Charissa N. Terranova reviews Le Corbusier: An Atlas of Modern Landscapes.
The New Geography: Earth Music and Land Art, Version 2.0
By Mike Maizels
The apologists for “Big Data” seem to be everywhere these days. In forums ranging from TED talks to marketing campaigns, we are now being bombarded by the just-on-the-horizon possibilities of Total Information. It is no surprise that a particular articulation of these ideas has also surfaced in the world of contemporary art practice.
Winter 2012, Vol. 71, No. 4
In This Issue Katy Siegel, Shaping the Glass, 5 Artist’s Project Tomma Abts, Untitled, 8 Features Christine Mehring, Richter’s Willkür,…
Summer 2013, Vol. 72, No. 2
Features Alexandra M. Kokoli, The Voice as Uncanny Index in Susan Hiller’s The Last Silent Movie, 6 Kristen Olds, “Gay…
Spring 2013, Vol. 72, No.1
Editor’s Note Lane Relyea, 5 Features Peggy Wang, Art Critics as Middlemen: Navigating State and Market in Contemporary Chinese Art,…
Fall 2012, Vol. 71, No. 3
In This Issue Katy Siegel, Attention Deficit, 5 Features Chris Balaschak, Planet of the Apes: John Szarkowski, My Lai, and…
Winter 2013, Vol. 72, No. 4
Artist’s Project Jeanne Dunning,Tom Thumb, the New Oedipus, 5 Features Forum: Sexing Sculpture: New Approaches to Theorizing the Object Jillian…
The Aesthetic Gold of a Ravished Spouse of the Godhead
By Elisabeth Kley
Although mystery has surrounded the life of Forrest Bess since he died in 1977, quite a bit of the cloud is dispelled in Chuck Smith’s new book, Forrest Bess: Key to the Riddle. A follow-up to a film Smith made in 1999, it is an ideal combination of monograph and biography.
Counter to Type
By Karen L. Schiff
In the Spring 2014 issue of Art Journal, Karen L. Schiff created an artists’s project, Counter to Type. Working from the typography on the covers and selected interior pages of the journal, she used colored pencils to draw on transparent overlays.
Dada Dance: Sophie Taeuber’s Visceral Abstraction
By Nell Andrew
In a recent landmark exhibition on the intersection of art and dance, Danser sa vie, the Centre Georges Pompidou displayed an enigmatic photograph identified as the artist Sophie Taeuber dancing at the Cabaret Voltaire in 1916. It is not uncommon for a photograph to stand in as an icon of a live event and offer what we hope is access to some present now passed, but for decades scholars have disagreed on the date and location of the Taeuber photograph.
Sexing Sculpture: New Approaches to Theorizing the Object
By Jillian Hernandez and Susan Richmond
This forum, which originated as a panel at the 2013 Annual Conference of the College Art Association in New York, developed from the following question: how do sculptural practices uphold or, conversely, equivocate the certainties of gendered and sexual embodiment?
Through the Looking-Glass, Darkly
By Tina Rivers
When H. H. Arnason published the first edition of his 1968 book The History of Modern Art, it ended with a one-page entry on “Psychedelic Art.” Positioning the inchoate movement as a bridge between the modern and contemporary periods, the entry was a blueprint for a future that would never come to pass, and was expunged from all further editions, helping to relegate psychedelia to the proverbial dustbin of history.