad. While working on an MFA at Yale, she wrote a reflection on the artist’s I Like America and America Likes Me from the perspective of Coyote, for a course taught by the art historian Romy Golan.
By Camila Maroja
Camila Maroja reviews the exhibition and catalogue, Hélio Oiticica: To Organize Delirium.
By Kate Morris and Bill Anthes
On November 15, 2016, a “National Day of Action,” demonstrators in cities from Los Angeles to New York took to the streets in support of the efforts of the Standing Rock Sioux to block construction of the Dakota Access oil pipeline (DAPL). According to tribal leaders, the presence of the pipeline constitutes a dire threat to the tribe’s water supply, and will desecrate scores of sacred, historical, and cultural sites along its intended 1,172-mile route.
By grupa o.k. (Julian Myers and Joanna Szupinska)
Art history has long included studies of exhibitions as episodes or turning points within more expansive narratives. Such moments have opened art histories based in the studio, or among the members of a small, bohemian circle, to a larger social field that includes politics, audience, and market, before returning to the private or small-group interactions that have equally served to drive art’s internal means.
By Rachel Middleman and Anne Monahan
In 1974 news that David Smith’s executors had stripped paint from some of his sculptures catalyzed a long-running public conversation about executors’ responsibilities to artists, artworks, and art history. Forty years later, news that the same estate’s administrators tried to stifle the exhibition and sale of Lauren Clay’s diminutive, painted-paper objects inspired by that earlier incident has yet to prompt a similar critical response.
By Nazar Kozak
Around 9:00am on January 24, 2014, Maxym Vehera, an amateur artist, comes to Hrushevskyi Street in Kyiv, mounts his portable easel some one hundred yards from the riot police line, and spends five hours painting the scene of a street fight in progress. Black smoke from the burning barricade veils the sky, tear gas irritates the frosty air, a stun grenade explosion shuts all senses down. The canvas falls to the ground, into the mixture of snow and ashes. Vehera picks it up, wipes off the dirt, and continues to paint amid chaos.
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).
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
Artist’s Project Karen L. Schiff, Counter to Type Drawings appear on the front and back covers of this issue, on … More
In This Issue Katy Siegel, Shaping the Glass, 5 Artist’s Project Tomma Abts, Untitled, 8 Features Christine Mehring, Richter’s Willkür, … More
Features Alexandra M. Kokoli, The Voice as Uncanny Index in Susan Hiller’s The Last Silent Movie, 6 Kristen Olds, “Gay … More
Editor’s Note Lane Relyea, 5 Features Peggy Wang, Art Critics as Middlemen: Navigating State and Market in Contemporary Chinese Art, … More
In This Issue Katy Siegel, Attention Deficit, 5 Features Chris Balaschak, Planet of the Apes: John Szarkowski, My Lai, and … More
Artist’s Project Jeanne Dunning,Tom Thumb, the New Oedipus, 5 Features Forum: Sexing Sculpture: New Approaches to Theorizing the Object Jillian … More
Karin Higa: A Collage of Remembrances, 5 Artist’s Project Sara Greenberger Rafferty, Grabs, 1, 47, 64, 82, 91, 104 Features … More
Features Alexandra M. Kokoli, The Voice as Uncanny Index in Susan Hiller’s The Last Silent Movie, 6 Kirsten Olds, “Gay … More
In the darkened projection room, the viewer hears twenty-five voices in succession speaking short passages in extinct or endangered languages. Susan Hiller collected the recordings for her twenty-one-minute audiovisual work The Last Silent Movie from a variety of archival sources.
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?
By Lane Relyea
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.
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.
In This Issue Katy Siegel, What are you working on?, 5 Artist’s Project Lorraine O’Grady, This Will Have Been: My … More
In This Issue Katy Siegel, Art, History, and Criticicsm, 5 Artist’s Project Allen Ruppersberg, PST: Before and After Features Andrew … More
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.
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.
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.
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.
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.
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.
By Luke Smythe
Copied from a small and fuzzy photograph clipped from a newspaper in 2003, Gerhard Richter’s Silikat paintings depict a honeycomb array of silicate particles, modeled on the structure of a butterfly wing.
By Joshua Shannon
Anyone seeking a crisp argument for the importance of contemporary art history should welcome the introduction of Hal Foster’s latest book, The First Pop Age. Foster justifies his careful look back at five key Pop artists by persuasively arguing that their work reveals and investigates a new stage, ascendant in the early 1960s, in the history of capitalist culture.
By Suzaan Boettger
Ends of the Earth: Land Art to 1974, the bold title of the exhibition and catalogue organized by the Museum of Contemporary Art, Los Angeles, and on view there in 2012 and later at Munich’s Haus der Kunst, evokes the grand ambitions of artists’ environmental imaginations in the early 1970s.
By Mechtild Widrich
Should we judge a book by its cover? The image on the front of the massive new publication on a taboo-breaking group of Austrian postwar artists shows a crowd of people gazing, some with obvious disapproval, into the camera. Among them we see policemen —something has happened or is about to, a crime perhaps—but we cannot see what has given rise to the incident.
By Barry Schwabsky
John Roberts is one of the more original and independent thinkers among contemporary art historians, and his wide-ranging reflections often take him well outside the boundaries of the discipline. In fact, he sometimes seems at pains to obscure what might be called the art-historical use-value of his work in order to underline its broader implications; he prefers to be seen, it appears, as a sort of unlicensed philosopher.
By Katy Siegel
Perhaps minor among reasons to celebrate the fact that the world did not end as predicted on 12.12.12 is that Art Journal is a little behind in its publication schedule.
By Chris Balaschak
In 1969 Winogrand published The Animals alongside an exhibition of the same name at the Museum of Modern Art, New York (MoMA). Though it has never been seen as such, it was a timely project, and represents a satire of American society during the height of a war “unassimilable” by popular culture.
By Karen L. Schiff
Finally—a book of criticism about Agnes Martin. No other book of writing about this singular, revered artist has been in print for many years. And though Martin (1912–2004) has been an esteemed presence in the art world since at least the early 1960s, there exists no monograph, no biography, no previous collection of criticism.
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 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.
In This Issue Katy Siegel, In Print, 5 Artist’s Project Matthew Brannon, Pressing the “Delete” button, not pressing the “Are you … More
In This Issue Katy Siegel, Reconstruction, 5 Centennial Essay Krista Thompson, A Sidelong Glance: The Practice of African Diaspora Art … More
In This Issue Katy Siegel, Making Time, 5 Centennial Essay Nora A. Taylor, Art without History? Southeast Asian Artists and … More
In This Issue Katy Siegel, Race to the Finish, 5 Artist’s Project Paul Sietsema, covers Centennial Essay Richard Shiff, Every … More
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 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.
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.
In This Issue Katy Siegel, Something Totally Unpredictable, 5 Features Kerry James Marshall, Adrift, Infinity, or Oblivion, from Dailies, Inside … More
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.
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.
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