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Catherine Opie, Douglas Crimp #2, 2001 (photograph © Catherine Opie, provided by Regen Projects, Los Angeles)On July 5, 2019, the critic, activist, curator, and professor Douglas Crimp died of mult...

Roberto Matta, Cuba Is the Capital/ Cuba es la capital, 1963, soil and plaster on Masonite, 74 x 133⅞ in. (188 x 340 cm). Casa de las Americas, Havana, Cuba (artwork © 2020 Artists Rights Society [...

Suzanne Preston Blier. Picasso’s Demoiselles: The Untold Origins of a Modern Masterpiece. Durham, NC: Duke University Press, 2019. 448 pp.; 353 ills. $114.95Pablo Picasso, one of the major European...

While staying in the guest room of my mother-in-law’s house last summer, I noticed a pixelated copy of a wedding portrait of her Tejano parents tucked between the frame and the mirror of the dresse...

This conversation with Douglas Crimp took place before a live audience on October 25, 2016, at California College of the Arts, San Francisco, as part of the series “Queer Conversations on Culture a...

Alberto Burri, Sacco (Burlap), 1953, burlap sacking, cloth, oil paint, and Vinavil on canvas, 33⅞ x 38⅜ in. (86 x 100 cm). Collezione Burri, Fondazione Palazzo Albizzini, Citta di Castello, Italy (...

I have travelled a good deal in Concord.—Henry David ThoreauI am trudging purposefully through the hard, frozen landscape of a late New England winter; the quiet of the woods surrounds me comfortab...

Nature in a Post-Wild World (New York: Bloomsbury, 2011). 2. As promulgated by Donna Haraway, Jussi Parikka, and Jason Moore in their respective writings. 3. Kathryn Yusoff, A Billion Black Anthropocenes or None (Minneapolis: University of Minnesota Press, 2018). 4. Nicole Seymour, Bad Environmentalism: Irony and Irreverence in the Ecological Age (Minneapolis: University of Minnesota Press, 2018).

gence from the implicit frameworks within which scholarship on Latin American modernism written in English (regardless of the author’s origin or native language) is compelled to position itself. This translation, then, does not just offer a compelling narrative of a particular moment in the history of modernism; it also puts pressure on the expectations (of audience, of previous knowledge, of standards

Harun Farocki’s last completed work before his death, Parallel I–IV (2012–14), is a multichannel inquiry into video-game images in terms of their evolution toward photorealism and the peculiar qualities of their simulations. Parallel is deeply connected to his substantial installation Serious Games I–IV (2009–10), an earlier work in which digital simulation is considered in relation to the conditioning

1. This game is also known as Colossal Cave Adventure. 2. For an excellent consideration of the connection between Adventure and the Mammoth Caves in Kentucky, which inspired the game, see Alenda Y. Chang, “Games as Environmental Texts,” Qui Parle: Critical Humanities and Social Sciences 19, no. 2 (Spring/Summer 2011): 57–84, doi.org/10.5250/quiparle.19.2.0057. 3. I explore this in depth in my book

Jean Tinguely, Meta-Malevich “Formes mouvementees,” 1954–55, painted metal elements on painted wooden box with wooden pulleys, rubber belt, metal fixtures, and electric motor, 24⅜ x 19⅝ x 3⅛ in. (6...

Landscape is much more difficult to model than architecture or interiors, and it almost always provides the benchmark for graphic realism in video games. Many of the qualities that define graphic realism in contemporary video games – visual detail, dynamic lighting and weather effects, particle effects such as fire, smoke and mist – are associated with the appearance and behaviour of “natural” assets

My mother was the first country. The first place I ever lived.—Nayyirah Waheed, “Lands”The woman’s body has been configured, reconfigured, and articulated across cultures and subcultures by myriad ...

the twenty-three-year lapse between The Divine Face (1971) and Eyes of the Beholder (1994). Though many of the works created by Saar in the 1990s and 2000s remained conceptually cohesive in the broader context of the exhibition, the absence of both sketchbooks and work from the 1970s and 1980s was conspicuous. Given Saar’s ongoing engagement with black nationalist aesthetics and second-wave feminisms

Balatonboglár, for instance, is lacking.3 In her conclusion Kemp-Welch clearly emphasizes that she means to “offer an art history of Eastern Europe ‘from below’” (410), and she calls for historiographies that “challenge the perpetuation of Cold War attitudes” (411). But beyond aesthetic attitudes and practices that crossed borders day-to-day from the late 1960s until the early 1980s, there was of course

A burden of ever-more accessible bureaucratic data has infused architectural history in recent years, much as it has come to characterize the practice of architecture itself. The clean-cut images in promotional media mask how buildings come freighted with weighty files produced through their intersection with urban policy, energy codes, project committees, geotechnical restraints, drawing standards

a French paramilitary terrorist group, the Organisation Armée Secrète (OAS). A structure designed to perpetuate the violence of colonial rule in this moment becomes the rubble of war. Here one wishes Henni would pick up its pieces with attention to the semantic transformations that Allais addresses. Despite their different leanings, read together these books reveal the extraordinary wealth of documentation

ion, the image presents a central, roughly square form that itself appears to serve as a source of illumination, blanketing its darker frame in a gauzy light. An extensive caption penned directly on the photographic negative compensates for this obscurity. Tersely detailing the materials and techniques that Hausmann used to produce the image—from his selection of film, filters, and lamps to the exposure

Aesthetic Treatment—also commonly referred to as “architectural treatment,” refers to the overall form of the wall, its features such as the wall cap, wall columns, end treatments, and safety shape...

1. Alejandro Ghigliani, “Mujer, belleza, arte: Las artistas del mañana,” Buenos Aires, June 6, 1897: 9–10. 2. See Laura Malosetti Costa, Los primeros modernos: Arte y sociedad en Buenos Aires a fines del siglo XIX (Buenos Aires: Fondo de Cultura Económica, 2001), 16. The author included an analysis of pioneering women artists at the turn of the century. See also Laura Malosetti Costa, ed., Primeros

Latin America has long occupied a precarious position within a “global” history of modernism written from the center: the region’s art has been either dismissed as derivative or celebrated for ocular affinity with “mainstream” Euro-American forms. Although the past few decades have seen a proliferation of serious scholarship on post–World War II Latin American art, the prewar period has garnered significantly

Charles White’s first mural, Five Great American Negroes (1939), displayed just outside the entrance of Charles White: A Retrospective, provided the introductory artwork of the exhibition’s installation at the Museum of Modern Art, New York.1 At the center of this ambitious composition, White rendered a scene of surprising physical intimacy. Frederick Douglass wraps his arms around the brown back of

In the last ive years, we have witnessed a quantitative and qualitative increase in the production of scholarship on the Latin American historical avant-gardes, with such remarkable contributions as those by Anna Indych-López, Tatiana Flores, Mary K. Cofey, and Nancy Defebach, to name a few. Michele Greet’s Transatlantic Encounters and Harper Montgomery’s The Mobility of Modernism are both outstanding

Artist Statement Whether I was aware of it or not, otherness has been at the center of my consciousness since the beginning of my artistic career. My early ideals of race and beauty were shaped by and linked through paintings of Renaissance artists and photographs in fashion magazines. Those images were mythical, heroic, beautiful, and powerful and embodied a status that was not afforded equally to

To begin in the middle: “All Turns,” a sign reads. It seems to float against a black background. Several others appear in sequence—still images of street signs that compose a portion of Paul Chan’s 2002 video, RE: The Operation. These signs, for the most part, are illegible. Their reflective surfaces—the material that ordinarily allows them to be readable at night—are oversaturated. They act only as

art by African American practitioners, 1971 reproduces the very modes of erasure that structured the nation’s segregated art world and that played no small part in the attempt, by the very artists and thinkers whom English most disdains, to move beyond both “mainstream” institutional sites and aesthetic criteria. English disallows consideration of these structural conditions to avoid making further

In her acclaimed artist journal Daybook (1982), the pioneering Minimalist Anne Truitt wrote about the subtle measure of a sensation: “a discrimination in acuity called a Just Noticeable Diference, J. N. D. for short.” She applied the term to an alignment of events in her life and career, but it might have been just as well addressed to her sculptures, with their complex internal proportions and delicate

offers a point of entry for understanding a societal shift that also has aesthetic implication. She posits that the mistrust of television, even during the perestroika period, meant that what was broadcast was taken with great skepticism, as television was seen as an ideological tool of Soviet propaganda, an attitude that led to the perception of the 1991 artistic prank as unreal in the first place

Grandfather: A Pioneer Like Us. Reconstruction of 1974 exhibition by Harald Szeemann, organized by Glenn Phillips and Philipp Kaiser. Institute of Contemporary Art, Los Angeles, February 4–April 22, 2018; Gerechtigkeitgasse 74 (original site), Bern, June 9–September 2, 2018; Kunsthalle Düsseldorf, October 13, 2018–January 20, 2019; Castello di Rivoli Museo d’Arte Contemporanea, Rivoli, February 26–May

Houston, Texas, might not be the most obvious site for what is arguably the most significant exhibition of Indian photography to date, but to take seriously the curatorial conceit of the show, perhaps it should be. The FotoFest 2018 Biennial featured some fortyseven artists of Indian origin from around the world. Titled India/Contemporary Photographic and New Media Art, the exhibition showcased the

A substantial amount of new scholarship and several major exhibitions on Agnes Martin have emerged since 2015. Two books—Agnes Martin: Night Sea by Suzanne Hudson, and Drawing the Line: The Early Work of Agnes Martin by Christina Bryan Rosenberger—are unique for their focus on lesser-known phases of Martin’s career and stand out for their novel approaches to the interpretation of her painting and life

There are two immediate di culties for Indigenous readers approaching Jessica L. Horton’s Art for an Undivided Earth. I hope this doesn’t sound confrontational. As a good friend once said to me, for us as Indigenous peoples, it is an act of love, generosity, and kindness to want to create a dialogue about work that afects our communities. Indeed, I hope that I can integrate my Cree ethics from kinship

That photo we never got, a research-based project by artist Shilpa Gupta, sets out to explore the worlds of friendships, associations, love, and incongruities in the ield of art. Working alongside Asia Art Archive’s Senior Researcher Sabih Ahmed, the artist draws out narratives from the 1960s, 1970s, and 1980s to follow the innumerable tangents and overlapping vectors across and beyond the Archive’s

Hudson begins the second chapter by noting that 1963, the year Martin painted Night Sea, was also crucial in the broader reception of her work. Prior to this time, critics were more dismissive of her work and often connected her painting to themes of domesticity, decoration, or craft. Around 1963, however, assessments of her work start to shift; as Donald Judd wrote, “These paintings are much better

1. Although the story is rendered anonymous, the price data is real, if rounded o . The numbers are typical of the most volatile portion of the Indian contemporary art market. 2. See Mukti Khaire and R. Daniel Wadhwani, “Changing Landscapes: The Construction of Meaning and Value in a New Market Category— Modern Indian Art,” Academy of Management Journal 53, no. 6 (December 2010): 1281–1304. 3. See

:»نارهت« رد  اب ییوگتفگ  یناریا ناراد یرلاگ اتیهانآ« ،»دازآ ناحارّط« یرلاگ زا »ناهج فرش اتیزر« روضح اب لیذ ی هبحاصم هموصعم« ،»رثا« یرلاگ زا »دجم میرم« ،»مشیربا هار« یرلاگ زا »ناییابق هب-»مدقا یوسوم ناویک« و »زیبماک« و )»ناریا ناشاّقن« نمجنا سیئر( »یرّفظم و مدقا یوسوم زیبماک طسّوت تااؤس شسرپ .تفرگ ماجنا-یسراف یابفلا بیترت دحاو-»اینرفیلاک« هاگشناد یملع تأیه وضع( »روگیرگ نیلات« طسّوت اهنآ حرط .تفریذپ

Two recent books, both outstanding in their diferent ways, ofer us historical perspectives on the pivotal roles that recurrent survey mega-exhibitions—widely and more felicitously known as biennials—have played in making contemporary art what it is today. The “Directory of Biennials” on the Biennial Foundation website lists 225 active instances and ofers hemispheric maps showing their locations. The

light oil on wood with black enameled iron pipe, 48⁄16 x 33⁄16 x 211⁄2 in. (121.5 x 83.5 x 55.5 cm), exhibition view, Sculpture on the Move 1946–2016, Kunstmuseum Basel, 2016, also showing work by Joseph Kosuth and Donald Judd, Untitled, 1962, cadmium red light oil on plywood and black oil on wood with galvanized iron and aluminum, 76 x 961⁄4 x 12 in. (193 x 244.5 x 30.5 cm) (Donald Judd Art © 2018

and 1970s who were its engines, the argument for Manzoni’s studio practice as an “engagement with the labor-to-capital relation on the factory loor” (14)—and three privileged male artists as the unwitting origins of radical 1960s politics—comes of not only as improbable, but insulting to the agents and inheritors of Autonomia themselves. Mansoor has produced a speculative history of a particular period

The year 2016 was when the art world “discovered” the Egyptian Surrealists. Two large-scale international exhibitions opened within weeks of each other: When Art Becomes Liberty: The Egyptian Surrealists (1939–65) and Art et Liberté: Rupture, War, and Surrealism in Egypt (1938–48). The former—cocurated by Hoor al-Qasimi (director of the Sharjah Art Foundation), Salah Hassan (director of the Institute

A critical mass of Chicana/o art scholarship accompanies the second decade of the twenty-first century, pushing the boundaries of curatorial and scholarly interpretations and shifting mainstream perceptions of American art.1 The boom in scholarship occurs after a succession of institutional Chicana/o art shows in 2011, including six exhibitions focused on Chicana/o art at Southern California museums

In South of Pico: African American Artists in Los Angeles in the 1960s and 1970s, the scholar, curator, and MacArthur fellow Kellie Jones crafts a narrative of artistic determination, experimentation, and place making. Jones provides deeper comprehension of the individual talents, sacriices, and hopes of black artists in Los Angeles in this twenty-year period. The story she tells connects with a familiar

The spectacle of duress, extended duration, and endurance in art may prompt crises of witnessing and language. In 2009, for example, this was made manifest for me as I watched the performance artist Kira O’Reilly fall backward, naked, down a grand curling light of stone stairs at the Whitworth Art Gallery in Manchester. In Stair Falling, O’Reilly fell so slowly that her movements became majestic in

ed, winglike igures suspended above the roundabout served as screens for projected images of vultures within their habitat. I would argue for a recognition, in the context of a modern city, of the contrast between the city’s corporate logos and lighted advertising billboards and Agarwal’s abstract illuminated shapes. Seen at night, the artist’s glowing, winged forms disavow commercial signage, while

I spent years working at a computer to produce images for the screen. Longing to get my hands back on the work, I returned to a tactile creative process in 2004. I began exploring the zoetrope, an early form of animation. The device, popular in the nineteenth century, consists of a slitted drum whose interior is lined with a sequence of images. When the object is spun, the viewer peers through the

countercultural phenomena. Here we get to the heart of Sorkin’s method. The real difference between Richards’s event and, say, Claes Oldenburg’s slightly later event The Store (1961) is not that one was a pottery sale and the other an avant-garde milestone. It is that one could not be granted proper historical status and the other could, which is largely a function of gender discrimination. This line

1. Geeta Kapur, When Was Modernism: Essays on Contemporary Cultural Practice in India (New Delhi: Tulika, 2000), 374–76. 2. Elizabeth Harney, “Postcolonial Agitations: Avant-Gardism in Dakar and London,” in “What Is an Avant-Garde?” special issue, New Literary History 41, no. 4 (Autumn 2010): 740. 3. Paul Mann, The Theory-Death of the Avant-Garde (Bloomington: Indiana University Press, 1991), 6–7.

As it happens, it was in Havana that the term “avant-garde” entered Geeta Kapur’s active vocabulary. She’d been invited to speak at a conference organized as part of the Third Havana Bienal, in 1989, and the experience turned out to be pivotal for her—especially in the context we’re considering here. Twenty years later, I interviewed her as part of the research for a book about that exhibition, and

There is a remarkable moment near the beginning of Jenni Sorkin’s book Live Form, in which she discusses a milk jug by the potter Marguerite Wildenhain. Made during Wildenhain’s tenure at the Weimar Bauhaus, it features an unusual combination of hazy-blue cobalt coloration and salt-glazed firing technique. But it is the function of the pot that arrests Sorkin’s attention. She points out that, at the

2. Even when qualifying the practice of art and acting as concept and event rather than a sequence in history, the contemporary is always of course imbricated in the historical process. I am interested in bringing to bear upon this process exigency of the punctual moment but also its opposite: the “art” of deploying anachronisms—in slow time and recursive regard. This paradoxical pairing will induce

Like the afrotrope itself, this text emerged over the course of ten years of collaborative writing, teaching, and presenting. Accordingly, this introduction draws on many of those sources: the description from our 2011 graduate seminar on the topic, our introductions to panels at the College Art Association and Caribbean Studies Association conferences (2016), the introduction to our special issue

Read this aloud. Blindness is not an essentialist binary of dark and light, but instead announces the complexity of non-normative vision: a dissolution of boundaries or an agglomeration, an intensity of contrast or a dissipation, perpetual shimmering or ultramassive stars brought to intimate orbit, nebulae, clouds of dust and gas, darkness sculpting in fragments, peripheral or central shrouding, a

1. Terence Dick, “The Flesh of the World,” review, Border Crossings 136, vol. 34, no. 4 (December 2015): 43-44. 2. See “The Flesh of the World,” at www. fleshoftheworld.ca, as of October 5, 2017. 3. For a good overview of the main challenges and debates about identity politics in art history and visual culture, see Derek Conrad Murray and Soraya Murray, “Uneasy Bedfellows: Canonical Art Theory and

“Diversity” . . . I personally find just the idea of diversity in the art world to be in a constant state of a confused semantic flux. . . . I am grateful to exist in many different spheres of the art world, and I see within it at times communities that have deeply defined this word, and given it much heed and expansion that make clear sense to my own filters. I also see communities that seem to think

Gender/Power is a collaborative working methodology led by Maya Ciarrocchi and Kris Grey. Under the banner of Gender/Power, the artists produce perfor- mances, installations, workshops, and writing...

The article concerns the development of the public events programme “Now You Can Go” that the author organised in collaboration with six feminist curators, artists and researchers, Angelica Bolletinari, Giulia Casalini, Diana Georgiou, Laura Guy, Irene Revell and Amy Tobin, in London, 2015. It discusses the programme’s exploration of early moments of feminist thinking, art and activism, particularly

Jane Bennett, Vibrant Matter: A Political Ecology of Things (Durham, NC: Duke University Press, 2010) Many still believe that humans are distinct in having minds and not just brains. Sure, animals (as etymology suggests) are animated compared to nonliving matter, but both lack meaningful motivation. The political scientist Jane Bennett, however, explores the possibilities of matter exerting its own

“Artificial” derives from Latin: artificialis, “of, or belonging to, art.” Language is one of many ways that the long-standing opposition between art and nature in Western thinking manifests. It is part of an abiding assumption about how we distinguish the cultural, as a human domain, from the nonhuman matrix of material—the natural world, a physical backdrop for human autonomy and agency. However