To Make Time Ppear

To Make Time Ppear

! ∀#∃∃! ! % &#∋() ! ∗+,−(! . / 0 ! 1 22 !30!!2&∃#∀2 0 0 1 0 0 ∋ ) 0 1 3 0 3 ! 4 0 4 0 0 4 0 1 56 3 7! 4 0 00 ! 1 0 0 03 3 ! 4 4 4 8 0 0 9 : 4 7 1 1 0 7 7 4 3 0 2 ! 22 ,3!30 !! 8 0 1, ;30!! Art Journal The mission of Art Journal, founded in %)'%, is to provide a forum for In This Issue Vol. !", no. # scholarship and visual exploration in the visual arts; to be a unique voice in the Fall $"%% fi eld as a peer-reviewed, professionally mediated forum for the arts; to operate ! Katy Siegel in the spaces between commercial publishing, academic presses, and artist Title TKTK Editor in Chief Katy Siegel presses; to be pedagogically useful by making links between theoretical issues Editor Designate Lane Relyea and their use in teaching at the college and university levels; to explore rela- Reviews Editor Howard Singerman tionships among diverse forms of art practice and production, as well as among Senior Editor Joe Hannan art making, art history, visual studies, theory, and criticism; to give voice and Centennial Essay Editorial Assistant Mara Hoberman publication opportunity to artists, art historians, and other writers in the arts; Digital Fellow Katherine Behar to be responsive to issues of the moment in the arts, both nationally and glob- " Krista Thompson Designer Katy Homans ally; to focus on topics related to twentieth- and twenty-fi rst-century concerns; A Sidelong Glance: The Practice of African Diaspora Art History in the United States Production Nerissa Vales to promote dialogue and debate. Table of Codirectors of Publications Joe Hannan, Betty Leigh Hutcheson Captions in Art Journal and The Art Bulletin use standardized language Editorial Board Doryun Chong, Constance DeJong, Jan Estep, Karin Higa, to describe image copyright and credit information, in order to clarify the Saloni Mathur, Terence E. Smith, Jenni Sorkin, Rachel Weiss Contents Forum: Performance, Live or Dead copyright status of all images reproduced as far as possible, for the benefi t of readers, researchers, and subsequent users of these images. Art Journal (issn """'-($')) is published quarterly by the College Art Information on the copyright status of a reproduction is placed within " Amelia Jones, Introduction Association, !" Broadway, $%st fl oor, New York, NY %"""'. $%$.*)%.%"!%, parentheses, at the end of the caption data. A distinction is made between ext. '%'. E-mail: [email protected]. Website: www.collegeart.org. "" copyright status of an artwork and of the photograph or scan of an artwork Ron Athey, Getting It Right . Zooming Close Compilation copyright © $"%% College Art Association, Inc. Contents copyright © provided for reproduction purposes, where this information has been provided $"%% by the respective authors, artists, and other rights holders. All rights in Art "" Sven Lutticken, Performing Time to us. Journal and its contents reserved by the College Art Association and their respective In order to provide clear information to readers, rights holders, and owners. Except as permitted by the Copyright Act, including section %"+ (the fair "" Sharon Hayes, The Engendering of Illusion subsequent users of images, CAA has established conventions for describing the use doctrine), or other applicable law, no part of the contents of Art Journal may copyright status of the works we publish: be reproduced without the written permission of the the author(s) and/or other "" Sophia Yadong Hao, Memory Is Not Transparent rights holders. The opinions expressed in this journal are those of the authors and Artwork in the public domain not necessarily of the editors and the College Art Association. Artwork copyright © Name "" Branislav Jakovljević, On Performance Forensics: Photograph copyright © Name Subscriptions and back issues: Art Journal is available only as a benefi t of The Political Economy of Reenactments Photograph provided by [name of photographer, image bank, or other membership in the College Art Association. For information about member- provider] ship, please write to CAA, !" Broadway, $%st fl oor, New York, NY %"""'. "" William Pope.L, Canary in the Coal Mine Artwork published under fair use $%$.*)%.%"!%, ext. %$ . E-mail: [email protected]. Send orders, address Photograph by Name (where copyright is not asserted by the provider) changes, and claims to Membership Services, CAA. For back-issue purchases, "" Helen Reckitt, To Make Time Appear Photograph by the author contact nyo, [email protected]. Where the information is available, a work of art is identifi ed as being either Authorization to copy or photocopy texts for internal or personal use (be- in copyright or in the public domain. If the copyright holder is known, it is yond uses permitted by sections %"+ and %"- of the US Copyright Law) is granted Features identifi ed. If an artwork is in the public domain but copyright is asserted in by the College Art Association without charge. For educational uses, such as the photograph or scan of the artwork used for reproduction, the copyright course packs or academic course intranet websites, please contact the Copyright "" Miwako Tezuka status of both artwork and photograph is identifi ed in two discrete notices. Clearance Center at www.copyright.com/. For other uses, please fi rst contact the However, a caption may contain no copyright information at all, where none Experimentation and Tradition: individual author and/or other rights holder to obtain written permission, then is available. The absence of a copyright notice or a © symbol should not be the College Art Association. The Avant-Garde Play Pierrot Lunaire by Jikken Kōbō and Takechi Tetsuji assumed to indicate that an image is either in or out of copyright. Similarly, the Postmaster: Send address changes to Art Journal, College Art Association, absence of any statement that a work is “in the public domain” should not be "" Sarah Kanouse !" 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Where permission was requested from a rights holder, the language re- Reviews Submissions: Art Journal welcomes submission of essays, features, interviews, quested by that rights holder is used, in some instances edited for clarity. forums, and other projects concerning modern and contemporary art from The term “photograph [or scan] provided by” is used to indicate the supplier "" Lisa Florman on Kenneth Silver, ed., Chaos and Classicism: Art in France, Italy, and Germany, authors and artists worldwide and at every career stage. Please include of the photograph or scan. “Courtesy of” is not used. !"!#–!"$%, and the exhibition Chaos and Classicism: Art in France, Italy, and Germany, !"!#–!"$%, photocopies of images. Except in extraordinary circumstances, previously The term of copyright varies internationally, and CAA does not assert that a published material is ineligible for consideration. It is not necessary to be a work identifi ed as in the public domain is necessarily out of copyright through- Solomon R. Guggenheim Museum, New York and Bilbao, $"%"–%% ; Robert Sli& in on CAA member to contribute. For further details, visit www.collegeart.org. out the world. Where the caption indicates that we are asserting fair use, we Elisabeth Sussman and Lynn Zelavanksy, eds., Paul Thek: Diver, A Retrospective, and the make that assertion under United States law. Mail submissions and proposals to Katy Siegel, Art Department, Hunter College, exhibition Paul Thek: Diver, A Retrospective, Whitney Museum of American Art, $"%"–%%, The authors and publisher make reasonable e. orts to ascertain the rights *)! Park Avenue, New York, NY %""$%. You may also attach text to an e-mail status of all third-party works. Any corrections should be sent to the attention and Harald Falckenberg and Peter Weibel, eds., Paul Thek: Artist’s Artist; Jaleh Mansoor on message and send to [email protected]. Book reviews: Art Journal of the Publications Department, CAA. does not accept unsolicited reviews. Books for review should be mailed to the Rosalyn Deutsche, Hiroshima after Iraq: Three Studies in Art and War; Lara Weibgen on Victor Publications Dept. at CAA. Letters: Letters should be sent to the editor-in-chief, Art Journal is available online in JSTOR (www.jstor.org), Ebsco Information Tupitsyn, The Museological Unconscious: Communal (Post)Modernism in Russia, Boris Groys, with a copy to the reviews editor if the letter concerns a review. Letters are shown Services (www.ebsco.com), and ProQuest/UMI (www.proquest.com), through to the author of the contribution in question, who has the option to reply. Letters institutional subscribers such as libraries. It is indexed in Artbibliographies Modern, History Becomes Form: Moscow Conceptualism, and Matthew Jesse Jackson, The Experimental should add to the argument in a substantive manner and are subject to editing. Art Index, Arts and

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