{"id":8729,"date":"2017-06-28T18:42:29","date_gmt":"2017-06-28T18:42:29","guid":{"rendered":"http:\/\/artjournalstg.wpenginepowered.com\/?page_id=8729"},"modified":"2017-06-28T18:52:36","modified_gmt":"2017-06-28T18:52:36","slug":"current-issue-spring-2017","status":"publish","type":"page","link":"https:\/\/artjournal.collegeart.org\/?page_id=8729","title":{"rendered":"Current Issue: Spring 2017"},"content":{"rendered":"<figure id=\"attachment_8740\" aria-describedby=\"caption-attachment-8740\" style=\"width: 165px\" class=\"wp-caption alignleft\"><a href=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/Art-Journal-Spring-2017_cover.jpg\" rel=\"attachment wp-att-8740\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/Art-Journal-Spring-2017_cover-165x200.jpg\" alt=\"Spring 2017\" width=\"165\" height=\"200\" class=\"size-thumbnail wp-image-8740\" srcset=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/Art-Journal-Spring-2017_cover-165x200.jpg 165w, https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/Art-Journal-Spring-2017_cover-413x500.jpg 413w, https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/Art-Journal-Spring-2017_cover-210x254.jpg 210w, https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/Art-Journal-Spring-2017_cover.jpg 447w\" sizes=\"auto, (max-width: 165px) 100vw, 165px\" \/><\/a><figcaption id=\"caption-attachment-8740\" class=\"wp-caption-text\">Spring 2017<\/figcaption><\/figure>\n<p><strong>In This Issue<\/strong><\/p>\n<p><strong>Rebecca M. Brown<\/strong>, Disruption and Disorientation, 7<\/p>\n<p><strong>Features<\/strong><\/p>\n<p><a href=\"http:\/\/artjournal.collegeart.org\/?p=8682\"><strong>Nazar Kozak<\/strong>, Art Embedded into Protest: Staging the Ukrainian Maidan, 8<\/a><\/p>\n<p><strong>Sherry Buckberrough<\/strong>, Color, Gender, Murder: Delaunay\u2019s Political Drama, 48<\/p>\n<p><strong>Sophie Landres<\/strong>, Indecent and Uncanny: The Case against Charlotte Moorman, 48<\/p>\n<div id=\"grid-gallery-10-42095\" data-gg-id=\"10\" data-title=\"Art Journal Spring 2017 Features and Forum\" data-grid-type=\"0\" data-offset=\"2.3\" data-area-position=\"left\" data-icons=\"false\" data-preloader=\"true\" data-width=\"174\" data-height=\"177\" data-padding=\"0\" data-quicksand=\"disabled\" data-quicksand-duration=\"none\" data-popup-theme=\"theme_6\" data-popup-type=\"pretty-photo\" data-popup-image-text=\"data-description\" data-popup-widthsize=\"auto\" data-popup-heightsize=\"auto\" data-popup-i18n-words=\"{&quot;close&quot;:&quot;close&quot;,&quot;next&quot;:&quot;next&quot;,&quot;previous&quot;:&quot;previous&quot;,&quot;start_slideshow&quot;:&quot;start slideshow&quot;,&quot;stop_slideshow&quot;:&quot;stop slideshow&quot;,&quot;image&quot;:&quot;image&quot;,&quot;of&quot;:&quot;of&quot;,&quot;prev&quot;:&quot;prev&quot;,&quot;cExpand&quot;:&quot;Expand&quot;,&quot;cPrevious&quot;:&quot;Previous&quot;,&quot;cNext&quot;:&quot;Next&quot;,&quot;cExpandStr&quot;:&quot;Expand the image&quot;,&quot;cRotate&quot;:&quot;Rotate&quot;,&quot;cDetails&quot;:&quot;Details&quot;}\" data-popup-slideshow=\"false\" data-popup-slideshow-speed=\"2500\" data-popup-hoverstop=\"false\" data-popup-slideshow-auto=\"false\" data-popup-background=\"\" data-popup-transparency=\"30\" data-popup-disable-history=\"\" data-popup-disable-changed-url=\"\" data-popup-border-type=\"\" data-popup-border-color=\"\" data-popup-border-width=\"\" data-popup-border-enable=\"\" data-fullscreen=\"false\" data-hide-tooltip=\"false\" data-caption-font-family=\"Default\" data-caption-text-size=\"11px\" data-is-mobile=\"0\" data-caption-mobile=\"false\" data-hide-long-tltp-title=\"0\" data-caption-disabled-on-mobile=\"false\" data-popup-placement-type=\"0\" data-social-sharing=\"{&quot;enabled&quot;:&quot;&quot;,&quot;gallerySharing&quot;:{&quot;enabled&quot;:null,&quot;position&quot;:null},&quot;imageSharing&quot;:{&quot;enabled&quot;:null,&quot;wrapperClass&quot;:&quot; vertical &quot;},&quot;popupSharing&quot;:{&quot;enabled&quot;:null,&quot;wrapperClass&quot;:&quot; vertical &quot;}}\" class=\"grid-gallery grid-gallery-fixed \" style=\" width:100%; height:auto; float: left;position:relative;\"> <div class=\"gallery-loading\"> <div class=\"blocks\"> <div class=\"block\"><\/div> <div class=\"block\"><\/div> <div class=\"block\"><\/div> <div class=\"block\"><\/div> <\/div> <\/div> <div class=\"gallery-sharing-top\"><\/div> <div id=\"photos-10\" class=\"grid-gallery-photos\"><a id=\"gg-10-77\" class=\"gg-link \" data-attachment-id=\"8721\" href=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/Kozak_TOC.jpg?gid=10\" target=\"_self\" title=\"&amp;lt;strong&amp;gt;Independence Square, Kyiv, February 21, 2014&amp;lt;\/strong&amp;gt; (photograph \u00a9 Borys Harasymiv)\" data-rel=\"prettyPhoto[pp_gal]\" style=\"border-radius:0px;\" ><FIGURE class=\"grid-gallery-caption\" data-grid-gallery-type=\"guillotine-reverse\" data-index=\"0\" style=\"display:none;border-radius:0px;; margin:2.3px; width:174px;\" ><div class=\"crop\" style=\" width:174px; height:177px; overflow:hidden;\"><img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/Kozak_TOC-174x177.jpg\" class=\"ggImg\" alt=\"&lt;strong&gt;Independence Square, Kyiv, February 21, 2014&lt;\/strong&gt; (photograph \u00a9 Borys Harasymiv)\" title=\"&lt;strong&gt;Independence Square, Kyiv, February 21, 2014&lt;\/strong&gt; (photograph \u00a9 Borys Harasymiv)\" data-description=\"&lt;strong&gt;Independence Square, Kyiv, February 21, 2014&lt;\/strong&gt; (photograph \u00a9 Borys Harasymiv)\" data-caption=\"&lt;strong&gt;Independence Square, Kyiv, February 21, 2014&lt;\/strong&gt; (photograph \u00a9 Borys Harasymiv)\" data-title=\"&lt;strong&gt;Independence Square, Kyiv, February 21, 2014&lt;\/strong&gt; (photograph \u00a9 Borys Harasymiv)\" style=\" width:174px; height:177px;\" \/><\/div><FIGCAPTION class=\"\" data-alpha=\"5\" style=\"color:#ffffff; background-color:#000000; font-size:11px; text-align:left; font-family:Default;\" ><div class=\"grid-gallery-figcaption-wrap\" style=\" vertical-align:top;\"><div class=\"gg-image-caption fitvidsignore\" style=\"font-size:11px;\"><object type=\"none\/none\">&lt;strong&gt;Independence Square, Kyiv, February 21, 2014&lt;\/strong&gt; (photograph \u00a9 Borys Harasymiv) <\/object><\/div><\/div><\/FIGCAPTION><\/FIGURE><\/a><a id=\"gg-10-85\" class=\"gg-link \" data-attachment-id=\"8998\" href=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/08\/Delaunay_TOC.jpg?gid=10\" target=\"_self\" title=\"&amp;lt;strong&amp;gt;Robert Delaunay, &amp;lt;em&amp;gt;Political Drama&amp;lt;\/em&amp;gt;, 1914,&amp;lt;\/strong&amp;gt; oil and collage on cardboard, 34\u215e x 26\u00bd in. (88.7 x 67.3 cm) (framed, 40\u00be x 32\u215e in., 103.5 x 83.5 cm). National Gallery of Art, Washington, DC, gift of the Joseph H. Hazen Foundation (artwork in the public domain; photograph provided by the author)\" data-rel=\"prettyPhoto[pp_gal]\" style=\"border-radius:0px;\" ><FIGURE class=\"grid-gallery-caption\" data-grid-gallery-type=\"guillotine-reverse\" data-index=\"1\" style=\"display:none;border-radius:0px;; margin:2.3px; width:174px;\" ><div class=\"crop\" style=\" width:174px; height:177px; overflow:hidden;\"><img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/08\/Delaunay_TOC-174x177.jpg\" class=\"ggImg\" alt=\"&lt;strong&gt;Robert Delaunay, &lt;em&gt;Political Drama&lt;\/em&gt;, 1914,&lt;\/strong&gt; oil and collage on cardboard, 34\u215e x 26\u00bd in. (88.7 x 67.3 cm) (framed, 40\u00be x 32\u215e in., 103.5 x 83.5 cm). National Gallery of Art, Washington, DC, gift of the Joseph H. Hazen Foundation (artwork in the public domain; photograph provided by the author)\" title=\"&lt;strong&gt;Robert Delaunay, &lt;em&gt;Political Drama&lt;\/em&gt;, 1914,&lt;\/strong&gt; oil and collage on cardboard, 34\u215e x 26\u00bd in. (88.7 x 67.3 cm) (framed, 40\u00be x 32\u215e in., 103.5 x 83.5 cm). National Gallery of Art, Washington, DC, gift of the Joseph H. Hazen Foundation (artwork in the public domain; photograph provided by the author)\" data-description=\"&lt;strong&gt;Robert Delaunay, &lt;em&gt;Political Drama&lt;\/em&gt;, 1914,&lt;\/strong&gt; oil and collage on cardboard, 34\u215e x 26\u00bd in. (88.7 x 67.3 cm) (framed, 40\u00be x 32\u215e in., 103.5 x 83.5 cm). National Gallery of Art, Washington, DC, gift of the Joseph H. Hazen Foundation (artwork in the public domain; photograph provided by the author)\" data-caption=\"&lt;strong&gt;Robert Delaunay, &lt;em&gt;Political Drama&lt;\/em&gt;, 1914,&lt;\/strong&gt; oil and collage on cardboard, 34\u215e x 26\u00bd in. (88.7 x 67.3 cm) (framed, 40\u00be x 32\u215e in., 103.5 x 83.5 cm). National Gallery of Art, Washington, DC, gift of the Joseph H. Hazen Foundation (artwork in the public domain; photograph provided by the author)\" data-title=\"&lt;strong&gt;Robert Delaunay, &lt;em&gt;Political Drama&lt;\/em&gt;, 1914,&lt;\/strong&gt; oil and collage on cardboard, 34\u215e x 26\u00bd in. (88.7 x 67.3 cm) (framed, 40\u00be x 32\u215e in., 103.5 x 83.5 cm). National Gallery of Art, Washington, DC, gift of the Joseph H. Hazen Foundation (artwork in the public domain; photograph provided by the author)\" style=\" width:174px; height:177px;\" \/><\/div><FIGCAPTION class=\"\" data-alpha=\"5\" style=\"color:#ffffff; background-color:#000000; font-size:11px; text-align:left; font-family:Default;\" ><div class=\"grid-gallery-figcaption-wrap\" style=\" vertical-align:top;\"><div class=\"gg-image-caption fitvidsignore\" style=\"font-size:11px;\"><object type=\"none\/none\">&lt;strong&gt;Robert Delaunay, &lt;em&gt;Political Drama&lt;\/em&gt;, 1914,&lt;\/strong&gt; oil and collage on cardboard, 34\u215e x 26\u00bd in. (88.7 x 67.3 cm) (framed, 40\u00be x 32\u215e in., 103.5 x 83.5 cm). National Gallery of Art, Washington, DC, gift of the Joseph H. Hazen Foundation (artwork in the public domain; photograph provided by the author) <\/object><\/div><\/div><\/FIGCAPTION><\/FIGURE><\/a><a id=\"gg-10-79\" class=\"gg-link \" data-attachment-id=\"8722\" href=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/Landres_TOC.jpg?gid=10\" target=\"_self\" title=\"&amp;lt;strong&amp;gt;Dick Preston, Charlotte Moorman performing Aria II of &amp;lt;em&amp;gt;Opera Sextronique&amp;lt;\/em&amp;gt;, with army-issue gas mask, 1967,&amp;lt;\/strong&amp;gt; color photograph of performance, Film-Maker\u2019s Cinematheque, New York City (photograph \u00a9 Estate of Dick Preston; photograph provided by Charlotte Moorman Archives, Charles Deering McCormick Library of Special Collections, Northwestern University Library, Evanston, IL)\" data-rel=\"prettyPhoto[pp_gal]\" style=\"border-radius:0px;\" ><FIGURE class=\"grid-gallery-caption\" data-grid-gallery-type=\"guillotine-reverse\" data-index=\"2\" style=\"display:none;border-radius:0px;; margin:2.3px; width:174px;\" ><div class=\"crop\" style=\" width:174px; height:177px; overflow:hidden;\"><img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/Landres_TOC-174x177.jpg\" class=\"ggImg\" alt=\"&lt;strong&gt;Dick Preston, Charlotte Moorman performing Aria II of &lt;em&gt;Opera Sextronique&lt;\/em&gt;, with army-issue gas mask, 1967,&lt;\/strong&gt; color photograph of performance, Film-Maker\u2019s Cinematheque, New York City (photograph \u00a9 Estate of Dick Preston; photograph provided by Charlotte Moorman Archives, Charles Deering McCormick Library of Special Collections, Northwestern University Library, Evanston, IL)\" title=\"&lt;strong&gt;Dick Preston, Charlotte Moorman performing Aria II of &lt;em&gt;Opera Sextronique&lt;\/em&gt;, with army-issue gas mask, 1967,&lt;\/strong&gt; color photograph of performance, Film-Maker\u2019s Cinematheque, New York City (photograph \u00a9 Estate of Dick Preston; photograph provided by Charlotte Moorman Archives, Charles Deering McCormick Library of Special Collections, Northwestern University Library, Evanston, IL)\" data-description=\"&lt;strong&gt;Dick Preston, Charlotte Moorman performing Aria II of &lt;em&gt;Opera Sextronique&lt;\/em&gt;, with army-issue gas mask, 1967,&lt;\/strong&gt; color photograph of performance, Film-Maker\u2019s Cinematheque, New York City (photograph \u00a9 Estate of Dick Preston; photograph provided by Charlotte Moorman Archives, Charles Deering McCormick Library of Special Collections, Northwestern University Library, Evanston, IL)\" data-caption=\"&lt;strong&gt;Dick Preston, Charlotte Moorman performing Aria II of &lt;em&gt;Opera Sextronique&lt;\/em&gt;, with army-issue gas mask, 1967,&lt;\/strong&gt; color photograph of performance, Film-Maker\u2019s Cinematheque, New York City (photograph \u00a9 Estate of Dick Preston; photograph provided by Charlotte Moorman Archives, Charles Deering McCormick Library of Special Collections, Northwestern University Library, Evanston, IL)\" data-title=\"&lt;strong&gt;Dick Preston, Charlotte Moorman performing Aria II of &lt;em&gt;Opera Sextronique&lt;\/em&gt;, with army-issue gas mask, 1967,&lt;\/strong&gt; color photograph of performance, Film-Maker\u2019s Cinematheque, New York City (photograph \u00a9 Estate of Dick Preston; photograph provided by Charlotte Moorman Archives, Charles Deering McCormick Library of Special Collections, Northwestern University Library, Evanston, IL)\" style=\" width:174px; height:177px;\" \/><\/div><FIGCAPTION class=\"\" data-alpha=\"5\" style=\"color:#ffffff; background-color:#000000; font-size:11px; text-align:left; font-family:Default;\" ><div class=\"grid-gallery-figcaption-wrap\" style=\" vertical-align:top;\"><div class=\"gg-image-caption fitvidsignore\" style=\"font-size:11px;\"><object type=\"none\/none\">&lt;strong&gt;Dick Preston, Charlotte Moorman performing Aria II of &lt;em&gt;Opera Sextronique&lt;\/em&gt;, with army-issue gas mask, 1967,&lt;\/strong&gt; color photograph of performance, Film-Maker\u2019s Cinematheque, New York City (photograph \u00a9 Estate of Dick Preston; photograph provided by Charlotte Moorman Archives, Charles Deering McCormick Library of Special Collections, Northwestern University Library, Evanston, IL) <\/object><\/div><\/div><\/FIGCAPTION><\/FIGURE><\/a><a id=\"gg-10-80\" class=\"gg-link \" data-attachment-id=\"8723\" href=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/McDonald_TOC.jpg?gid=10\" target=\"_self\" title=\"&amp;lt;strong&amp;gt;Foujita and Kimiyo at Villier-le-Bacle, mid-to-late 1960s,&amp;lt;\/strong&amp;gt; black-and-white photograph (photographer unknown)\" data-rel=\"prettyPhoto[pp_gal]\" style=\"border-radius:0px;\" ><FIGURE class=\"grid-gallery-caption\" data-grid-gallery-type=\"guillotine-reverse\" data-index=\"3\" style=\"display:none;border-radius:0px;; margin:2.3px; width:174px;\" ><div class=\"crop\" style=\" width:174px; height:177px; overflow:hidden;\"><img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/McDonald_TOC-174x177.jpg\" class=\"ggImg\" alt=\"&lt;strong&gt;Foujita and Kimiyo at Villier-le-Bacle, mid-to-late 1960s,&lt;\/strong&gt; black-and-white photograph (photographer unknown)\" title=\"&lt;strong&gt;Foujita and Kimiyo at Villier-le-Bacle, mid-to-late 1960s,&lt;\/strong&gt; black-and-white photograph (photographer unknown)\" data-description=\"&lt;strong&gt;Foujita and Kimiyo at Villier-le-Bacle, mid-to-late 1960s,&lt;\/strong&gt; black-and-white photograph (photographer unknown)\" data-caption=\"&lt;strong&gt;Foujita and Kimiyo at Villier-le-Bacle, mid-to-late 1960s,&lt;\/strong&gt; black-and-white photograph (photographer unknown)\" data-title=\"&lt;strong&gt;Foujita and Kimiyo at Villier-le-Bacle, mid-to-late 1960s,&lt;\/strong&gt; black-and-white photograph (photographer unknown)\" style=\" width:174px; height:177px;\" \/><\/div><FIGCAPTION class=\"\" data-alpha=\"5\" style=\"color:#ffffff; background-color:#000000; font-size:11px; text-align:left; font-family:Default;\" ><div class=\"grid-gallery-figcaption-wrap\" style=\" vertical-align:top;\"><div class=\"gg-image-caption fitvidsignore\" style=\"font-size:11px;\"><object type=\"none\/none\">&lt;strong&gt;Foujita and Kimiyo at Villier-le-Bacle, mid-to-late 1960s,&lt;\/strong&gt; black-and-white photograph (photographer unknown) <\/object><\/div><\/div><\/FIGCAPTION><\/FIGURE><\/a> <div class=\"grid-gallery-clearfix\"><\/div> <\/div> <div class=\"gallery-sharing-bottom\"><\/div> <div class=\"grid-gallery-clearfix\"><\/div> <\/div> <!-- Gallery by Supsystic plugin1.14.10 -->\n<p><strong>Forum: The Politics of Legacy<\/strong> <\/p>\n<p><a href=\"http:\/\/artjournal.collegeart.org\/?p=8707\"><strong>Rachel Middleman and Anne Monahan<\/strong>, Introduction: The Politics of Legacy, 70<\/a><\/p>\n<p><strong>Artist\u2019s Project<\/strong><\/p>\n<p><strong>Amy Zion and Peter Broda<\/strong>, Martin Wong\u2019s Jackets: Estate as Process, 75<\/p>\n<p><strong>Danh Vo<\/strong>, <em>I M U U R 2<\/em>, 81<\/p>\n<p><strong>Conversations and Perspectives<\/strong><\/p>\n<p><strong>Katherine Jentleson and Jane Kallir<\/strong>, From Gallery to Greeting Card: Copyrighting Grandma Moses, 90<\/p>\n<p><strong>Diane Radycki<\/strong>, \u201cWhat to Do with All the Stuff?\u201d A Conversation between Mrs. Sidney Tillim and the Joan Mitchell Foundation (and the Artists Betty Blayton-Taylor and Jaime Davidovich), 95<\/p>\n<p><strong>Anne Monahan, Flavin Judd, and Rainer Judd<\/strong>, Clear Priorities: Flavin and Rainer Judd on the Judd Foundation, 101<\/p>\n<p><strong>Rachel Middleman and Mira Friedlaender<\/strong>, Touching Things: Mira Friedlaender Unpacks Her Mother\u2019s Legacy, 110<\/p>\n<p><strong>Rachel Middleman and Alla Efimova<\/strong>, Preserving Artists\u2019 Estates: A Professional Perspective, 116<\/p>\n<p><strong>Marcia Reed<\/strong>, From the Archive to Art History, 121<\/p>\n<p><strong>Artist\u2019s Project <\/strong><\/p>\n<p><strong>Mimi Gross<\/strong>, <em>Puzzling the Legacy<\/em>, 129<\/p>\n<p><strong>Position Papers<\/strong><\/p>\n<p><strong>Caroline A. Jones<\/strong>, The Artist-Function and Posthumous Art History, 139<\/p>\n<p><strong>Nancy J. Troy<\/strong>, Copyright as Monopoly, 150<\/p>\n<p><strong>Michael Corris<\/strong>, Immortality Sucks! How the Estate of the Artist Writes History, 158<\/p>\n<p><strong>Renato Gonz\u00e1lez Mello<\/strong>, When the State Is the Estate: Copyright and Patrimony in Mexico, 170<\/p>\n<p><strong>Aya Louisa McDonald<\/strong>, The Artist\u2019s Widow Syndrome East and West: The Case of Foujita Kimiyo, 177<\/p>\n<p><strong>Jacqueline Francis<\/strong>, Response to the Forum \u201cThe Politics of Legacy\u201d, 189<\/p>\n<p><strong>Artist\u2019s Project<\/strong><\/p>\n<p><strong>Jill Magid<\/strong>, <em>The Proposal<\/em>, 194<\/p>\n<p><strong>Reviews<\/strong><\/p>\n<div id=\"grid-gallery-11-88328\" data-gg-id=\"11\" data-title=\"Art Journal Spring 2017 Reviews\" data-grid-type=\"0\" data-offset=\"2.3\" data-area-position=\"left\" data-icons=\"false\" data-preloader=\"true\" data-width=\"174\" data-height=\"177\" data-padding=\"0\" data-quicksand=\"disabled\" data-quicksand-duration=\"none\" data-popup-theme=\"theme_6\" data-popup-type=\"pretty-photo\" data-popup-image-text=\"data-description\" data-popup-widthsize=\"auto\" data-popup-heightsize=\"auto\" data-popup-i18n-words=\"{&quot;close&quot;:&quot;close&quot;,&quot;next&quot;:&quot;next&quot;,&quot;previous&quot;:&quot;previous&quot;,&quot;start_slideshow&quot;:&quot;start slideshow&quot;,&quot;stop_slideshow&quot;:&quot;stop slideshow&quot;,&quot;image&quot;:&quot;image&quot;,&quot;of&quot;:&quot;of&quot;,&quot;prev&quot;:&quot;prev&quot;,&quot;cExpand&quot;:&quot;Expand&quot;,&quot;cPrevious&quot;:&quot;Previous&quot;,&quot;cNext&quot;:&quot;Next&quot;,&quot;cExpandStr&quot;:&quot;Expand the image&quot;,&quot;cRotate&quot;:&quot;Rotate&quot;,&quot;cDetails&quot;:&quot;Details&quot;}\" data-popup-slideshow=\"false\" data-popup-slideshow-speed=\"2500\" data-popup-hoverstop=\"false\" data-popup-slideshow-auto=\"false\" data-popup-background=\"\" data-popup-transparency=\"30\" data-popup-disable-history=\"\" data-popup-disable-changed-url=\"\" data-popup-border-type=\"\" data-popup-border-color=\"\" data-popup-border-width=\"\" data-popup-border-enable=\"\" data-fullscreen=\"false\" data-hide-tooltip=\"false\" data-caption-font-family=\"Default\" data-caption-text-size=\"11px\" data-is-mobile=\"0\" data-caption-mobile=\"false\" data-hide-long-tltp-title=\"0\" data-caption-disabled-on-mobile=\"false\" data-popup-placement-type=\"0\" data-social-sharing=\"{&quot;enabled&quot;:&quot;&quot;,&quot;gallerySharing&quot;:{&quot;enabled&quot;:null,&quot;position&quot;:null},&quot;imageSharing&quot;:{&quot;enabled&quot;:null,&quot;wrapperClass&quot;:&quot; vertical &quot;},&quot;popupSharing&quot;:{&quot;enabled&quot;:null,&quot;wrapperClass&quot;:&quot; vertical &quot;}}\" class=\"grid-gallery grid-gallery-fixed \" style=\" width:100%; height:auto; float: left;position:relative;\"> <div class=\"gallery-loading\"> <div class=\"blocks\"> <div class=\"block\"><\/div> <div class=\"block\"><\/div> <div class=\"block\"><\/div> <div class=\"block\"><\/div> <\/div> <\/div> <div class=\"gallery-sharing-top\"><\/div> <div id=\"photos-11\" class=\"grid-gallery-photos\"><a id=\"gg-11-81\" class=\"gg-link \" data-attachment-id=\"8719\" href=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/gupa-ok_image.jpg?gid=11\" target=\"_self\" title=\"grupa o.k.&amp;#039;s Critical Bibliography\" data-rel=\"prettyPhoto[pp_gal]\" style=\"border-radius:0px;\" ><FIGURE class=\"grid-gallery-caption\" data-grid-gallery-type=\"guillotine-reverse\" data-index=\"0\" style=\"display:none;border-radius:0px;; margin:2.3px; width:174px;\" ><div class=\"crop\" style=\" width:174px; height:177px; overflow:hidden;\"><img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/gupa-ok_image-174x177.jpg\" class=\"ggImg\" alt=\"grupa o.k.&#039;s Critical Bibliography\" title=\"grupa o.k.&#039;s Critical Bibliography\" data-description=\"grupa o.k.&#039;s Critical Bibliography\" data-caption=\"grupa o.k.&#039;s Critical Bibliography\" data-title=\"grupa o.k.&#039;s Critical Bibliography\" style=\" width:174px; height:177px;\" \/><\/div><FIGCAPTION class=\"\" data-alpha=\"5\" style=\"color:#ffffff; background-color:#000000; font-size:11px; text-align:left; font-family:Default;\" ><div class=\"grid-gallery-figcaption-wrap\" style=\" vertical-align:top;\"><div class=\"gg-image-caption fitvidsignore\" style=\"font-size:11px;\"><object type=\"none\/none\">grupa o.k.&#039;s Critical Bibliography <\/object><\/div><\/div><\/FIGCAPTION><\/FIGURE><\/a><a id=\"gg-11-82\" class=\"gg-link \" data-attachment-id=\"8724\" href=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/Reviews-02-Widrich_TOC.jpg?gid=11\" target=\"_self\" title=\"&amp;lt;strong&amp;gt;Sabine Breitwieser, ed., &amp;lt;em&amp;gt;Carolee Schneemann: Kinetic Painting&amp;lt;\/em&amp;gt;&amp;lt;\/strong&amp;gt;\" data-rel=\"prettyPhoto[pp_gal]\" style=\"border-radius:0px;\" ><FIGURE class=\"grid-gallery-caption\" data-grid-gallery-type=\"guillotine-reverse\" data-index=\"1\" style=\"display:none;border-radius:0px;; margin:2.3px; width:174px;\" ><div class=\"crop\" style=\" width:174px; height:177px; overflow:hidden;\"><img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/Reviews-02-Widrich_TOC-174x177.jpg\" class=\"ggImg\" alt=\"&lt;strong&gt;Sabine Breitwieser, ed., &lt;em&gt;Carolee Schneemann: Kinetic Painting&lt;\/em&gt;&lt;\/strong&gt;\" title=\"&lt;strong&gt;Sabine Breitwieser, ed., &lt;em&gt;Carolee Schneemann: Kinetic Painting&lt;\/em&gt;&lt;\/strong&gt;\" data-description=\"&lt;strong&gt;Sabine Breitwieser, ed., &lt;em&gt;Carolee Schneemann: Kinetic Painting&lt;\/em&gt;&lt;\/strong&gt;\" data-caption=\"&lt;strong&gt;Sabine Breitwieser, ed., &lt;em&gt;Carolee Schneemann: Kinetic Painting&lt;\/em&gt;&lt;\/strong&gt;\" data-title=\"&lt;strong&gt;Sabine Breitwieser, ed., &lt;em&gt;Carolee Schneemann: Kinetic Painting&lt;\/em&gt;&lt;\/strong&gt;\" style=\" width:174px; height:177px;\" \/><\/div><FIGCAPTION class=\"\" data-alpha=\"5\" style=\"color:#ffffff; background-color:#000000; font-size:11px; text-align:left; font-family:Default;\" ><div class=\"grid-gallery-figcaption-wrap\" style=\" vertical-align:top;\"><div class=\"gg-image-caption fitvidsignore\" style=\"font-size:11px;\"><object type=\"none\/none\">&lt;strong&gt;Sabine Breitwieser, ed., &lt;em&gt;Carolee Schneemann: Kinetic Painting&lt;\/em&gt;&lt;\/strong&gt; <\/object><\/div><\/div><\/FIGCAPTION><\/FIGURE><\/a><a id=\"gg-11-83\" class=\"gg-link \" data-attachment-id=\"8725\" href=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/Reviews-03-Montgomery_TOC.jpg?gid=11\" target=\"_self\" title=\"&amp;lt;strong&amp;gt;M\u00f3nica Amor, &amp;lt;em&amp;gt;Theories of the Nonobject: Argentina, Brazil, Venezuela 1944\u20131969&amp;lt;\/em&amp;gt;&amp;lt;\/strong&amp;gt;\" data-rel=\"prettyPhoto[pp_gal]\" style=\"border-radius:0px;\" ><FIGURE class=\"grid-gallery-caption\" data-grid-gallery-type=\"guillotine-reverse\" data-index=\"2\" style=\"display:none;border-radius:0px;; margin:2.3px; width:174px;\" ><div class=\"crop\" style=\" width:174px; height:177px; overflow:hidden;\"><img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/Reviews-03-Montgomery_TOC-174x177.jpg\" class=\"ggImg\" alt=\"&lt;strong&gt;M\u00f3nica Amor, &lt;em&gt;Theories of the Nonobject: Argentina, Brazil, Venezuela 1944\u20131969&lt;\/em&gt;&lt;\/strong&gt;\" title=\"&lt;strong&gt;M\u00f3nica Amor, &lt;em&gt;Theories of the Nonobject: Argentina, Brazil, Venezuela 1944\u20131969&lt;\/em&gt;&lt;\/strong&gt;\" data-description=\"&lt;strong&gt;M\u00f3nica Amor, &lt;em&gt;Theories of the Nonobject: Argentina, Brazil, Venezuela 1944\u20131969&lt;\/em&gt;&lt;\/strong&gt;\" data-caption=\"&lt;strong&gt;M\u00f3nica Amor, &lt;em&gt;Theories of the Nonobject: Argentina, Brazil, Venezuela 1944\u20131969&lt;\/em&gt;&lt;\/strong&gt;\" data-title=\"&lt;strong&gt;M\u00f3nica Amor, &lt;em&gt;Theories of the Nonobject: Argentina, Brazil, Venezuela 1944\u20131969&lt;\/em&gt;&lt;\/strong&gt;\" style=\" width:174px; height:177px;\" \/><\/div><FIGCAPTION class=\"\" data-alpha=\"5\" style=\"color:#ffffff; background-color:#000000; font-size:11px; text-align:left; font-family:Default;\" ><div class=\"grid-gallery-figcaption-wrap\" style=\" vertical-align:top;\"><div class=\"gg-image-caption fitvidsignore\" style=\"font-size:11px;\"><object type=\"none\/none\">&lt;strong&gt;M\u00f3nica Amor, &lt;em&gt;Theories of the Nonobject: Argentina, Brazil, Venezuela 1944\u20131969&lt;\/em&gt;&lt;\/strong&gt; <\/object><\/div><\/div><\/FIGCAPTION><\/FIGURE><\/a><a id=\"gg-11-84\" class=\"gg-link \" data-attachment-id=\"8726\" href=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/Reviews-04-Morse_TOC.jpg?gid=11\" target=\"_self\" title=\"&amp;lt;strong&amp;gt;Meredith Morse, &amp;lt;em&amp;gt;Soft Is Fast: Simone Forti in the 1960s and After&amp;lt;\/em&amp;gt;&amp;lt;\/strong&amp;gt;\" data-rel=\"prettyPhoto[pp_gal]\" style=\"border-radius:0px;\" ><FIGURE class=\"grid-gallery-caption\" data-grid-gallery-type=\"guillotine-reverse\" data-index=\"3\" style=\"display:none;border-radius:0px;; margin:2.3px; width:174px;\" ><div class=\"crop\" style=\" width:174px; height:177px; overflow:hidden;\"><img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/06\/Reviews-04-Morse_TOC-174x177.jpg\" class=\"ggImg\" alt=\"&lt;strong&gt;Meredith Morse, &lt;em&gt;Soft Is Fast: Simone Forti in the 1960s and After&lt;\/em&gt;&lt;\/strong&gt;\" title=\"&lt;strong&gt;Meredith Morse, &lt;em&gt;Soft Is Fast: Simone Forti in the 1960s and After&lt;\/em&gt;&lt;\/strong&gt;\" data-description=\"&lt;strong&gt;Meredith Morse, &lt;em&gt;Soft Is Fast: Simone Forti in the 1960s and After&lt;\/em&gt;&lt;\/strong&gt;\" data-caption=\"&lt;strong&gt;Meredith Morse, &lt;em&gt;Soft Is Fast: Simone Forti in the 1960s and After&lt;\/em&gt;&lt;\/strong&gt;\" data-title=\"&lt;strong&gt;Meredith Morse, &lt;em&gt;Soft Is Fast: Simone Forti in the 1960s and After&lt;\/em&gt;&lt;\/strong&gt;\" style=\" width:174px; height:177px;\" \/><\/div><FIGCAPTION class=\"\" data-alpha=\"5\" style=\"color:#ffffff; background-color:#000000; font-size:11px; text-align:left; font-family:Default;\" ><div class=\"grid-gallery-figcaption-wrap\" style=\" vertical-align:top;\"><div class=\"gg-image-caption fitvidsignore\" style=\"font-size:11px;\"><object type=\"none\/none\">&lt;strong&gt;Meredith Morse, &lt;em&gt;Soft Is Fast: Simone Forti in the 1960s and After&lt;\/em&gt;&lt;\/strong&gt; <\/object><\/div><\/div><\/FIGCAPTION><\/FIGURE><\/a> <div class=\"grid-gallery-clearfix\"><\/div> <\/div> <div class=\"gallery-sharing-bottom\"><\/div> <div class=\"grid-gallery-clearfix\"><\/div> <\/div> <!-- Gallery by Supsystic plugin1.14.10 -->\n<p><a href=\"http:\/\/artjournal.collegeart.org\/?p=8716\">\u201cThe Prehistory of Exhibition History,\u201d an annotated bibliography by <strong>grupa o.k. (Julian Myers and Joanna Szupinska)<\/strong><\/a><\/p>\n<p><strong>Mechtild Widrich<\/strong> on Sabine Breitwieser, ed., <em>Carolee Schneemann: Kinetic Painting<\/em>,\u00a0the exhibition Carolee Schneemann: Kinetic Painting, and\u00a0Kenneth White, Carolee Schneemann, and Duncan McCorquodale, eds., <em>Carolee Schneemann: Unforgivable<\/em>; <strong>Harper Montgomery<\/strong> on\u00a0M\u00f3nica Amor,\u00a0<em>Theories of the Nonobject: Argentina, Brazil, \u2009Venezuela 1944\u20131969<\/em>, Irene V. Small,\u00a0<em>H\u00e9lio Oiticica: Folding the Frame<\/em>, and Elena Shtromberg,\u00a0<em>Art Systems: Brazil and the 1970s<\/em>; and <strong>Catherine Damman<\/strong> on\u00a0Meredith Morse\u00a0<em>Soft Is Fast: Simone Forti in the 1960s and After<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In This Issue Rebecca M. Brown, Disruption and Disorientation, 7 Features Nazar Kozak, Art Embedded into Protest: Staging the Ukrainian &hellip; <a class=\"more-link\" href=\"https:\/\/artjournal.collegeart.org\/?page_id=8729\">More<\/a><\/p>\n","protected":false},"author":9,"featured_media":0,"parent":4806,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"kia_subtitle":"","footnotes":""},"class_list":["post-8729","page","type-page","status-publish","hentry",""],"_links":{"self":[{"href":"https:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/pages\/8729","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/artjournal.collegeart.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=8729"}],"version-history":[{"count":0,"href":"https:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/pages\/8729\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/pages\/4806"}],"wp:attachment":[{"href":"https:\/\/artjournal.collegeart.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8729"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}