By Dina Deitsch
For the second installment of her conversation series, curator Dina Deitsch speaks with artist Kate Gilmore about Gilmore’s process of creating Like This, Before (2013), and the importance of breaking things and laughing about it.
In, Around, and Afterthoughts (On Participation): Photography and Agency in Martha Rosler’s Collaboration with Homeward Bound
By Adair Rounthwaite
It seems obvious to state that photographs play a central role in our ability to study participatory art. Art historians, however, have largely bracketed this as an issue that might be important for how we conceive the politics and aesthetics of participation.
Transnational Fields and the Blindness of the Archive
By Dorota Biczel
Dorota Biczel reviews Making Art Panamerican: Cultural Policy and the Cold War by Claire F. Fox.
Primal Matter: An Annotated Bibliography for Ceramics
By Brian Molanphy
This introductory selection of texts on ceramics includes books that offer general foundations as well as essays that exemplify specific investigations.
Floating Cabins and Shifting Landscapes: William Lamson in Conversation with Dina Deitsch
By Dina Deitsch
In this interview, curator Dina Deitsch and artist William Lamson discuss the slippery space of video, working with and in nature, and the poetics of floating cabins.
The New Geography: Earth Music and Land Art, Version 2.0; Comparison #3
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?
Objects Made Black
by Sampada Aranke
Sampada Aranke reviews Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America by Huey Copeland.
Dead Boars, Viruses, and Zombies: Roberto Jacoby’s Art History
By Daniel R. Quiles
The subtlest of deceptions lies in wait in a “1000 Words” feature on Roberto Jacoby in the March 2011 issue of Artforum.
The New Geography: Earth Music and Land Art, Version 2.0; Comparison #2
By Mike Maizels
Mike Maizels examines Shawn Brixey’s Epicycle (2000) and Robert Smithson’s Pointless Vanishing Point (1967) in the second installment of The New Geography: Earth Music and Land Art, Version 2.0.
Imprinting Agnes Martin
By Karen L. Schiff
In the early 1990s I saw a conference presentation about Agnes Martin’s grid paintings, and their rigor and sensitivity was imprinted on me: I felt motivated to return to making art. When Martin (1912–2004) passed away, I started making artworks to reflect on her work and life, often through printed texts.
A Fine Line: Drawing and the Digital Ground in the Work of Tamarin Norwood
By Becky Huff Hunter
Becky Huff Hunter and Tamarin Norwood discuss video’s relationship with drawing, negotiating digital and analogue forms, pursing a research-based PhD in Fine Art, and more.
Spring 2014, Vol. 73, No. 1
Artist’s Project Karen L. Schiff, Counter to Type Drawings appear on the front and back covers of this issue, on…