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.
In This Issue Katy Siegel, In Print, 5 Artist’s Project Matthew Brannon, Pressing the “Delete” button, not pressing the “Are you…
In This Issue Katy Siegel, Reconstruction, 5 Centennial Essay Krista Thompson, A Sidelong Glance: The Practice of African Diaspora Art…
In This Issue Katy Siegel, Making Time, 5 Centennial Essay Nora A. Taylor, Art without History? Southeast Asian Artists and…
In This Issue Katy Siegel, Race to the Finish, 5 Artist’s Project Paul Sietsema, covers Centennial Essay Richard Shiff, Every…
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.
