posted by CAA — Sep 12, 2016
Boris Charmatz’s If Tate Modern Was Musée de la Danse? (May 15–16, 2015) is the focus of a new multimedia review on the Scalar platform, If caa.reviews were performance.reviews?. Organized by Juliet Bellow, the project includes an introduction by Bellow, and three reviews of the performances at the Tate Modern by Arabella Stanger, Nicole Zee, and Tamara Tomic-Vajagic. The review presents the complexities of Charmatz’s transformation of the Tate Modern into a museum of dance for two days and features an interactive map showing where the performances occurred in the Tate Modern, in addition to videos and still images. Charmatz’s project challenges conceptions of museums as institutional spaces and incorporates audience participation and “unauthorized” performances. This review is part of a new caa.reviews initiative to review time-based media works.
Art Journal Open
Art Journal Open this summer launched a new cluster of conversations featuring artist residencies, with artists who have participated in residencies interviewed by those who organize these programs. Through the conversations, Art Journal Open examines how residencies operate logistically and conceptually, and how they contribute to creative production. Conversations published in the series include Caitlin Masley-Chalet of Guttenberg Arts (Guttenberg, NJ) with artist Diana Shpungin, Vanessa Kauffman of Headlands Center for the Arts (Sausalito, CA) with artist Patricia Fernández Carcedo, and Amy Cancelmo of Root Division (San Francisco, CA) with artist Kija Lucas.
Earlier this summer, Art Journal Open published the third of a three-part series on appropriation as an artistic strategy: “Knight’s Heritage: Karl Haendel and the Legacy of Appropriation, Episode Three, 2013” by Natilee Harren, with a response by Nate Harrison. Recent features also include a review of Wetware: Art, Agency, Animation (Beall Center for Art + Technology, University of California, Irvine, February 6–May 7, 2016) by Charissa Terranova, and “Humans Have Been Human for So Long,” a dialogue between artist Shana Lutker and curator Mika Yoshitake on Lutker’s exhibition Shana Lutker: Le “NEW” Monocle, Chapters 1–3 at the Hirshhorn Museum and Sculpture Garden in Washington, DC (October 27, 2015–February 16, 2016).
The forthcoming Fall 2016 Art Journal features a project by the artist Penelope Vlassopoulou, whose source material is the phrases and drawings carved in underground cells by detainees during the Nazi occupation of Greece. In other feature articles, Mario Merz’s fascination with the Fibonacci series is the cruz of Elizabeth Mangini’s examination of works created within the intellectual and political ferment of 1960s Italy, and Emily Hage rethinks Romare Bearden’s historical and political position in relation to the dense collages he made for the covers of Time and Fortune. The Reviews section includes Eve Meltzer’s account of the film Eva Hesse and reviews of books by Thomas Crow, Claire Robins, and Joan Kee. An annotated bibliography by Roger F. Malina, the astrophysicist who also serves as executive editor of Leonardo Publications/MIT Press, explores the highly productive intersections of art and science.
Recently published in the Summer 2016 Art Journal is a project by the renowned artist Harmony Hammond. The covers of the journal were given a waxy coating to convey the nature of her intensely tactile paintings and prints, featured in a twenty-page portfolio. In the features, Amanda Jane Graham takes a close look at the interweaving of domestic and performing spaces in Trisha Brown’s 1975 dance Locus; Mechtild Widrich investigates the effects on the urban fabric of the new/old National Gallery of Singapore, created from a colonial-era court building; and Dan Adler traces the idea of an all-pervasive Apparatus in 1980s and 1990s works by the German photographer Thomas Ruff. The Reviews section begins with Chris Taylor’s examination of the film Troublemakers: The Story of Land Art. Other reviews examine a new book by Chika Okeke-Agulu and the exhibition and catalogue Hippie Modernism. An annotated bibliography by Audra Wolowiec explores the poetics of sound and language.
The Art Bulletin
The cover of the September 2016 issue of The Art Bulletin depicts Buddhist monks evoking ghosts in a nocturnal ceremony; the large detail from a polychrome silk scroll accompanies Phillip E. Bloom’s essay on twelfth-century Chinese paintings of Buddhist rituals. In other essays featured in the September issue, Judy Sund reconsiders nineteenth-century perceptions of Watteau’s Pierrot character as forlorn, Christine I. Ho contextualizes a brush-and-ink painting created by a collective in the early People’s Republic of China, and James Nisbet surveys intersections of global politics and imaging in the site-specific art of Walter De Maria. In his “Whither Art History?” essay, Bárbaro Martínez-Ruiz explores Kongo visual and cultural practices in contemporary art.
The Reviews section, with a theme of “Urban Images, Memories, and Fragments,” includes four reviews of recent books on the cultures of fifth-century BCE Athens, seven Dutch cities from 1200 to 1700, early modern Rome, and Mexico City in light of Aztec civilization.
Taylor & Francis Online
In addition to their print subscription(s), CAA members receive online access to current and back issues of Art Journal and The Art Bulletin. Taylor & Francis, CAA’s publishing partner, also provides complimentary online access to Word and Image, Digital Creativity, and Public Art Dialogue for CAA members. To access these journals, please log into your account at collegeart.org and click the link to the CAA Online Publications Platform on Taylor & Francis Online.