Art Journal 2014

Art Journal 2014

The mission of Art Journal, founded in 1941, is to provide a forum for scholarship and visual exploration in the visual arts; to be a unique voice in the field as a peer-reviewed, professionally mediated forum for the arts; to operate in the spaces between commercial publishing, academic presses, and artist presses; to be pedagogically useful by making links between theoretical issues and their use in teaching at the college and university levels; to explore relationships among diverse forms of art practice and production, as well as among art making, art history, visual studies, theory, and criticism; to give voice and publication opportunity to artists, art historians, and other writers in the arts; to be responsive to issues of the moment in the arts, both nationally and globally; to focus on topics related to twentieth- and twenty-first-century concerns; to promote dialogue and debate. The journal, which welcomes submissions from authors and artists worldwide and at every career stage, is published four times a year in spring, summer, autumn, and winter by the College Art Association.

Series information

Art Journal Spring 2014

Connecting the Dots/Hijacking Typography| Dada Dance: Sophie Taeuber's Visceral Abstraction| On Barnett Newman's The Wild| Fugitive Lines: Nasreen Mohamedi, 1960–75| Pink, White, and Black: The Strange Case of James Rosenquist's Big Bo| The Aesthetic Gold of a Ravished Spouse of the Godhead| Qualifying the Digital| Beyond Technology and Representation: What Can Interactive Art Do?

Art Journal Summer 2014

Coming out of Silence: Art and Politics in Latin America from the 1960s to the 1980s, 15 | A Network of Museums: The Impeccable Dialectic of Walter Zanini, 21 | Teresa Burga: Unfolding the (Social) Female Body, 47| Nine Innings in 1989, 67| Theatrical Activism during the Last Argentine Dictatorship: Notes on the Taller de Investigaciones Teatrales, 91| REVIEWS: Kim Charnley on Claire Bishop, Artificial Hells: Participatory Art and the Politics of Spectatorship, and Tom Finkelpearl, What We Made: Conversations on Art and Social Cooperation; David Markus on Peter Osborne, Anywhere or Not at All: Philosophy of Contemporary Art; and >Charissa N. Terranova on the exhibition Le Corbusier: An Atlas of Modern Landscapes

Art Journal Fall 2014

Doing It Yourself: Machines, Masturbation, and Andy Warhol, 5|The Groupe de Recherche d’Art Visuel against the Technocrats, 18| Dead Boars, Viruses, and Zombies: Roberto Jacoby’s Art History, 38| Island Culture Wars: Selden Rodman and Haiti, 56| REVIEWS: Megan Driscoll on John P. Bowles, Adrian Piper: Race, Gender, and Embodiment; Lauren Taylor on Bridget Cooks, Exhibiting Blackness: African Americans and the American Art Museum; Anthony E. Grudin on Blake Stimson, Citizen Warhol; Sampada Aranke on Huey Copeland, Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America “Some Tools for Radical Pedagogy,” an annotated bibliography by the Pedagogy Group

Art Journal Winter 2014

Grave Matters: Positioning Carl Andre at Career’s End, Marshall McLuhan and the Counterenvironment | “The Medium Is the Massage”, In, Around, and Afterthoughts (on Participation) | Photography and Agency in Martha Rosler’s Collaboration with Homeward Bound |Social Proxies and Real-World Avatars - Impersonation as a Mode of Capitalist Production