CAA News Today
CWA Picks: March/April 2022
posted by CAA — April 21, 2022
The March and April “picks” include exhibitions that encourage viewers to reframe familiar historical narratives and hierarchies. The content explored by these artists ranges from political icons to advertising and myth; and their approaches weave together tradition with experimentation. The works in these exhibitions move between the past and the present, providing a perspective tied to both individual and collective memory.
Angela Davis — Seize the Time
September 08, 2021 – June 15, 2022
Zimmerli Art Museum, Rutgers University
This exhibition is inspired by an archive in Oakland, California, collected and curated by Lisbet Tellefsen and includes contemporary works focused on the political icon, Angela Davis. The exhibit provides a rich and layered portrait of a public figure, whose image, for decades, has been associated with revolution, anti-racism, and social justice.
De: Lata, works by Bibiana Suarez
March 2022
National Museum of Puerto Rican Arts & Culture, Chicago, IL
Puerto Rican artist Bibiana Suárez’s colorful paintings of image and text are directly inspired by her observations of food labels. The title of the show is a play on words that points toward her motivations and includes the verb delatar (to be a bore) and the noun lata (can). Suarez is interested in exploring the often-misleading representations of contemporary Latinas and the marketing of Latino culture through food and advertising.
Harmonia Rosales: Entwined
January 19, 2022 – May 1, 2022
Art, Design & Architecture Museum, UC Santa Barbara
This exhibition presents work by the Afro-Cuban American artist Harmonia Rosales. Rosales’ paintings pull from Greek and Yoruba mythologies and encourage viewers to question historical representations of women.
Agency: Feminist Art and Power
January 22, 2022 – June 5, 2022
Museum of Sonoma County
Agency: Feminist Art and Power is an exhibition curated by Karen M. Gutfreund and presented in collaboration with the Feminist Art Project. The twenty-eight exhibiting womxn artists represent a diverse range of perspectives and experiences. The work explores notions of freedom, race and identity.
Hear Me Roar: Women Photographers
August 23, 2021 – May 27, 2022
Lehigh University, Bethlehem, PA
Hear Me Roar: Women Photographers is a series of exhibitions organized in honor of the 50th anniversary of the first class of undergraduate women at Lehigh University. Each exhibit highlights the work of women photographers currently found in the University’s collection.
Featured artists include: Holly Andres, Kristin Capp, Sandra Eleta, Donna Ferrato, Florence Meyer Homolka, Jeanine Michna-Bales, Lydia Panas, Joyce Tenneson, Eugenia Vargas-Pereira, and Jennifer Williams.
To Know the Fire: Pueblo Women Potters and the Shaping of History
September 3, 2022
Krannert Art Museum, University of Illinois Urbana-Champaign
To Know the Fire includes a selection of earthenware vessels from the Pueblo communities of New Mexico and Arizona generously gifted to KAM by the late George Ogura. The art of pottery making was a skill handed down through generations of women and continues today. It is also a practice steeped in collaboration and shared resources. Many of the pieces included in the show are dated between the 1930s and 1980s by artists from the acclaimed Nampeyo (Hopi-Tewa Pueblo), Navasie (Hopi Pueblo), Lewis (Acoma Pueblo), and Martinez (San Ildefonso Pueblo) families. A selection of more recent miniature vessels also demonstrates the potters’ virtuosity, producing exquisitely detailed, minute replicas.
Sharon Norwood: The Root of the Matter
February 3, 2002 – May 28, 2022
Washington and Lee University, Lexington VA
This exhibition features the work of Sharon Norwood, who explores the conceptual role of line and its relationship to the body and race. Norwood’s practice involves a range of approaches including ceramics, drawings, paintings, installations, and video. The alterations the artist makes to found objects encourages viewers to expand their view of historical narratives.
Opener 34: Ruby Sky Stiler—New Patterns
January 29, 2022 – May 15, 2022
Skidmore College, Saratoga Springs, New York
Ruby Sky Stiler’s work is deeply connected to the past, while still grounded in the contemporary. From Greco-Roman sculpture to iPhone photographs, Stiler weaves content and material, breaking down time and temporal hierarchies and allowing viewers to oscillate between the past and the
present. The exhibit includes a site-specific mural for the Tang Teaching Museum, as well relief paintings, and large-scale sculpture.
Women, Surrealism, and Abstraction
August 25, 2020 – May 7, 2022
Utah State University, Nora Eccles Harrison Museum of Art, Logan, Utah
Women, Surrealism, and Abstraction is an exhibit consisting of work found in the Museum collection and highlights the often-overlooked female, surrealist artists of the 20th century. The exhibit expands our understanding of Surrealism by including a range of mediums beyond painting and sculpture from photography and printmaking to fiber arts.
Womanhouse
February 18, 2022 – April 2, 2022
4859 Fountain Avenue, Los Angeles, CA
This exhibition, organized by LAND and Anat Ebgi Gallery celebrates the 50th anniversary of Womanhouse. Through a series of performances, film screenings, and archival materials, this exhibition shares the history, trajectory and current influence of Womanhouse and west coast Feminist Art.
CAA ANNOUNCES 2022 RECIPIENTS OF THE ART HISTORY FUND FOR TRAVEL TO SPECIAL EXHIBITIONS
posted by CAA — April 14, 2022
Grantee Rachel Stephens with her students from the University of Alabama at the Birmingham Museum of Art for the exhibition “Black Out: Silhouettes Then and Now” on on June 12, 2019.
CAA’s Art History Fund for Travel to Special Exhibitions is designed to award instructors of qualifying undergraduate and graduate art history classes funds to cover the costs (travel, accommodations, and admission fees) associated with students and instructors attending museum special exhibitions throughout the United States and worldwide.
The awardees for 2022 are:
Terri Geis, New York University, Abu Dhabi, United Arab Emirates
Course: “International Surrealisms”
Exhibition: Surrealism Beyond Borders, Tate London
Christopher Heuer, University of Rochester, NY
Course: “Pilgrimage/Exhibition/Biennale”
Exhibition: 59th Annual Venice Biennale, 2022, Theme: “The Milk of Dreams”
Allison Stagg, Technische Universität Darmstadt, Darmstadt, Germany
Course: “19th Century American and German Landscape Painting: Gendered Connections”
Exhibition: Women, Art, and Land: Reframing the Hudson River School at the Thomas Cole Historic Site, Catskill, NY
Applications for the next round of grants will be accepted by CAA beginning in fall 2022.
Distinguished Scholar, Kirsten P. Buick
posted by CAA — April 14, 2022
On February 17, 2022, Kirsten P. Buick was featured as the Distinguished Scholar at CAA’s 110th Annual Conference. The Distinguished Scholar session highlighted her career and provided an opportunity for dialogue between and among colleagues. Moderated by Annual Conference Chair, Theresa Avila, the session also featured presentations by a few of Buick’s students, including Shana Klein, Abbey Hepner, Annette M. Rodriguez, and Emmanuel Ortega. Watch the session in full below!
Established in 2001, the Distinguished Scholar Session illuminates and celebrates the contributions of senior art historians. The Annual Conference Committee identifies the distinguished scholar each year and each session typically brings together the distinguished scholar and a group of colleagues. The honoree’s involvement is fundamental to the series as a way of demonstrating a living tradition that gives voice to the continuities and ruptures that have shaped art-historical scholarship from the twentieth century into the new millennium.
We are inviting nominations for next year’s Distinguished Scholar at CAA’s 2023 Annual Conference in New York. Nominate individuals here!
On her career, Buick explains:
“I identify as a scholar of the visual and material culture of the first British Empire, and the British diaspora in the US, Caribbean, and India. My teaching encompasses topics such as surveys of British Colonial and U.S. Art, American Landscape representation, African American Art, Pro- and Anti-Abolitionist Images in the Atlantic World; and seminars such as Photographing Jim Crow, 1890-1965, Patronizing Women: Taste and Collecting in the 19th and 20th Centuries, and The Victorian Nude: Representing Women, Men, Intersex, and Children. My research and teaching interests encompass histories of science, medicine, religion, as well as monuments, and the use of public space. Increasingly, I am interested in the racialization of mobility—what I characterize as critical mobility studies. I publish primarily in the realm of the history of African American art and its roots in US cultural formations. My first book, “Child of the Fire: Mary Edmonia Lewis and the Problem of Art History’s Black and Indian Subject,” is a good example of how I wed my teaching and publication imperatives together with my challenge to art history and visual studies to be more and to do better. Ultimately, teaching is my passion; and I tell my students that job # 1 is surviving the damage, and job # 2 is to never concede the center.”
Kirsten Pai Buick is a professor of art history at the University of New Mexico. She received her Ph.D. in art history from the University of Michigan and was a SAAM Predoctoral Fellow and a Charles Gaius Bolin Fellow at Williams College. Buick is a recipient of the David C. Driskell Prize for African American Art and has published extensively on African American art, including her book Child of the Fire: Mary Edmonia Lewis and the Problem of Art History’s Black and Indian Subject (Duke Univ. Press, 2010). Her second book, In Authenticity: “Kara Walker” and the Eidetics of Racism, is in progress.
Affiliated Society News: April
posted by CAA — April 11, 2022
Affiliated Society News shares the new and exciting things CAA’s affiliated organizations are working on including activities, awards, publications, conferences, and exhibitions.
Interested in becoming an Affiliated Society? Learn more here.
American Society of Appraisers
Publications
Valuing a Business, 6th Edition
The seminal book on business valuation is back and better than ever. Shannon Pratt’s Valuing a Business has been the go-to valuation guide for 40 years and has been updated with need-to-know information about taxes, financial reporting, compliance, and more. Valuing a Business is still the best resource on the market for both new and experienced business appraisers. This book fully covers the concepts of business valuation and provides detailed answers to virtually every question on the topic, from executive compensation and lost profits analysis to ESOP issues and valuation discounts.
Events
11th Annual ASA Equipment Valuation Conference
Tuesday, May 24, from 11 a.m. – 4:30 p.m.
Now in its 11th year, this annual event has grown to become the definitive source for appraisers, equipment management and finance professionals on the latest insights into equipment valuation. Instantly leverage knowledge gained on market trends and spotlighted asset sectors, as well as new contacts made, by incorporating into your practice areas or introducing to your team.
2022 ASA Summer Appraisal Camp
August 2022
Develop the skills you’ll need to build a career in appraising personal property such as fine and decorative art, antiques, vintage cars, furniture, coins, stamps, and more.
The program includes four virtual courses held over four weeks, including:
- PP201 – Introduction to Personal Property Valuation – August 3-6, 2022
- PP202 – Development of a Personal Property Appraisal: Research and Analysis – August 10-13, 2022
- PP203 – Communication of a Personal Property Appraisal: Report Writing – August 17-20, 2022
- PP204 – Personal Property Valuation: The Legal and Commercial Environments – August 24-27, 2022
Taiwanese Art History Association
Announcements / Events
PHOTOGRAPHY AND TAIWAN: History and Practice
Thursday, April 7
The Taiwan Academy of the Taipei Economic and Cultural Office in Los Angeles (TECO-LA), the University of Arizona’s School of the Arts (SAUA), and the Center for Creative Photography (CCP) are collaborating for the first time on the “Spotlight Taiwan project” to hold the “Photography and Taiwan: History and Practice” online symposium from April 7 to April 9, 2022 (PST). Nineteen scholars and experts from Korea, the United States, Australia and Taiwan are invited to attend the symposium. They will help the audience understand more about the history, culture and democratization of Taiwan through a historical lens and scholarly debate as recorded in the photography.
From Kyivan Rus’ to Modern Ukraine: Virtual Conversations on History, Art, and Cultural Heritage
posted by CAA — April 11, 2022
Ukraine’s history, art, and culture are endangered by the ongoing war. At Dumbarton Oaks, this lecture and conversation series by experts in the fields of history, art history, archaeology, heritage, sociology, as well as museums and conservation, among others, presents the region’s rich historical and cultural complexity through its objects, sites, and monuments. A focus on the medieval and early modern periods featuring Greek, Latin, and Slavic contacts, brings to the fore critical evidence to counter modern misrepresentations of Ukraine’s history and cultural heritage.
INAUGURAL LECTURE | FRIDAY 22 APRIL 2022 | 12:00 EDT [ 17:00 London | 18:00 Paris | 19:00 Kyiv ]
OLENKA Z. PEVNY (University of Cambridge)
“Lacunae of Art History and Kyiv’s Visual Culture”
Free and open to the public. Register for the inaugural lecture here. If you cannot attend but would like to receive future updates about this series of events, please join the mailing list here.
Future events include:
- May 2022 – Lecture: Mariana Levytska, National Academy of Sciences of Ukraine (The “Holy Rus’ concept” and Religious Art with Political Connotations (Pochaiv Monastery in 19th century)
- May 2022 – Discussion workshop on The Cathedral of St. Sophia, Kyiv
- June 2022 – Lecture: Christian Raffensperger, Wittenberg University (“Medieval Origins and Modern Constructs, Rus – Ukraine – Russia”)
- July 2022 – Lecture: Liudmyla Sharipova, University of Nottingham (Mazepa’s women before and after Poltava: to save and to keep)
- July 2022 – Discussion workshop on Endangered Monuments
- September 2022 – Lecture: Maria Grazia Bartolini, Università degli Studi di Milano (Reading the image of prince Volodymyr Sviatoslavych in seventeenth-century Kyiv)
- September 2022 – Discussion workshop on Displaced Cultural Heritage.
- October 2022 – Lecture: Nazar Kozak, Senior Research Scholar, Department of Art History, The Ethnology Institute, National Academy of Sciences of Ukraine Lviv (Images of Power and Their Discursive Site-Specificity in Kyivan Rus’)
- November 2022 – Lecture: Talia Zajac, University of Toronto (will speak about the marriages between the ruling clan of Rus’ and Latin Christian Europe or the translation and commentary on the eleventh-century prayerbook of Gertruda of Poland)
- November 2022 – Discussion workshop on historical memory.
- December 2022 – Lecture: Halyna Kohut, Associate Professor, Ivan Franko National University of Lviv (Taste, Social Class, and Oriental Carpet Design in the Eighteenth-Century Cossack Hetmanate)
SPONSORSHIP AND ENDORSEMENT:
- Dumbarton Oaks
- Princeton University
- Boise State University
- Tufts University
- Centre for Medieval and Early Modern Studies, University of Kent
- College Art Association (CAA)
- Byzantine Studies Association of North America (BSANA)
- British Association for Slavonic and East European Studies (BASEES)
- Historians of German, Scandinavian, and Central European Art (HGSCEA)
- Society of Historians of Eastern European, Eurasian and Russian Art and Architecture (SHERA)
Association of Academic Museums & Galleries Reference Guide
posted by CAA — April 05, 2022
The Association of Academic Museums and Galleries has published The Task Force for the Protection of University Collections: A Ready Reference Guide for Academic Museum Professionals. The Task Force, which includes CAA and its Executive Director and CEO, Meme Omogbai, aims to serve as a resource and advocate for college and university museums whose collections are or may be under threat. This guide outlines the Task Force’s purpose and has basic information for museum professionals to begin to address challenges related to voluntary deaccessions.
Annual Artist Interview, Willie Cole
posted by CAA — April 05, 2022
On February 18, 2022, Willie Cole was featured in the Annual Artists’ Interviews at CAA’s 110th Annual Conference. Watch the interview in full below!
Beginning in 1997, the Annual Artists’ Interviews were established to provide the opportunity for esteemed artists to have one-on-one conversations with colleagues at the Annual Conference. Each year, the Services to Artists Committee (SAC) identifies two distinguished artists to participate. The interviews are held annually as part of the Services to Artists Program at the conference.
Willie Cole is a contemporary American sculptor, printer, and perceptual engineer. His work uses contexts of postmodern eclecticism, and combines references and appropriation from African and African American imagery. Cole is best known for his Dada and Surrealist readymades, which assemble and transform ordinary domestic and used objects such as irons, ironing boards, high-heeled shoes, hair dryers, bicycle parts, wooden matches, lawn jockeys, and other discarded appliances and hardware. Cole grew up in Newark, NJ. He attended the Boston University School of Fine Arts, received his Bachelor of Fine Arts degree from the School of Visual Arts in New York in 1976, and continued his studies at the Art Students League of New York from 1976 to 1979.
Recent exhibitions of Cole’s work include To Reclaim, Kavi Gupta, Chicago, IL, USA; New Concepts in Printmaking 2: Willie Cole, MoMA, New York, NY, USA; Reconfiguring an African Icon: Odes to the Mask by Modern and Contemporary Artists from Three Continents, Metropolitan Museum of Art, New York, NY, USA; Chicago, Surrealism: The Conjured Life, Museum of Contemporary Art, Chicago, IL, USA; and Afro: Black Identity in America and Brazil, Tamarind Institute, Albuquerque, NM, USA. Cole’s work is in the permanent collection of the Whitney Museum of American Art, New York, NY; Walker Art Center, Minneapolis, MN; MoMA, New York, NY; National Gallery of Art, Washington, DC; High Museum of Art, Atlanta, GA; Studio Museum in Harlem, NY; Metropolitan Museum of Art, New York, NY; Museum of Contemporary Art, Chicago, IL; Albright-Knox Art Gallery, Buffalo, NY; and many others.
Announcing the 2022 Terra Publication Grant Winners
posted by CAA — March 29, 2022
CAA is pleased to announce the 2022 recipients of the Terra Foundation for American Art International Publication Grant.
The Terra Foundation for American Art International Publication Grant supports book-length scholarly manuscripts in the history of American art, visual studies, and related subjects that are under contract with a publisher. The Terra Foundation supports projects that share expansive narratives of American art. Projects should focus primarily on visual art made before 1980.
The six grantees for 2022 are:
Isabelle Bonnet and Sophie Hacket, Casa Susanna, Editions Textuel
Betsy Boone, Spanish Element in Our Nationality: Spain and America at the World’s Fairs and Centennial Celebrations, 1876-1915, Centro de Estudios Europa Hispanica
Julia Bryan-Wilson, Louise Nevelson: Drag, Color, Join, Face, Yale University Press
Josh T. Franco, Marfa, Marfa: Minimalism, Rasquachismo, and Questioning Decolonial Aesthetics in Far West Texas, Duke University Press
Sophie Lynford, Painting Dissent: Art, Ethics, and the American Pre-Raphaelites, Princeton University Press
Andrew Witt, California in Catastrophe, MIT Press
Annual Artist Interview, Jessica Stockholder
posted by CAA — March 28, 2022
Jessica Stockholder, Assist: Sidled, 2016 (Photograph © Jessica Stockholder)
On February 18, 2022, Jessica Stockholder was featured in the Annual Artists’ Interviews at CAA’s 110th Annual Conference, interviewed by Christine Mehring. See below to watch the interview in full!
Beginning in 1997, the Annual Artists’ Interviews were established to provide the opportunity for esteemed artists to have one-on-one conversations with colleagues at the Annual Conference. Each year, the Services to Artists Committee (SAC) identifies two distinguished artists to participate. The interviews are held annually as part of the Services to Artists Program at the conference.
Jessica Stockholder is an internationally acclaimed visual artist and educator who lives and works in Chicago. In addition to earning her BFA from the University of Victoria in Canada and her MFA from Yale University, she was awarded two honorary Doctor of Fine Arts degrees: one from Emily Carr University of Art and Design in 2010, and one from Columbia College in 2013. Stockholder was Elected to the American Academy of Arts & Sciences in 2018.
Stockholder’s works sit at the intersection of painting with sculpture, and often incorporate the architecture in which it has been conceived. Employing a wide range of ordinary everyday materials Stockholder orchestrates an intersection of pictorial and physical space. She probes how meaning derives from physicality, and engages the sensuality and pleasure evoked by color and formal order in an effort to call attention to the edges of understanding.
Stockholder’s work has been exhibited in many of the world’s most influential art venues, including Centre Pompidou in Paris, the Dia Center for the Arts, the Whitney Museum of American Art, and the Venice Biennale. It is included in such museum collections as the Art Institute of Chicago, Whitney Museum of American Art, LACMA, and Stedelijk Museum in Amsterdam.
Stockholder is currently the Raymond W. & Martha Hilpert Gruner Distinguished Service Professor in the Department of Visual Arts at the University of Chicago, a position she accepted in 2011, after 12 years as Director of the Sculpture Department at the Yale School of Art.
Women’s History Month and Art Journal Open
posted by CAA — March 21, 2022
Each week this Women’s History Month, we highlight the rich scholarship and programs produced at CAA that celebrate women in the fields of visual arts and the humanities. This week, we are sharing a bibliography of articles from our open-access journal Art Journal Open that feature women artists.
This Women’s History Month is also especially significant this year, which is the 50th anniversary of feminism at CAA. To learn more about this history, visit this page. CAA is also collecting archival materials to better understand and document the history of its Committee of Women in the Arts, including the committee’s many collaborations with other affiliate committees and groups, such as the Women’s Caucus for Art, The Feminist Art Project, the Queer Caucus, and many more. Visit this page for more information.
 |
Andrew, Nell. “DadaDance: Sophie Taueber’s Visceral Abstraction.” Art Journal Open (July 3, 2014).
Sophie Taueber-Arp, Free Vertical-Horizontal Rhythms (Rythmes verticaux-horizontaux libres), 1919, gouache, 11 15⁄16 x 8 9⁄16 in. (30.3 x 21.8 cm). Stiftung Hans Arp und Sophie Taeuber Arp e.V., inv. 003.205 (artwork in the public domain; photograph provided by Stiftung Hans Arp und Sophie Taeuber Arp) |
 |
Barakeh, Zeina. “Projections for the Third Half [Cloud Storm].” Art Journal Open (August 6, 2020).
Zeina Barakeh, Projections From The Third Half [Cloud Storm], 2020, animation, 3 min. (artwork © Zeina Barakeh) |
 |
Barber, Tiffany E. “Narcissister, a Truly Kinky Artist.” Art Journal Open (March 11, 2020).
Narcissister, Red Riding Hood, 2014, mixed media (photograph provided by the artist) |
 |
Berrigan, Caitlin and Sasha Engelmann. “Fault Lines and Fractures: A Conversation about Imaginary Explosions.” Art Journal Open (December 17, 2020).
Caitlin Berrigan, excerpt from Imaginary Explosions, 2018 |
 |
Bryan-Wilson, Julia and Mary Beth Heffernan. “Facing Social Practice: Mary Beth Heffernan in conversation with Julia Bryan-Wilson.” Art Journal Open (June 30, 2020).
Stanford Express Care nurse Anna Chico, who was among the first providers to use PPE Portraits for COVID-19 care, March 2020 (photograph by Cati Brown-Johnson) |
 |
Burns, A.K. and Melissa Ragain. “Scripting A Smeary Spot.” Art Journal Open (December 8, 2017).
The late Jack Doroshow performs as Mother Flawless, a clairvoyant psyche. In this scene she recites an excerpt from Joanna Russ’ sci-fi novel We Who Are About To. . . , A.K. Burns, video still from A Smeary Spot, 2015, four-channel video installation, HD color, six-channel sound, TRT 53:13 (artwork © A.K. Burns; image provided by the artist, Callicoon Fine Arts, NY, and Michel Rein Gallery, Paris/Brussels) |
 |
Cancelmo, Amy. “Roots and Ramble Kija Lucas and Amy Cancelmo in Conversation.” Art Journal Open (August 30, 2016).
Kija Lucas, Bristol 30, 2013, archival pigment print, 20 x 24 in. (50.8 x 60.9 cm), from In Search of Home, (artwork © Kija Lucas) |
 |
Carland, Tammy Rae and Ann Cvetkovich. “Sharing an Archive of Feelings: A Conversation.” Art Journal Open (October 24, 2013).
Tammy Rae Carland, Galz Living Room, MWMF, from Outpost, 2004, color photograph, 20 x 24 in. (50.8 x 61cm) (artwork © Tammy Rae Carland) |
 |
Costello, Kate. “P&P .” Art Journal Open (November 3, 2016).
Still from Kate Costello, P&P, 2016, video, 1 min., 26 sec. (artwork © Kate Costello) |
 |
Craycroft, Anna. “To Listen.” Art Journal Open (October 25, 2017).
Sophomore Seminar with Meg Cranston and Marlena Donohue, April 5, 2017: Meg Cranston and Marlena Donohue’s class met with Anna Craycroft to discuss Tuning the Room in relation to Umberto Eco’s essay “The Open Work.” (artwork © Anna Craycroft) |
 |
Craycroft, Anna. “To Record, to Interpret, to Comment.” Art Journal Open (March 1, 2017).
Anna Craycroft, The Earth Is a Magnet, 2016, installation view, part of The Artist’s Museum, Institute of Contemporary Art Boston, November 16, 2016–March 26, 2017 (artwork © Anna Craycroft; photograph by Charles Mayer) |
 |
DaPonte, Amy A. “Candida Höfer’s Turken in Deutschland as ‘Counter-publicity’.” Art Journal Open (January 6, 2017).
Candida Höfer, Untitled from Türken in Deutschland 1979, 1979, color slide projection, 80 slides, approx. 7 min., dimensions variable (artwork © Candida Höfer, Köln/VG Bild-Kunst, Bonn 2016) |
 |
Fuenmayor, Jesús. “Barricades of Silence: Nikita Gale in Conversation with Jesús Fuenmayor.” Art Journal Open (August 20, 2020).
Nikita Gale, INTERCEPTOR, 2019, installation view, Fall Apart: Nikita Gale & Pat O’Neill, Martos Gallery, New York, January 11–February 24, 2019 (artwork © Nikita Gale; photograph by Charles Benton/Martos Gallery, provided by the artist) |
 |
Goodeve, Thyrza Nichols. “The Cat is My Medium: Notes on Writing and Art of Carloee Schneemann.” Art Journal Open (July 29, 2015).
Carolee Schneemann, Kitch’s Last Meal, 1973–76, Super 8mm film, double projection, vertical, sound on cassette, ca. 5 hrs., two installation views (artwork © Carolee Schneemann; photographs provided by the artist) |
 |
Goulish, Matthew. “A Clear Day and No Memories: Neurology, Philosophy, and Analogy in Kerry Tribe’s HM.” Art Journal Open (February 5, 2014).
Eadward Muybridge, Pi-Wi-Ack, Valley of the Yosemite (Shower of Stars), “Vernal Fall,” 400 Feet Fall, No. 29, 1872, wet-plate collodion photograph (photograph in the public domain) |
 |
Graham, Amanda Jane. “Space Travels: Trisha Brown’s Locus.” Art Journal Open (July 22, 2016).
Trisha Brown, Locus Solo, 2011, performed by Diane Madden in “Performance 11: OnLine/Trisha Brown Dance Company” in conjunction with the exhibition On Line: Drawing through the Twentieth Century, Museum of Modern Art, New York, January 2011 (photographs © Yi-Chun Wu; photographs provided by Museum of Modern Art/Licensed by SCALA/Art Resource, NY) |
 |
Jenkinson, Monique. “Diva Maw.” Art Journal Open (October 29, 2020).
Monique Jenkinson (Fauxnique), Diva Maw, 2020, digital video, 5:35 min.; soundtrack by Marc Kate, Untitled (“Diva Maw” Soundtrack), 2020, audio file (video © Monique Jenkinson; soundtrack © Marc Kate) |
 |
Kauffman, Vanessa. “Outside of Time: Patricia Fernández Carcedo in Conversation with Vanessa Kauffman.” Art Journal Open (August 12, 2016).
Visitors in Patricia Fernández Carcedo’s studio during Headlands’ Fall 2015 Open House (artwork © Patricia Fernández Carcedo; photograph by Rebecca Puretz, provided by Headlands Center for the Arts) |
 |
Laser, Liz Magic and Christopher Y. Lew. “InterAct: a reenacted interview.” Art Journal Open (May 4, 2011)
Liz Magic Laser, Flight, 2010, performance, MoMA PS1, Long Island City, April 10, 2010 (artwork © Liz Magic Laser; photograph by Mia Tramz, provided by Derek Eller Gallery). The performance was developed in collaboration with actors Lindsey Andersen, Nic Grelli, Elizabeth Hodur, Michael Wiener, Max Woertendyke, and Lia Woertendyke |
 |
Lee, Young Jean. “Women in Downtown Theater.” Art Journal Open (August 26, 2012). |
 |
Leeson, Lynn Hershman. “Excerpts from the Graphic Novel !Women Art Revolution—A Secret History.” Art Journal Open (May 29, 2011) |
 |
Mann, Elana. “One day I will make a mace, but for now I have a mouth.” Art Journal Open (September 30, 2021).
Elana Mann, Unidentified Bright Object #61, 2021, clay, wood, and glass, 14 ½ x 3 ½ x 3 ¾ in. (36.8 x 8.9 x 9.5 cm) (artwork © Elana Mann; photographs by Brica Wilcox) |
 |
Masley-Charlet, Caitlin. “Caitlin Masley-Charlet in Conversation with Elisabeth Smolarz.” Art Journal Open (June 5, 2018).
Elisabeth Smolarz, ENCYCLOPEDIA OF THINGS, ongoing 2014–2017. Archival inkjet prints, dimensions variable. Courtesy of the artist. |
 |
Masley-Charlet, Caitlin. “Caitlin Masley-Charlet and Diana Shpungin in Conversation.” Art Journal Open (July 8, 2016).
Diana Shpungin, detail of A Break in One and Several Places, 2015, graphite pencil, horsehair broom, glazed porcelain and stoneware, 24 x 43 x 14 in. (60.9 x 109.2 x 35.5 cm) (artwork © Diana Shpungin) |
 |
McKee, C.C. “‘a salting of sorts’: Salt, Sea, and Affective Form in the work of Deborah Jack.” Art Journal Open (July 30, 2019).
Deborah Jack, SHORE, 2004, nylon screens, video projection, rock salt, reflecting pool, dimensions variable, installation view, Big Orbit Gallery, Buffalo, New York (artwork © Deborah Jack; photograph provided by the artist) |
 |
McClure, Michael Jay. “If it Need Be Termed Surrender: Trisha Donnelly’s Subjunctive Case.” Art Journal Open (July 29, 2013).
Trisha Donnelly, Untitled, 2008, plaster, horsehair, paint, pillow, belts, lamp, two parts, ea. 36 x 60 x 22¾ in. (91.4 x 152.4 x 57.8 cm), installation view, The Quick and the Dead, Walker Art Center, 2009 (artwork © Trisha Donnelly; photograph provided by Casey Kaplan, New York) |
 |
Ohsawa, Asuka. “Squares, Triangles, and Cats.” Art Journal Open (December 31, 2020). |
 |
Porges, Maria. “Shortest Stories.” Art Journal Open (December 20, 2018). |
 |
Rosa, María Laura. “Questions of Identity: Photographic Series by Alicia D’Amico, 1983–86.” Art Journal Open (July 2, 2019).
Alicia D’Amico photograph of Liliana, a performance by Liliana Mizrahi, 1983, scanned copy of original negative, reproduction from original 35mm negative contact (photograph © Archivo Alicia D’Amico, Buenos Aires) |
 |
Santos, Dorothy R. “ Domain Errors.” Art Journal Open (July 24, 2020). |
 |
Schiff, Karen L. “Imprinting Agnes Martin.” Art Journal Open (December 19, 2014).
Karen L. Schiff, Agnes Martin, El País, 21 December 2004, II, 2005, graphite and stylus on vellum, 17 x 12 inches (artwork © Karen L. Schiff) |
 |
Sifuentes, Aram Han. “Official Unofficial Voting Station: Voting for All Who Legally Can’t.” Art Journal Open (October 1, 2020).
Protest Banner Lending Library, Let Us Vote! and Official Unofficial Voting Station, 2020, textile banners (photograph by Thaib A. Wahab) |
 |
Szymanek, Angelique. “Haptic Encounters: Margarita Cabera’s Space in Between.” Art Journal Open (October 15, 2020).
Margarita Cabrera, Sewing Machine (Blue-Green), 2016, vinyl, thread, copper wire, and appliance parts (artwork © 2020 Margarita Cabrera/Licensed by VAGA at Artists Rights Society [ARS], NY; photograph provided by the artist) |
 |
Vlassopoulou, Penelope. “No water, Athens, Greece, 2015: Twenty-four hours with nothing to eat or drink, only smelling the jasmine.” Art Journal Open (October 26, 2016).
Excerpt from Pandelis Prevelakis, I Kefali tis Medousas [The Head of Medusa] (Athens: Friends’ Editions, 1963), trans. the artist and Markus Nystrom |
 |
Watt, Marie. “In Conversation with Marie Watt: A New Coyote Tale.” Art Journal Open (October 19, 2017).
Marie Watt, Blanket Stories: Transportation Object, Generous Ones, Trek, 2014, cast bronze, 18 x 4 x 6 ft. (5.49 x 1.22 x 1.83 m). Permanent installation, Tacoma Art Museum, Tacoma, Washington (artwork © Marie Watt; photograph by Benjamin Benschneider/OTTO) |
 |
Wilson, Siona. “Portraits (and) Matter.” Art Journal Open (January 13, 2022). |
 |
Yoshitake, Mika. “Humans have been Human for so long: Shana Lutker and Mika Yoshitake in Conversation.” Art Journal Open (August 2, 2016).
Shana Lutker, A handsome confused puppet, 2015, mirrored glass box, fluorescent lights, wood, marble, casters, 49 x 30 x 19 in. (124.4 x 76.2 x 48.2 cm) (artwork © Shana Lutker; photograph by Cathy Carver) |
 |
Yurshansky, Jenny. “Hide and Seek.” Art Journal Open (March 25, 2021).
Jenny Yurshansky, Hide and Seek (folded view), 2021, interactive sculpture, inkjet print, 3 3/4 x 3 3/4 x 3 in. (9.5 x 9.5 x 7.6 cm) (photograph provided by the artist) Folk tradition meets revisionist storytelling in Jenny Yurshansky’s printable sculpture |