{"id":9499,"date":"2017-10-19T20:57:29","date_gmt":"2017-10-19T20:57:29","guid":{"rendered":"http:\/\/artjournalstg.wpenginepowered.com\/?page_id=9499"},"modified":"2018-02-12T16:47:11","modified_gmt":"2018-02-12T16:47:11","slug":"current-issue-summer-2017","status":"publish","type":"page","link":"https:\/\/artjournal.collegeart.org\/?page_id=9499","title":{"rendered":"Current Issue: Summer 2017"},"content":{"rendered":"\n\t\t<!-- MasterSlider -->\n\t\t<div id=\"P_MS6ae271c308e09\" class=\"master-slider-parent msl ms-parent-id-19\" style=\"max-width:1060px;\"  >\n\n\t\t\t\n\t\t\t<!-- MasterSlider Main -->\n\t\t\t<div id=\"MS6ae271c308e09\" class=\"master-slider ms-skin-default\" >\n\t\t\t\t \t\t\t\t \n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/AJ-Summer-2017.jpg\" \/>\n\n\t\t\t\t\t<div class=\"ms-info\"><p><em>Art Journal<\/em> Spring 2017<\/p>\n<p> Cover: <strong>Postcommodity, <em>Repellent Fence<\/em>, 2015,<\/strong> installation view  (artwork \u00a9 Postcommodity; photograph by Michael Lundgren provided by Postcommodity)<\/p><\/div>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/1_Ash-Milby_TOC.jpg\" \/>\n\n\t\t\t\t\t<div class=\"ms-info\"><p><strong>Norval Morrisseau with his painting <em>Androgyny<\/em>, 1983,<\/strong> which he presented to the people of Canada at the opening of his solo exhibition Norval Morrisseau: Shaman Artist at the National Gallery of Canada, Ottawa, 2006, organized by Greg Hill (photograph from Ottawa Sun \u00a9 Postmedia Network Canada Corporation)<\/p>\n\n<p><em>Art Journal<\/em> Summer 2017, p. 25<\/p>\n<\/div>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/2_Horton_TOC.jpg\" \/>\n\n\t\t\t\t\t<div class=\"ms-info\"><p><strong>Rebecca Belmore, <em>Ayumee-aawach Oomama-mowan: Speaking to Their Mother<\/em>, 1991,<\/strong> performance with a wooden megaphone, multiple locations (artwork \u00a9 Rebecca Belmore)<\/p>\n\n<p><em>Art Journal<\/em> Summer 2017, p. 58<\/p>\n<\/div>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/3_Morris_TOC.jpg\" \/>\n\n\t\t\t\t\t<div class=\"ms-info\"><p><strong>Kent Monkman, <em>Struggle For Balance<\/em>, 2013,<\/strong> acrylic on canvas 7 ft. x 10 ft. 6 in. (213.4 x 320 cm) (artwork \u00a9 Kent Monkman; photograph provided by the artist)<\/p>\n\n<p><em>Art Journal<\/em> Summer 2017, p. 75<\/p>\n<\/div>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/4_Robinson_TOC.jpg\" \/>\n\n\t\t\t\t\t<div class=\"ms-info\"><p><strong>Ogimaa Mikana, <em>Gego ghazaagwenmishkin pii wii Anishinaabemywin<\/em>, 2014,<\/strong> Bayfield Street, Barrie, Ontario, August 2014 (artwork \u00a9 Ogimaa Mikana; photograph by Susan Blight)<\/p>\n\n<p><em>Art Journal<\/em> Summer 2017, p. 97<\/p>\n<\/div>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/5_Igloliorte-02-Girls-on-Bed_TOC.jpg\" \/>\n\n\t\t\t\t\t<div class=\"ms-info\"><p><strong>Annie Pootoogook, <em>Pitseolak Drawing with Two Girls on the Bed<\/em>, detail, 2006,<\/strong> colored pencil on paper, 20 x 26 in. (50.8 x 66 cm). Private collection (artwork \u00a9 Dorset Fine Arts; photograph provided by Dorset Fine Arts)<\/p>\n\n<p><em>Art Journal<\/em> Summer 2017, p. 104<\/p>\n<\/div>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/6_Farrell_Fig.-3_Nadia-Myre_TOC.jpg\" \/>\n\n\t\t\t\t\t<div class=\"ms-info\"><p><strong>Nadia Myre, <em>Indian Act<\/em> (page 13), 2000\u20133,<\/strong> seed beads, stroud cloth, thread, Indian Act (R.S. chapters 1\u20135, 1985 paper), one of 56 elements, ea. 15\u00be x 15 x 1\u00bc in. (40 x 38 x 3 cm) (artwork \u00a9 Nadia Myre; photograph provided by Art Mur Gallery)<\/p>\n\n<p><em>Art Journal<\/em> Summer 2017, p. 119<\/p>\n<\/div>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/Watt_07.jpg\" \/>\n\n\t\t\t\t\t<div class=\"ms-info\"><p><strong>Marie Watt, <em>Companion Species<\/em>, 2017,<\/strong> reclaimed wool blanket, embroidery floss, thread, 15\u00bd x 23\u00bd in. (39.4 x 59.7 cm) (artwork \u00a9 Marie Watt; photograph by Aaron Johanson)<\/p>\n\n<p><em>Art Journal<\/em> Summer 2017, p. 132<\/p>\n<\/div>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/7_Postcommodiy_TOX.jpg\" \/>\n\n\t\t\t\t\t<div class=\"ms-info\"><p><strong>\u00a9 Postcommodity;<\/strong> photographs provided by Postcommodity<\/p>\n\n<p><em>Art Journal<\/em> Summer 2017, p. 134<\/p>\n<\/div>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/8_Reviews-01-Jones-image_TOC.jpg\" \/>\n\n\t\t\t\t\t<div class=\"ms-info\"><p><strong><em>Image Science: Iconology, Visual Culture, and Media Aesthetics<\/em><\/strong> by W. J. T. Mitchell<\/p><\/div>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/9_Reviews-02-Kurczynski-image_TOC.jpg\" \/>\n\n\t\t\t\t\t<div class=\"ms-info\"><p><strong><em>A Cultural History of the Avant-Garde in the Nordic Countries, 1950\u201375<\/em><\/strong> by Tania \u00d8rum and Jesper Olsson<\/p><\/div>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/10_Reviews-03-Maroja-cover-image_TOC-1.jpg\" \/>\n\n\t\t\t\t\t<div class=\"ms-info\"><p><strong><em>H\u00e9lio Oiticica: To Organize Delirium<\/em><\/strong><\/p><\/div>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/11_Reviews-04-Bonfitto-image_TOC.jpg\" \/>\n\n\t\t\t\t\t<div class=\"ms-info\"><p><strong><em>Chandigarh Is in India<\/em><\/strong> edited by Shanay Jhaveri<\/p><\/div>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"https:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"https:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/12_Reviews-05-DiBenedetto-cover-image_TOC.jpg\" \/>\n\n\t\t\t\t\t<div class=\"ms-info\"><p><strong><em>Leap Before You Look: Black Mountain College 1933\u20131957<\/em><\/strong> edited by Helen Molesworth with Ruth Erickson<\/p><\/div>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\n\t\t\t<\/div>\n\t\t\t<!-- END MasterSlider Main -->\n\n\t\t\t \n\t\t<\/div>\n\t\t<!-- END MasterSlider -->\n\n\t\t<script>\n\t\t(function ( $ ) {\n\t\t\t\"use strict\";\n\n\t\t\t$(function () {\n\t\t\t\tvar masterslider_8e09 = new MasterSlider();\n\n\t\t\t\t\/\/ slider controls\n\t\t\t\tmasterslider_8e09.control('arrows'     ,{ autohide:false, overVideo:true  });\t\t\t\tmasterslider_8e09.control('bullets'    ,{ autohide:true, overVideo:true, dir:'h', align:'bottom' , margin:10  });\n\n\t\t\t\tmasterslider_8e09.control('scrollbar'  ,{ autohide:false, overVideo:true, dir:'h', inset:true, align:'top', color:'#3D3D3D' , margin:10  , width:4 });\n\t\t\t\tmasterslider_8e09.control('slideinfo'  ,{ autohide:false, overVideo:true, dir:'v', align:'right',inset:false , margin:10  , size:250 });\n\t\t\t\t\/\/ slider setup\n\t\t\t\tmasterslider_8e09.setup(\"MS6ae271c308e09\", {\n\t\t\t\t\t\twidth           : 900,\n\t\t\t\t\t\theight          : 700,\n\t\t\t\t\t\tminHeight       : 0,\n\t\t\t\t\t\tspace           : 0,\n\t\t\t\t\t\tstart           : 1,\n\t\t\t\t\t\tgrabCursor      : true,\n\t\t\t\t\t\tswipe           : true,\n\t\t\t\t\t\tmouse           : true,\n\t\t\t\t\t\tlayout          : \"boxed\",\n\t\t\t\t\t\twheel           : false,\n\t\t\t\t\t\tautoplay        : false,\n\t\t\t\t\t\tinstantStartLayers:false,\n\t\t\t\t\t\tloop            : true,\n\t\t\t\t\t\tshuffle         : false,\n\t\t\t\t\t\tpreload         : 0,\n\t\t\t\t\t\theightLimit     : true,\n\t\t\t\t\t\tautoHeight      : false,\n\t\t\t\t\t\tsmoothHeight    : true,\n\t\t\t\t\t\tendPause        : false,\n\t\t\t\t\t\toverPause       : true,\n\t\t\t\t\t\tfillMode        : \"fill\",\n\t\t\t\t\t\tcenterControls  : true,\n\t\t\t\t\t\tstartOnAppear   : false,\n\t\t\t\t\t\tlayersMode      : \"center\",\n\t\t\t\t\t\thideLayers      : false,\n\t\t\t\t\t\tfullscreenMargin: 0,\n\t\t\t\t\t\tspeed           : 20,\n\t\t\t\t\t\tdir             : \"h\",\n\t\t\t\t\t\tparallaxMode    : 'swipe',\n\t\t\t\t\t\tview            : \"basic\"\n\t\t\t\t});\n\n\t\t\t\t\n\t\t\t\twindow.masterslider_instances = window.masterslider_instances || [];\n\t\t\t\twindow.masterslider_instances.push( masterslider_8e09 );\n\t\t\t });\n\n\t\t})(jQuery);\n\t\t<\/script>\n\n\n<p><\/p>\n<p><strong>In This Issue<\/strong><\/p>\n<p><strong>Rebecca M. Brown<\/strong><br \/>\nIndigenous Futures, 5<\/p>\n<hr\/>\n<p><strong>Indigenous Futures<\/strong><\/p>\n<p><strong>Kate Morris and Bill Anthes<\/strong><br \/>\n<a href=\"http:\/\/artjournal.collegeart.org\/?p=9467\">2017: Indigenous Futures, 6<\/a><\/p>\n<p><strong>Kathleen Ash-Milby and Ruth B. Phillips<\/strong><br \/>\nInclusivity or Sovereignty? Native American Arts in the Gallery and the Museum since 1992, 10<\/p>\n<p><strong>Candice Hopkins<\/strong><br \/>\nWe Are Always Turning Around on Purpose: Reflecting on Three Decades of Indigenous Curatorial Practice, 39<\/p>\n<p><strong>Jessica L. Horton<\/strong><br \/>\nIndigenous Artists against the Anthropocene, 48<\/p>\n<p><strong>Kate Morris<\/strong><br \/>\nCrash: Specters of Colonialism in Contemporary Indigenous Art, 70<\/p>\n<p><strong>Jolene Rickard<\/strong><br \/>\nDiversifying Sovereignty and the Reception of Indigenous Art, 81<\/p>\n<p><strong>Dylan Robinson<\/strong><br \/>\nPublic Writing, Sovereign Reading: Indigenous Language Art in Public Space, 85<\/p>\n<p><strong>Heather Igloliorte<\/strong><br \/>\nCurating Inuit Qaujimajatuqangit: Inuit Knowledge in the Qallunaat Art Museum, 100<\/p>\n<p><strong>Sherry Farrell Racette<\/strong><br \/>\nTuft Life: Stitching Sovereignty in Contemporary Indigenous Art, 114<\/p>\n<p><strong>Marie Watt<\/strong><br \/>\n<a href=\"http:\/\/artjournal.collegeart.org\/?p=9492\">In Conversation with Marie Watt: A New Coyote Tale, 124<\/a><\/p>\n<p><strong>Artists\u2019 Project<\/strong><\/p>\n<p><strong>Postcommodity<\/strong>, 136<\/p>\n<hr\/>\n<p><strong>Reviews<\/strong><\/p>\n<p><strong>Caroline A. Jones<\/strong> on W. J. T. Mitchell, <em>Image Science: Iconology, Visual Culture, and Media Aesthetics<\/em>; <strong>Karen Kurczynski<\/strong> on Tania \u00d8rum and Jesper Olsson, <em>A Cultural History of the Avant-Garde in the Nordic Countries, 1950\u201375<\/em>; <a href=\"http:\/\/artjournal.collegeart.org\/?p=9471\"><strong>Camila Maroja<\/strong> on <em>H\u00e9lio Oiticica: To Organize Delirium<\/em> and the exhibition <em>H\u00e9lio Oiticica: To Organize Delirium<\/em><\/a>; <strong>Tracy Bonfitto<\/strong> on Shanay Jhaveri, ed. <em>Chandigarh Is in India<\/em>; <strong>Erica DiBenedetto<\/strong> on Helen Molesworth, ed., with Ruth Erickson,\u00a0<em>Leap Before You Look: Black Mountain College 1933\u20131957<\/em> and the exhibition <em>Leap Before You Look: Black Mountain College 1933\u20131957<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In This Issue Rebecca M. Brown Indigenous Futures, 5 Indigenous Futures Kate Morris and Bill Anthes 2017: Indigenous Futures, 6 &hellip; <a class=\"more-link\" href=\"https:\/\/artjournal.collegeart.org\/?page_id=9499\">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-9499","page","type-page","status-publish","hentry",""],"_links":{"self":[{"href":"https:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/pages\/9499","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=9499"}],"version-history":[{"count":0,"href":"https:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/pages\/9499\/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=9499"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}